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λ Phyllis Bray (British 1911-1991)Artist's GardenGouache38.5 x 55.5cm (15 x 21¾ in.)Provenance:The collection of Lilian Hawthorne, née Leahy (1909-1996)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Elwin Hawthorne (British 1905-1954)St. John's, Downshire Hill, HampsteadWatercolourSigned (lower right) and inscribed St. Johns (lower left)16 x 16.5cm (6¼ x 6¼ in.)Executed in 1936.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.   

λ Elwin Hawthorne (British 1905-1954)Bow RoadOil on canvasSigned and dated 1930 (lower right)35 x 45cm (13¾ x 17½ in.)Provenance:Alex. Reid & Lefevre, LondonThe collection of Sir David and Lady Scott (acquired from the above), sold to benefit the Finnis Scott FoundationTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.   Condition Report: Not relined. Light surface dirt and discoloured varnish throughout. Inspection under UV reveals uneven varnish which may be concealing evidence of restoration or repair. Condition Report Disclaimer

λ Walter Steggles (British 1908-1997)DinanWatercolourSigned (lower left) and titled (lower right)14 x 19cm (5½ x 7¼ in.)Executed in 1948.THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Cookham MoorOil on canvasSigned (lower left); further signed and titled (to canvas overlap verso)41 x 51cm (16 x 20 in.)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

Henry Silk (British 1883-1947)My lady nicotineOil on canvasboardSigned (lower left)14 x 24cm (5½ x 9¼ in.)Provenance:From the collection Elwin Hawthorne (1905-1954)Exhibited:London, Alex Reid & Lefevre, Ltd., Catalogue of New Paintings by the East London Group, December 1932, no. 32THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Elwin Hawthorne (British 1905-1954)Grosvenor Road, ChelseaWatercolour16 x 24cm (6¼ x 9¼ in.)Executed in 1935.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Trees at Bourne EndWatercolourSigned (lower left)15 x 22cm (5¾ x 8½ in.)Executed in 1950.THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Elwin Hawthorne (British 1905-1954)Tide Mill, WoodbridgeWatercolour12.5 x 17.5cm (4¾ x 6¾ in.)Executed in 1935.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Essex LandscapeOil on boardSigned (lower right); further signed and titled (verso)25 x 39.5cm (9¾ x 15½ in.)Painted in 1930, it has been suggested that the artist re-visited the work in the early 1950s as the treatment of the clouds is more consistent with this later period.Exhibited:London, Alex Reid & Lefevre, 1930, ex. cat. (according to artist's logbook)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.   

λ Elwin Hawthorne (British 1905-1954)Harbour Arm, HastingsWatercolour12.5 x 17.5cm (4¾ x 6¾ in.)Executed circa 1930s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Elwin Hawthorne (British 1905-1954)Grove Park Road, W4Oil on boardSigned (centre left)28.5 x 39cm (11 x 15¼ in.)Painted in 1936.Provenance:Estate of the artistThence by descent to the present ownerExhibited:London, Alex Reid & Lefevre, March-April 1936, no. 29THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative. Condition Report: In good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

λ Phyllis Bray (British 1911-1991)Portrait of a boyWatercolour21 x 13cm (8¼ x 5 in.)Executed circa 1930s.Provenance:The collection of Walter Steggles (1908-1997) (a gift from the artist)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Lilian Hawthorn (British 1909-1996)Upminster MillOil on boardSigned (lower left)24 x 38cm (9¼ x 14¾ in.)Painted circa 1970s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Lilian Hawthorn (née Leahy) (British 1909-1996)Blue vase, porcelain dog & lemonsOil on canvasboard39.5 x 29.5cm (15½ x 11½ in.)Painted circa 1970s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Lilian Leahy (British 1909-1996)Litlington, SussexOil on boardSigned (lower left); variously inscribed (verso)27 x 36cm (10½ x 14 in.)Painted in 1934.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Dorset Great HeathOil on canvasSigned (lower right)56 x 86.5cm (22 x 34 in.)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

Flambé studio pottery bowl, pottery green glazed duck, Japanese bow,

19th century mahogany bow front chest of two shorts and three long graduated drawers on bracket feet H111, W101, D51cm

Violin case and a bow

An early 20th century violin with 14" two-piece back, unlabelled, with later bow, in coffin case

A Primavera 3/4 size student violin with bow in case

A Small Victorian Silver Apostle Sugar Bow, Birmingham 1901

A pair of spindle-back kitchen chairs with hard seats, & on ring-turned legs with spindle stretchers, & a pair of bow-back kitchen chairs.

An Edwardian inlaid-mahogany-frame elbow chair with padded seat & back, & on square tapered legs; & an early 20th century mahogany bow-back carver chair.

A pair of light-oak bow-front bedside chests each fitted three long drawers, 19¾” wide x 27” high x 18¼” deep.

An iron mesh-fronted bow-front fire guard, 22½” wide x 25¾” high; together with various items of metalware.

A pair of Bow porcelain octagonal plates, c.1760-1770, painted underglaze with chinoiserie motifs on a powder blue ground, with pseudo script marks to base, 18cm diameter (2)Condition report: Some crazing, pitting, manufacturing imperfections and surface wear, but generally in fair order.

A black lacquered bow fronted hanging corner cabinet, with gilt chinoiserie decoration, 108cm highCondition report: Doors 'moved' so do not completely close.Loss of lacquer to one door.

An Ovation 'Celebrity' six string guitar, a white painted violin and bow in case and a Yamaha clarinet in fitted case,Condition report: Guitar - some loss to top surface.Violin - split to neck.Clarinet - some rubbing/loss to lettering.

A collection of miniature tools, to include a panel beater's hammer, 24cm long, three further hammers, a miniature bow saw, 13.5cm wide, a miniature saw, 15.7cm long, and another example 21.5cm longCondition report: Hammer heads loose. Knocks, losses and wear throughout.

A rosewood fret saw, 64.5cm high, together with a mahogany bow saw, with cross bar and tensioner, with a beech handle, stamped 'W. Clarke', 61cm wide, and a boxwood and brass bound 23in folding rule (3)Condition report: Rule does not close completely flush. Bow saw handle split, with surface wear and knocks. Fret saw split, with knocks and wear.

VICTORIAN MAHOGANY CHEST OF DRAWERS with bow front, having two over three long drawers, turned knobs and feet, 116cms H, 124cms W, 61cms D

VINTAGE TEDDY BEAR - growler with glass?/plastic eyes and red bow, labelled 'Pedigree New Zealand', 60cms long

BOW FRONTED CHINA CABINET - single glazed door and inner glass shelves, on ball and claw feet, 124cms H, 58cms W, 45cms D and an oak and crossbanded wall hanging corner cupboard, 83cms H

REPRODUCTION CHEST OF FOUR DRAWERS having a bow front, brass drop handles, on bracket feet, 85cms H, 77cms W, 51cms D

EDWARDIAN MIRROR BACKED SIDEBOARD with carved detail throughout, 207cms H, 151cms W, 44cms D, a smoker's bow type vintage elbow chair, a cane seated bedroom chair and a vintage Mobo tinplate ride-on horse, 76cms H, 70cms L

REPRODUCTION MAHOGANY DISPLAY CABINET - with two astragal glazed doors on bracket feet, 104cms H, 108cms W, 34cms D, a bow fronted Art Deco effect cabinet, 117cms H, 107cms W, 37cms D and a reproduction corner example

Car Badges, pre-war flat AA badge, 62250G, overpainted with modern/replica badges - bow-front AA, back repainted, sans-serif AA, H B Dale plastic RAC, cracked, Worcestershire, enamel Behold St Christopher, Stoomwalsenclub Nederland, Festival of Britain, Brooklands School of Flying Ltd and others (15)

BOW FRONTED GREEK RELIGIOUS ICON 18 /19TH CENTURY - 30 X 30 CMS IN FAIRLY GOOD CONDITION

MODERN CASED VIOLIN AND BOW

EDWARDIAN MAHOGANY BOW FRONT SIDEBOARD WITH TWO DRAWERS AND ONE DOOR RAISED ON TAPERING LEGS WITH SPADE FEET, 165CM WIDE

Greek Coinages, IONIA, Magnesia ad Mæandrum, Tetradrachm struck by the magistrate Pausanios, son of Pausanios, c. 155-145, Stephanophoric type, diademed and draped bust of Artemis Leukophryene right, bow and quiver over shoulder, rev. μαγνητων παθσανιασ παθσανιου, Apollo standing left, holding branch tied with fillet in right hand, elbow resting on tall tripod behind, Mæander pattern below, all within laurel wreath, 17.19g (Jones obv. die 20 [= same obv. die as Gulbenkian 990 and SNG Lewis 930). Extremely fine with a light grey tone over underlying mint bloom £800-£1,000 --- Provenance: Noble Numismatics Pty Auction 50 (Sydney), 20-2 March 1996, lot 2134; St James’s Auction 2, 11th May 2005, lot 3

Greek Coinages, IONIA, Ephesos, Stater, draped bust of Artemis right wearing stephane, bow and quiver by shoulder, rev. cult statue of Artemis Ephesia standing facing, thymiaterion to right, εφ in field, 8.46g (Jenkins, Hellenistic pl.B, 6). Light surface marks, otherwise good very fine and toned, very rare £2,400-£3,000

Greek Coinages, KINGS OF PARTHIA, Mithradates II (121-91), Drachm, draped and diademed bust right, rev. archer seated right, inspecting bow, 4.16g (Shore 85; Sellwood 27.1). Good very fine, lightly toned £60-£80

Greek Coinages, KINGS OF PARTHIA, Gotarzes I (95-87), Drachm, draped and diademed bust left wearing tiara, rev. archer seated right, inspecting bow, 4.03g (Shore 115; Sunrise 33.4). Light porosity on obverse, otherwise about extremely fine, toned £60-£80

Greek Coinages, KINGS OF PARTHIA, Orodes II (57-38), Drachm, diademed bust left, two stars and crescent around, rev. archer seated right, inspecting bow, anchor behind, 3.92g (Shore 260; Sellwood 48.8); Phraates IV (38-2), Drachm, diademed bust left, eagle behind, rev. similar, 3.44g (Shore 275; Sellwood 51.44); Gotarzes II (40-51), Drachm, diademed bust left, rev. similar, 3.77g (Shore 364; Sellwood 65.33) [3]. Very fine £80-£100

Greek Coinages, KINGS OF PARTHIA, Vardanes I (40-5), Drachm, diademed bust left, rev. archer seated right, inspecting bow, anchor behind, 3.64g (Shore 353; Sellwood 64.31); Vologases III (105-47), diademed bust left, rev. archer seated right, inspecting bow, 3.73g (Shore 413; Sellwood 78.3); Osroes II (190), Drachm, similar, 3.55g (Shore 437; Sellwood 85); together with a Drachm of Azes II [4]. Very fine £80-£100

An Edwardian satinwood banded bow front mahogany display cabinet, width 115cm, depth 45cm, height 178cm

A reproduction mahogany bow front tall boy, some damage to beading

1923 Norton 633cc Big 4Registration no. XM 6742Frame no. 9843Engine no. 4345•Early 'flat tank' Norton•Present family ownership since 1946•Off the road since 1955•Restoration projectNorton relied on proprietary engines in its formative years - winning the inaugural Isle of Man TT with a Peugeot-engined machine - before introducing its own design of power unit in 1907. The long-stroke (82 x 120mm) sidevalve single displaced 633cc and the new model it powered became known as the 'Big 4'. Smaller capacity versions followed and in 1911 the 500 adopted the classic 79x100mm bore/stroke dimensions which would characterise the half-litre (actually 490cc) Norton for the next 50 years. Norton's sidevalve engines were revised for 1914 and in 1921 the Model 16, as it had become known, received a new lower frame, becoming the 16H. Considered by many to be an ideal sidecar 'tug', the Big 4 (and 16H) would be continuously up-dated for the next 30-plus years, many seeing service with Allied forces in WW2. Post-war, the Big 4 was revised with a shorter (113mm) stroke for a capacity of 597cc before taking its final bow, alongside the16H, in 1954. A wonderful example of an original and un-restored Norton Big 4 'flat tanker', 'XM 6742' was purchased by the vendor's late father in 1946 and last used on the road in 1955. It took part in the Land's End Trial on three occasions during the 1950s and comes with some charming black-and-white photographs taken at around that time. Offered for restoration and sold strictly as viewed, the machine is offered with a V5C document, and an old-style buff logbook issued in 1942. The logbook lists the vendor's father as '1st change' and shows that the Norton was formerly attached to a sidecar. The previous owner is recorded as one George Waverley Smith of Sanderstead (from 19th September 1938). The machine features a non-original electric lighting system (original included in the sale).Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com

A Victorian rosewood four-tier bow-front Whatnot, with pierced fretwork and spiral turned supports, 22½in (57.25cm) wide x 15in (38cm) deep x 49in (124.5cm) high.

A Heals of Tottenham Court Road mahogany bow-front Chest of Drawers, bearing plaque to top right hand drawer, the shaped rectangular top above two small shallow drawers flanked by deeper drawers and four long graduated drawers below, fitted with brass handles and raised on bracket feet, 40in (101.5cm) wide x 21in (53.25cm) deep x 48in (122cm) high.

A Georgian mahogany bow-front chest of drawers, the shaped rectangular top with moulded edge above four long graduated drawers on bracket feet, 43½in (110.5cm) wide x 22in (56cm) deep x 36in (91.5cm) high.

A Victorian mahogany bow-front Commode, in the form of a chest of four drawers, with two cupboard doors on bracket feet, 25½in (65cm) wide x 15½in (39.25cm) deep x 27in (68.5cm) high.

A pre-war Schuco yes/no musical teddy, with swivel joints, sewn nose, amber eyes, musical winder to tummy, felt pads, tail (which controls shaking head) and red bow to chest, 16" long (Est. plus 21% premium inc. VAT)

A Georgian mahogany bow fronted sideboard, inlaid with satinwood stringing, with two cupboard doors flanking a frieze drawer, on tapering square section legs and spade feet, 86 cm high x 123 cm wide x 62 cm deep

A mahogany bow fronted display cabinet.

A large mahogany bow front chest of drawers.

A mahogany bow front multi drawer chest.