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Lot 333
A George III Mahogany, Satinwood Banded, Boxwood and Ebony Strung Writing Desk, stamped Edwards & Roberts, early 19th century, the tambour front enclosing a leather covered writing surface with easel back support, pull-out candle slides, six small drawers and five pigeon holes, the sides with pull-out leaves above a dummy drawer, the front with two frieze drawers, on square tapering legs with brass capped toes and castors101cm by 76cm by 100cm
Lot 853
A vintage tan leather briefcase containing various collectables - including an Art Deco style enamel and gilt evening bag, 12.9 x 9.5cm (mirror to inside cracked); a Dunhill plated Briquet lighter; a travel clock with tortoiseshell case, silver gilt hinge (Charles Henry Dumenil, London 1901), the clock with white enamel lumed Arabic dial (winds and runs), the case 10.5 x 9.7cm (a/f); two glass scent atomisers; a small gilt brass and enamel easel photo frame; a pair of antique sunglasses with green tinted shades in a red morocco leather case by Dixey of New Bond Street; a pair of gilt metal folding lorgnettes in an Oriental silk case; a pigskin cigarette case; etc.
Lot 54
PHILIP RASKIN (SCOTTISH b. 1947), ROUGH AND TUMBLE II oil on board, signed, titled versoframedimage size 91cm x 91cm, overall size 105cm x 105cmArtist's label verso.Note: Born in 1947, Philip studied at the Glasgow School of Art in the 1960s. However, due to his father's untimely death, he had to postpone his career in art and left art school to enter the business world where he stayed for the next 30 years. For 20 of those years, he was the well known proprietor of The Inn on the Green, a celebrated jazz restaurant, in Glasgow. During this time, he maintained his contact with the world of art however, by running a schedule of art exhibitions and openings within the venue. Upon leaving the restaurant in the 1990s, Philip returned to his easel and brushes and since then has become a successful full time artist with broad appeal. He now lives and works from his studio just outside Glasgow. Philip's unique style is instantly recognisable combining a heavy impasto application of the paint alongside more delicate and sensitive brush strokes. Focussing mainly on landscape painting, his inspiration comes from the islands of the west coast of Scotland with Barra, Islay, Jura and Arran being some of his favourite locations. He deftly captures the essence and light of the landscapes through his work, the rugged shorelines, dramatic seascapes and ever changing skies. "I tend to paint very private places for the viewer to own and enjoy. No people, no houses, no telegraph poles; just expansive skies, mist tumbling on a distant hillside and a silence broken only by lapping water and gulls ascending".
Lot 116
* ERIC TIMMS, DRIFTWOOD SEASCAPE oil on canvasframedimage size 40cm x 50cm, overall size 43cm x 53cm Note: Words from the artist's website: My name is Eric Timms and I was born a long, long time ago in a distant land that was held firmly in the grip of dark and evil forces. With my family, brushes and remaining sanity I managed to escape to a land far to the North where it was believed that freedom reigned and that people from every corner of the world lived in peace and harmony. Alas, this was but a myth for this new land was driven by greed and worthless celebrity so I dragged my easel and loved ones further overland and ventured further North to the land of Mystery and "the right to roam". Scotland. I could tell you about all the paintings I have done, about the galleries I have run, but what's the point of that. I could mention the phases and exhibitions I have endured and the people I have taught but I cannot think why. In truth, as any person born in middle of last century will absolutely understand, I have managed to stay alive to deal with all the lofty joys and the deep miseries of being human. We all have our stories to tell and they are best savoured person to person. Now I live on my palette-board with my loving and ravishing wife of many long, long, long years, my devoted wolf-dog Zulu and the opportunity to paint with freedom and true expression.
Lot 41
An Elizabeth II silver photograph frame, of scrolled shape with cast foliage border, with fabric easel back and glass to front, silver hallmarked by Carrs, Sheffield, 1992, approx. 21cm long x15.3cm wide. Further details: glass loose; silver with dents, tarnishing and scratches, surface wear and marks, easel back working well.
Lot 68
American, 1931-1987EaselBronzed resin Height 68 inches (172.7 cm); width 31 3/4 inches (80.6 cm)In overall good condition. Some dust accumulation in crevices.In overall good condition. Some dust accumulation in crevices.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 388
An engraved Victorian cased easel clock in the manner of Thomas Cole. The silvered and engraved dial with black Roman numerals, fine engraved floral decoration, typical Cole style blue-steel hands. The case in the Cole style with a hanging handle at the top and fully engraved with c-scroll and foliate decoration and easel to the rear. Encased in a tooled leather purple lined case with merchants name in gold, 'William Boore, Goldsmith Jewellers, 54 Strand, London.' Owner 1856-1902. L 16cm maximum, W 10.5cm.
Lot 50
λ VANESSA BELL (BRITISH 1879-1961) THE POND AT CHARLESTON LOOKING TOWARDS TILTON Oil on canvas Signed with initials (verso) 60 x 50cm (23½ x 19½ in.)Painted circa 1950.Provenance: Sale, Sotheby's, London, 23 May 1984, lot 106 The Maas Gallery, London Acquired from the above by the late owner in 2011Tilton is a farming hamlet where John Maynard Keynes and his wife Lydia Lopokova lived in Tilton House, the little white building with grey roof at centre of this composition. Bell has set up her easel to face Tilton, with her back to Charleston, on the gravel terrace between the house and the pond. A comparable view is illustrated on p. 113 of Richard Shone's catalogue which accompanies the exhibition The Art of Bloomsbury at the Tate Gallery in 2000. We are grateful to Richard Shone for his assistance with the cataloguing of this work. Condition Report: The canvas is very slightly puckering at the lower corners. The horizontal canvas weave is visible but this is consistent with the conception of the work. Some fine horizontal craquelure to the upper right quadrant. Small patches of craquelure running along the lower edge. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise appears to be in good original condition. Condition Report Disclaimer
Lot 38
λ DAME LAURA KNIGHT (BRITISH 1877-1970) TWO ROMANY LASSES ON ASCOT HEATH Oil on canvas Signed (lower left) 63.5 x 76.2cm (25 x 30 in.)Provenance: Ian MacNicol, Glasgow John E. Milne Esq., Private Collection, Glasgow, acquired from the above in 1966 John Martin of London, Modern Art from Britain & Ireland, London The Collection of the Bowerman Charitable Trust, acquired from the above in 2001Exhibited: Penzance, Penlee House Gallery & Museum, Laura Knight: In the Open Air,16 June 2012 - 8 September 2012, touring exhibition to Nottingham, Djanogly Art Gallery, 22 September - 4 November 2012; Worcester, Worcester Art Gallery, 17 November 2012 - 10 February 2013 Penzance, Penlee House Gallery & Museum, Laura Knight: A Celebration, 17 May - 16 September 2021 We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot which will be included in the Laura Knight Catalogue Raisonne currently being prepared. Gypsy and traveller communities have long cherished the tradition of gathering at racing events, particularly at Ascot and Epsom, as horses have always held significant importance within the traveller community. These occasions, following months of travel, offered a chance for communities to meet and celebrate. The races provided a vibrant backdrop for socialising and an opportunity to display their finest clothes and jewellery. It became tradition to sell flowers and lucky heather to fellow attendees, a tradition that continues to this day. During the 1930s, Laura Knight regularly attended the races at Epsom Downs and Ascot, initially recommended by her friend Sir Alfred Munnings. Her connection with Ally Bert, wife of a circus performer, led to an introduction to Mr. Sully, who owned a garage. Mr. Sully kindly agreed to chauffeur Knight and her companions in his Rolls Royce, which, with its high roof, accommodated Knight's easel and canvas comfortably. Knight would record from life scenes from these meets, capturing the festivities, characters and everyday life providing a unique insight into these historic meets. 'This Royal meeting was a special occasion for the gipsies [sic.]; they came in their bright satin gala dresses, hair elaborately arranged with curls soaped to their cheeks, their sharp black eyes alert for police as they made a round of parked cars which had passengers standing on top. Out came a crystal from a hidden pocket, and a wheedling voice offered to tell fortunes - forbidden by law. They never bothered Laura at her easel in the Rolls; she was a source of money in another way, for now she asked gipsies [sic.] of different ages to pose for her, and paid them. More important still, they knew that she liked and admired Romany folk' (J. Dunbar, Laura Knight, 1975, p. 143) Laura Knight beautifully captures the essence of Romany life through her paintings. Following on from the races, Knight was welcomed into the travelling community, spending time painting direct from life in Iver. She engaged intimately with the community which lends her work a remarkable authenticity and realism that is both honest and romantic. In the present lot, the Ascot racecourse is depicted in the distance, with the Queen Anne Enclosure visible in the upper right corner. The lawn is scattered with groups of people at leisure, relaxing and resting under the trees. Central to the composition are two female figures: one seated and the other lying with her head resting in the lap of the seated figure. The seated figure wears a striking red cape with primary blue sleeves and a yellow tartan skirt, her auburn curls flowing over her shoulders. The figure lying down has jet black hair with a curl resting on her forehead. Her arms are delicately placed on her friend's knee, her right arm gently entwined with her companion's. The soft pastel shades of her patterned dress create a serene and beautiful contrast. Condition Report: The canvas is not relined. Ultraviolet light reveals some scattered spots of retouching to the tip of the upper left corner, along the edges and to the sky as well as a couple of further small spots. Otherwise, the work is in good condition.Condition Report Disclaimer
Lot 345
* Knight (Laura, 1877-1970). An archive of letters and sketches sent to Allardyce & Josephine Nicoll, 1938-1967, comprising: 18 pen & ink or biro sketches on 17 leaves, of dogs and people, some with typed captions tipped on, two on 'Wind's Acre' headed paper, some fraying and chipping to edges, sheet size largest 36.5 x 26.5 (14 1/4 x 10 1/2 ins), smallest 14 x 13 cm (5.5 x 5 1/8 ins), and a further 8 pen & ink or biro sketches on postcards or headed paper, mostly of angelic figures, together with 33 autograph letters signed from Laura Knight, comprising: 8 letters to Allardyce and Josephine, 11 letters to Josephine, 8 letters to Allardyce, and 6 to Allardyce and his second wife Maria, variously written on plain or headed paper, including a number written on red embossed headed paper '16, Langford Place', some written from the British Camp Hotel, Malvern, and 3 written from the Grand Hotel, Nuremberg, Germany, 4 with additional sketches, including one of Laura and Harold imbibing wine sent by the Nicolls, and another of Laura in bed whilst her new cleaning lady manically scrubs the floor, plus a portion only of 2 other letters from Laura to the Nicholls, an autograph letter signed from Harold Knight to Allardyce and Josephine (and a partial letter from him), and 18 other letters to Allardyce or Josie from other friends, including one from Arthur Pinero and a number from Sir Barry Jackson, several on 'The Birmingham Repertory Theatre Ltd.' headed paper, various sizesQTY: (approx. 80)NOTE:An important archive of letters and drawings sent by Dame Laura Knight to Allardyce and Josephine (known as Josie) Nicoll. The letters are full of warmth and appreciation for these closest of friends, whom Laura socialised and corresponded with over three decades.Allardyce Nicoll was a professor of Theatre History at the University of Birmingham, and he and Josie became friends with Laura Knight through their mutual involvement with the Malvern Festival. Their house, Wind's Acre in Colwall, was situated on the hillside to the west of the Herefordshire Beacon at Malvern. During WWII the Nicholls allowed Laura to design a beautiful studio in a detached two-storey outbuilding there, which had a huge window at the rear, where the artist painted her famous views of the Malvern Hills. One of the letters in this archive describes the renovation of the studio in October 1942, presumably whilst the Nicolls were absent from home, and in another (undated) she speaks of her gratitude at her friends' generosity: 'You can never have the vaguest idea of the grandeur of both yours and Allardyce's act in allowing me to use that heavenly studio. - Apart from the joy of being there, - but for it we would have been forced to go back to London into that awful bombing ...'.Laura's letters are wonderfully descriptive, with many passages painting a picture of people, animals and landscapes with her artist's eye. There are, of course, many references to her work as an artist. In one, dated 1938, she writes 'I am spending the days in a gypsy camp, having a grand time wading in paint', and in another of 1944 she says 'I hear my "Take-off" picture, the Bomber one, of which I told you, is hanging in the place of honour, the President's place at the R.A.' In 1945 she talks about the paintings she had embarked upon at the Skefko ball bearing factory: 'the work I have commenced here promises excitement and great interest. I think it may prove the most unusual and thrilling scheme of the kind I have done.' In 1949 she mentions the portrait she was painting of the then Princess Elizabeth: 'I go to Clarence House for another sitting from H.R.H. I do wish I could feel normal - tiresome to be so overawed, doesn't suit a hard job like doing a drawing - never easy at any time.'Various well-known people are mentioned in this archive, including Edwin Lutyens, whose election as the new President of the Royal Academy in 1938 was a great relief to Laura, John Birch, on whose behalf she wrote to The Times in an attempt to halt the destruction of Lamorna by commercial development, and Major Peter Casson (Deputy Assistant Adjutant General of the British War Crimes Executive, based at the Courthouse, Nuremberg), who became a firm friend, and a beneficiary in Laura's will.Peter Casson first met Laura Knight at Nuremberg. Laura was an official war artist during WWII, and at the age of 68, in January 1946, was commissioned to record the Nuremberg Trials in paint for the British Government War Records. Peter Casson was one of those responsible for the care and travel arrangements of the artist whilst at the Trials. Three of the letters herein were written during this fascinating period of Laura's life. She describes sitting in 'a little cubby hole of a press box, glassed-in front, right over, close to the 20 prisoners', and mentions Hess and Goering (the latter seems a 'jolly good fellow' but then there were 'glimpses of the ruthlessness in him'). She describes the 'utter desolation and horror' and the 'dreadful wounds' of the city of Nuremberg: walking through ruins from her luxurious hotel suite, picking her way 'over rubble, in the evenings, - sometimes in evening dress, in high heeled shoes...'. 'Being here', she writes, 'is the experience of a life-time - from the point of view of emotion: sorrow at such devastation and misery ...'. Musing on the problem of depicting such a subject she writes: 'What matters is -one's personal vision of any subject, and that must be the highest one can reach.'Other letters are filled with more prosaic concerns. In 1966, after her husband, Harold's, death, Laura writes: 'Although Harold is not here in bodily form, his spirit still hovers arround[sic]. I polish his end of the dining table every day - most especially.' In an undated letter the artist's humour shines through when she recalls that, after recounting an ecstatic greeting by Prime Minister Harold Wilson at the Royal Society's 30th Anniversary dinner, her companion housekeeper, Miss Worth, replied 'no wonder England is going to the dogs.'Even in later life, Laura Knight's drive to paint is evident; as busy as ever in her last years, painting, arranging exhibitions, attending dinners etc., she wrote in 1966 '... although I cannot again tramp miles with my paint box on my head, canvas and easel in hand, I still glory in the exquisite slush of paint ... to squeeze the fat tubes of lushious[sic] blue, red and yellow contents ... what a joy!' In a partial letter, undated but clearly written later on in her life, it is clear that Laura was still striving to produce her best work: '[I] work as a hard as usual - with perhaps ever greater joy and zest in the hope of doing something worth while before the book of Life closes its covers.'
Lot 26
Luigi Garzi, Italian 1638-1721- Susanna;oil on canvas laid down on panel, cradled, 52 x 41 cm. Provenance: Anonymous sale, Plauen, Germany, 23 May 2024. Private collection, UK. Note: This painting of Susanna by Luigi Garzi, conceived in c.1683, is a new discovery in the oeuvre of the artist. Seemingly cropped from a larger painting of Susanna and the Elders, the head is derived from a sketch drawn by Garzi in 1683, 'The Assumption of the Virgin', which is now in the Narodowe Museum, Warsaw (shown here as picture no.4).At the age of fifteen, Luigi Garzi moved to Rome from his hometown of Pistoia where he joined the workshop of Andrea Sacchi (1599-1661). Garzi maintained a highly successful career in Rome and in 1680 was appointed Regent of the 'Congregazione dei Virtuosi al Pantheon', the papal society of painters. In 1670, Garzi joined Rome's guild of painters, 'The Accademia di San Luca', and became a director in 1682.Amongst his significant contribution towards the late Roman Baroque, Garzi developed a distinctive classicist style which he used to create mythological easel works alongside large-scale ecclesiastic commissions for various churches in Rome and Naples.We are grateful to Dr. Francesco Petrucci for confirming the attribution of the present lot, on the basis of a photograph.Image 4 copyright of Muzeum Narodowe w Warszawie.
Lot 820
Three Elizabeth II Carrs of Sheffield silver rectangular easel back photograph frames, the largest with serpentine top and banded decoration, inner dimensions 25cm x 20.5cm, Sheffield 1996, the rectangular frame with banded decoration, inner dimensions 25cm x 20cm, Sheffield 1991, the smallest with repousse scrolled frame, inner dimensions 13cm x 18cm, Sheffield 1996 , all with working easel backs (3)
Lot 638
An early 20th century Chinese carved green hardstone twin handled lidded censer, decorated with dragons, height 30cm (af), and a Chinese carved hardwood easel, with rectangular carved hardwood photograph frame, frame 34 x 27cm, overall height 56cm. Condition Report: Please note, one of the loop handles from the green carved hardstone censer is broken but presented in five pieces inside the censer.
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