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.
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λ George Bissill (British 1896-1973)Miners Oil on canvasSigned (lower left)34 x 41cm (13¼ x 16 in.)George Bissill was born in Fairford Gloucestershire, but the family soon moved to the mining village of Langley Mill in Derbyshire where his father worked as a railway brakesman. At 13 George was sent down the mines, where he worked, initially with pit ponies, then at the coal face, until 1915 when he joined the Kings Royal Rifles (First Battalion) to fight in the First World War. He had hoped to escape the underground life but as an ex-miner he was immediately trained to be a sapper, tunnelling, defusing mines and laying mines under enemy lines. While working near Béthune in France, he suffered a catastrophic tunnel collapse and later in the war he was badly gassed. In 1918 he was invalided out of the army.With his army pension, he spent a few months at Nottingham School of Art, but he had already developed his own distinctive style and subject matter, saying later that the pit was the only art school he needed.He arrived in London in 1922 and took a pitch as a pavement artist outside Bush House, which was just being constructed. There he was 'spotted' by a member of the Arts League of Service, who in 1924 took a portfolio of his mining drawings around the country for exhibition.Soon after this, the newly established Redfern Gallery in Bond Street offered him an exhibition, which opened to great critical acclaim in April 1925. Bissill immediately became extremely famous causing a sensation with his pictures of miners toiling underground, a subject matter which was new to the London Art Scene and was ten years before the Pitmen Painters came to fame. The show was reviewed by all the major art critics and newspapers. Other exhibitions at The Redfern Gallery followed and Bissill worked successfully in London for the next 5-6 years.Soon after the first exhibition opened in 1925 Bissill met the ballet critic, writer and art collector Arnold Haskell, who took him on a visit to Paris. Here Bissill learnt the art of wood engraving, producing some of his finest work, and expanded his subject matter to include ballet dancers, harlequins, set designs and pictures of Parisian life.Condition Report: The canvas is not relined. There are some patches of craquelure throughout, notably to the centre and centre left of the composition and a further small area lower right. Ultraviolet light reveals no evidence of retouching. Condition Report Disclaimer
λ Paul Mount (British 1922-2012)Untitled (Male and Female form)Polished bronze on slate baseSigned (to side of base)Height: 34cm (13¼ in.)Conceived circa 1960s.Provenance:Sale, Christie's online, 2 December 2016, lot 5Purchased from the above sale by the present ownerMount is renowned for his ability to fuse two juxtaposed design styles, combining the futurist and geometrical forms of modernism together with the more grounded and natural style of hand carved African sculpture. Mount was born in Newton Abbot, Devon. He studied at Paignton School of Art followed by attendance at the Royal College of Art. His education was cut short when he was called for service in 1941. Mount served in the Friends Ambulance Unit in north Africa and France. One of the most influential periods in Mount's career was his move to Lagos, Nigeria in 1955. He set up an art department at Yaba Technical Institute. He was keen that his students learnt tangible skills, and so he employed a wood-carver from Benin. This sparked his interest in sculpture further and he began experimenting with materials such as iroko and ebony. Despite this, his interest in architectural and furniture design prevailed and commissions continued to roll in. In 1960 Mount produced a screen wall at the Swiss Embassy in Lagos. In 1962, Mount returned to England and moved to Nancherrow in Cornwall. Inspired by Barbara Hepworth and her assistants Denis Mitchell and John Milne, Mount looked towards the natural landscape like the Cornish modernists. However, his interest in architectural design and machinery encouraged more angular designs with influences from mainland Europe such as Basque and Eduardo Chillida. First London show was held at the Drian Gallery in 1965 and his first solo exhibition at Marlborough Fine Art 10 years later. "The way that two shapes relate, is as important as the way two people relate" Paul Mount Condition Report: There is some tarnishing to the gold surface, minor scratches, nicks, and scuffs throughout with some losses and rubbing to extreme edges at both bases. Would benefit from a clean and polish.Condition Report Disclaimer
λ Hamish Mackie (British b. 1973)Leopard Turning in Tree Bronze Signed, dated 2012 and numbered 5/12 to trunk Height 44cm (17 1/4in.) Inc. base 50.5cm (19 7/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner 'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to covey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.
λ Dame Elisabeth Frink (British 1930-1993)PilgrimBronze with a brown patina Signed and numbered 7/8 (on the base)23 x 33cm (9 x 12 in.)Conceived in 1983.Provenance:The Everard Read Gallery, Johannesburg, South AfricaPrivate Collection, London (acquired from the above by the present owner)Thence by descent to the present ownersLiterature:Annette Ratuszniak, Elisabeth Frink Catalogue Raisonne of Sculpture 1947-93, London, 2013, p. 159, no. 318, illustration of another castIn 1984, Frink explained in her catalogue raisonné, 'What I have tried to make clear in my sculptures for the last five years is the way in which feeling, expression, even force and energy, should be below the surface. The outer skin may define more or less conventional features, but with a second look should indicate the complex strain of nerve-endings and the anticipatory reflexes of something about to happen.' [Elisabeth Frink, Sculpture: Catalogue Raisonné, 1984, p.33] After studying at Guildford School of Art in 1947, Frink enrolled at the Chelsea School of Art under the tutelage of Julian Trevelyan, Ceri Richards and John Berger. Immersing herself in this creative environment Frink began experimenting in plaster creating sculptures of men and animals. Her early works caught the attention of 'The Geometry of Fear' sculptors who included Lynn Chadwick and Kenneth Armitage. Frink became associated with this group who had been labelled by the art critic Herbert Read. Frink soon became known for her strong depictions of male figures. These sculptures encapsulated both the heroism and fragility of man. Her childhood experience growing up during the first world war was to have a great impact on her work. Frink's father was an officer in the 7th Dragoon Guards and she spent her childhood growing up near an airbase in Suffolk. Numerous air raids and crashes exposed Frink to an enormity of brutality and bloodshed which invoked fear, experiences which came to be reflected in her sculptures. Her sculptures embodied strong, purposeful and athletic men usually shown in a stance of standing, walking or running. However, the outer layer with his textured surface reveals a more vulnerable side to the bronzes, described as exposed flesh. The vacant facial expressions and moments of movement caught in time represent the shell shock and effects of war over time, crossing this bridge between heroism and vulnerability. Pilgrim sculpted in 1983 captures this strength of the male form. His feet firmly on the ground the 'pilgrim' makes no advance frozen in a moment of time. The work is from a series of 8 editions and a similar composition can be found in Shepherd and Sheep (FCR317) also created in 1983 which shows a similar figure, but with the addition of a flock of sheep and a crook in the figure's right hand. Condition Report: In good original condition. Light surface dust and dirt. Otherwise no significant condition issues. Condition Report Disclaimer
λ Lynn Chadwick (British 1914-2003) Walking Cloaked Figures VIIIBronze with a black patina and polished bronzeEach stamped with the Lypiatt Foundry mark and numbered 795S and 1/9 (inside the cloaks)Height: 28cm (11 in.)Conceived in 1980 and cast in a numbered edition of 9.Provenance:Private Collection, London (acquired in 1983)Thence by descent to the present ownersLiterature:Lynn Chadwick (exhibition catalogue), Fondation Veranneman, Kruishputen, Belgium, 1980, illustration of another cast n.p. Dennis Farr & Eva Chadwick: Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 343, no. 795 (illustration of another cast)For additional videos or images of the pieces included in this lot please contact the department on pictures@dreweatts.com Together with his contemporaries Henry Moore, Barbara Hepworth, Jacob Epstein and Eduardo Paolozzi, Chadwick is inextricably associated with the British Modernist Sculpture movement of the mid-20th century. Initially specialising in architectural design both before and after the Second World War, by 1946, Chadwick had started to move away from the intangible world of design instead finding himself increasingly drawn to the tangible nature of objects. A year later, in 1947, Chadwick made his first mobile. Encouraged by his employer at the time, Rodney Thomas, these wire, metal, copper, and brass shapes were first used to decorate the exhibition stands of Thomas' company and then later turned into 'stabiles' by adding ground supports. Around 60 mobiles were created between 1947 and 1952.Although very few of these mobiles survive today, this was clearly the very beginning of what would eventually evolve into Chadwick's signature bronze and steel abstract figures that we know so well today. In 1951, Chadwick was commissioned by the Arts Council of Britain to produce a large-scale sculpture for the Festival of Britain, The Fisheater, which went on to be exhibited at the Tate Gallery until 1952. It was also at this time that Chadwick was asked to present to the selection committee of the XXVI Venice Biennale who selected him together with seven other emerging British artists including Kenneth Armitage, Robert Adams, and Eduardo Paolozzi to exhibit in Venice that year. It was after this exhibition that Chadwick really established his reputation as a member of the New British Sculptors. In 1956, Chadwick returned to the Venice Biennale, this time winning the International Sculpture Prize - the youngest artist ever to do so. During this period Chadwick became increasingly interested in form with his designs becoming more identifiable as figures; their thin and tapering legs and geometric heads, in Chadwick's words 'adding flesh to the skeletons'. By the 1960s, Chadwick was experimenting with bronze casting and by the 1970s, he had established a visible vocabulary of sexual differentiation - triangle or diamond heads for female and square or rectangular heads for male. In addition, the technique of adding polished facets to his figures both added texture and accentuated specific parts of anatomy. This is clearly demonstrated in Walking Cloaked Figures VIII which also combines the artist's timeless architectonic forms with elements of the human, animal and mechanical. The use of clothing, specifically flaring cloaks helps to add a sense of movement to the work. There is no real narrative to Chadwick's works, but it is perhaps the stoic silence and anonymous strength which makes his works so intriguing and timeless.Chadwick remained active until only a few years before his death in 2003, aged 88. Throughout his career and beyond Chadwick remains a recognised household name. In 1964, he was awarded a CBE, and later in 1984 made Officer de l'Ordre des Arts et des Lettres in France. In 2001 he was appointed Senior Academician at the Royal Academy of Arts, London. His work is held in major collections and galleries around the world including the Tate Gallery, London, and Museum of Modern Art, New York.Condition Report: In overall good original condition. Some surface dirt, notably to crevasses. May benefit from a light clean. Condition Report Disclaimer
λ Igor Mitoraj (Polish 1944-2014)Sleeping Head (Testa Addormentata)Bronze on base Signed, numbered 7/8 and stamped with the foundry mark Fonderia d'Arte Massimo del Chiaro, Lucca, Italy Inc. base: 36 x 40cm (14 x 15½ in.)The current lot is a small maquette study for the large-scale Testa Addormentata located in Canada Square, Canary Wharf, London and was created in bronze in 1983. Mitoraj's work combines elements of surrealism with minute study of ancient Greece and Rome. Testa Addormentata depicts a bandaged face, sleeping, resting on its side. The green patina is particular effective giving the sculpture an almost emerald glow. Mitoraj studied at the Krakow Academy of Art under the tutelage of Tadeusz Kantor. He held his first solo exhibition in 1967 at the Krzysztofory Gallery in Poland. In 1968 he continued his studies in Paris at the National School of Art. Mitoraj started to experiment with sculpture after travelling around Mexico , inspired by the Latin American culture. His first major solo exhibition was held in 1976 where he showcased sculpture for the first time. This exhibition was a major turning point in Mitoraj's career who now regarding himself foremost as a sculptor. Mitoraj worked in terracotta, bronze and marble, after a trip to Carrara, Italy. Mitoraj's work stemmed from the study of antiquities. He was fascinated by the human body and how it has been depicted through different civilisations. His work is usually presented in a fragmented state, emphasising the fragility and beauty of the human body and reflecting the way in which antiquities are damaged and suffer through time. This analogy can be applied to the fragility of nature and the human impact upon it. Other monumental sculptures by the artist can be found in Valencia, Spain, Castle Square in Warsaw, Poland and a large scale study of Icarus in from of the Temple of Concordia in the Valley of the Temples. Condition Report: There are some small surface abrasions, notably to the bandaged ear on both sides where it has been displayed. Some light surface dirt. The work has a blue-ish patina which is consistent with the creative process rather than a condition issue. Condition Report Disclaimer
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.
Duane Michals (American b. 1932)How Nice to Watch You Take a Bath, 1986A sequence of five gelatin silver prints, framed as oneThe first image titled, the remainder numbered consecutively 1-5, the last image signed in in ink and numbered 6/25 (in the margin)Each approx. 8.5 x 12.5cm (3¼ x 4¾ in.)Provenance:Sale, Christie's, New York, Photographs from the Collection of Sir Elton John, 14 October 2004, lot 19Exhibited:Atlanta, Georgia, USA, High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, November 2000-January 2001Literature:Marco Livingstone, The Essential Duane Michals, Bulfinch, 1997, pp. 158-159Condition Report: Under glass, unexamined out of glazed frame. In good original condition. Condition Report Disclaimer
Budgie Toys Rare No 246 Wolseley Police Patrol Car In Firm Box. The First Appearance Of The Police Patrol Car Was In 1955 As The Modern Products Police Car Made For Morestone At The Modern Products Foundry Next Door To The Morestone Offices. It Was Based On The Real Wolseley 6/80 Car And It Was This Model Which Budgie Used With A Few Adaptations When It Was Re-Issued In 1960 Under The Budgie Name As No.246.With Acknowledgement Of Lot Details Particulars  From The Website Nicholas Martin Diecast Www.Diecastvintagetoys.Co.Uk
Vintage Triang The Sir Francis Chichester Board Game - Salute To A Great Sailor 1967 In Excellent Box Game Commemorating Sir Francis Chichester's Solo World Circumnavigation In 1966/1967. The Game's Object Is To Be The First Player To Sail From Plymouth To Sydney, And Then From Sydney, Around The Horn, To Plymouth Again.
Gerry Andersons Thunderbirds The Board Game 1966 By Waddington's. Released By Waddington Games In 1966 When Thunderbirds Was At The Height Of Its Popularity During Its First Run On Television. This Is A Struggle Between International Rescue And The Hood, Who Is Constantly Trying To Destroy Aircraft In Widely Separated Places Throughout The World. A New Crisis Is Reported Every Round Of Turns And The Players, Acting As A Team, Try To Reach The Alarm Points With There Thunderbirds. They Are Also Trying To Catch The Hood Himself!!!
Brimtoy #305 Clockwork Gauge Template Passenger Train Set 0-4-0 Clockwork Loco And Tender. Finished As No.60700 In BR Lined Out Black And In Full Working Complete A Envelope Containing Original Key.1 x 4 Wheel First Class Coach Finish In Black And Yellow With Red Stripe Livery With Circuit Of Track Stunning Example With Box
Archibald Knox (British 1864-1933), a Liberty & Co pewter covered jug,c.1904, stamped Made in England, English Pewter, 0280, Rd. 421108,The cylindrical form embellished with tendrils and stylised honesty leaves, the cover with thumb piece and the handle wicker covered; together with another Liberty's covered pewter jug with decorative stylised leaf decoration, stamped Made in England, English Pewter, 0278, Rd. 421106,19.7 cm high and 14.6 cm high respectively (2)Some old marks, scuffs and general wear. The covers for both wobble at the hinges, the first and taller of the two, there are some losses at the end of the wicker on handle and on the other there is some damage on the handle about mid-way.
A Riessner, Stellmacher & Kessel 'Amphora' 'Cala lily' small porcelain jug,c.1900, red printed RSK mark,The shouldered jug with loop handle, having a bud form neck and a bud form spout, decorated with leaves in shallow relief, coloured in mauve and green with some gilt; together with another Riessner, Stellmacher & Kessel jug, the neck formed from three small flowers, further decorated with leaves in similar colours, red printed RSK marks,15 cm and 15.5 cm respectively (2) First jug: some old marks, dirt and wear. Some rubbing and losses to gilt. Wear to base.Second jug: The handle has been broken at the top and the bottom and glued back in place. some old marks, dirt and wear. Some rubbing and losses to gilt. Wear to base.
A Frosted glass vase decorated with lizards, First quarter 20th Century,The frosted body acid-etched in relief with three green lizards, heightened with gilt, with red at the neck and base,32.5 cm highA bruise on the inside of the neck. Some tiny abrasions and scuffs on the sides. Some rubbing to gilding. Wear to the underside of the foot. Some wear and dirt to interior.
AN EARLY VICTORIAN SILVERGILT NATURALISTIC BOX AND COVER in the form of a fruit (glass liner), by Charles Fox, London 1839 and a George III/IV small fluted mug, initialled and inscribed "A fond Father and Mother's Gift to their Boy, on his attaining his first year May 8th 1821", by R. Emes & E. Barnard, London 1820; the latter 2.75" (7 cms) high; 6 oz weighable silver (2)
EARL HOWE A gold anchor pendant inscribed "Earl Howe 1st June 1794"; 4 cms (This commemorates the victory of the "Glorious First of June" when Richard Howe, 1st Earl Howe 1726-99 was in command of a British Fleet which defeated the French), together with a gold locket dated 1823 and an enamel and gold locket dated 1849 (3)
Collection of ephemera to include 1960s Butlin's souvenir mirror, Butlin's programmes and booking forms, various Colchester ephemera including a glazed hand coloured 18th century engraving of Colchester, Colchester Tattoo programmes, Colchester vs Everton 1971 football programme etc, stamp album, First Day Covers etc
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