Aquatintastecher, Painter, Engraver, Aquatintaradierer, Etcher, b. 1877 - d. 1970
From the beginning, artist Dame Laura Knight impressed the masses. She was accepted into the Nottingham School of Art in 1899 at just 13 years old, a move emblematic of her career spent bucking expectations. At Nottingham, Knight studied oils and watercolors among other forms, and 12 years later sold her first commercially successful painting, The Green Feather. Dame Laura Knight's paintings often focused on female subjects who, like her, were pushing boundaries.
New movements emerged throughout her 50-year career, but Dame Laura Knight's prints and paintings consistently embraced Impressionism. For her efforts, artist Laura Knight was made a Dame in 1929, and in 1936, she became the first woman elected a full member of the Royal Academy. Enhance your outdoor scenery artwork collection with landscape paintings for sale at Invaluable.
Dame Laura Knight, RA, RWS (British, 1877-1970) Paddock at Ascot partially signed 'Lau' (on the canvas overlap, verso); bears a signature 'Laura Knight' (in pencil, verso) and inscription 'Laura Knight/PADDOCK AT ASCOT' (on a label attached verso) oil on canvas 63.5 x 56 cm. (25 x 22 in.) Painted circa 1936
Dame Laura Knight, RA, RWS (British, 1877-1970) Carn Bargis, Sennen Cove signed 'Laura Knight' (lower right); indistinctly inscribed with artist's name and address (on remnants of an old label attached to the reverse) oil on canvas 63.5 x 76.2cm (25 x 30in).
Dame Laura Knight RA RE RWS, British 1877-1970 - Sketch from the Nuremberg Trials, Goering in the Dock, 1946; ink on visitors book page, signed lower left 'Laura Knight' and bears various inscriptions with dates across the sheet, 24.2 x 19 cm (unframed) (ARR) Note: the work is also signed and dated by Edward Ardizzone. Knights works relating to the Nuremberg trials were exhibited in 2023 at the Ben Uri Gallery. Works from the series are also in the Imperial War Museum collection.
Dame Laura Knight RA RE RWS, British 1877-1970 - Dressing Up; ink and wash on paper, signed lower left 'Laura Knight', 34.2 x 25.5 cm (ARR) Provenance: Sotheby's, London, British Pictures from the 17th to the 20th Century, 9th February 1994, lot 229; private collection
λ DAME LAURA KNIGHT (BRITISH 1877-1970)TWO ROMANY LASSES ON ASCOT HEATHOil on canvas Signed (lower left)63.5 x 76.2cm (25 x 30 in.)Provenance:Ian MacNicol, GlasgowJohn E. Milne Esq., Private Collection, Glasgow, acquired from the above in 1966John 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 2013Penzance, Penlee House Gallery & Museum, Laura Knight: A Celebration, 17 May - 16 September 2021We 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.
λ DAME LAURA KNIGHT (BRITISH 1877-1970)WILHELM KEITEL & HIS COUNSEL, NUREMBERG TRIALS Charcoal Signed and inscribed Von Keitel & his Counsel (lower right)34 x 26cm (13¼ x 10 in.)Provenance:Sale, Sotheby's, London, Works by Dame Laura Knight, D.B.E., R.A. (sold by order of the executors), 26 November 1970, lot unknown Knight was commissioned as the sole official artist of the British Government to record the Nuremberg Trials. The sketch was most probably amongst a group of drawings sold as part of the artist's estate.Wilhelm Keitel was head of the Wehrmacht and commander of all German forces during WW2. Keitel was not liked or respected by his fellow officers who referred to him as Nickgeselle after the nodding donkey metal toy, implying that he always agreed with what ever Hitler said. However Keitel was a cruel and criminal man, giving orders to his soldiers beyond the established codes of conduct of war and completely ignoring the Geneva Convention.Keitel's legal counsel unsuccessfully tried to defend him by pleading that he was just following orders from his line of command. Keitel was therefore tried as a criminal and as a result was hanged as a criminal, rather than being shot as a soldier at the Nuremberg Trials.We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot. The works will be including in the Laura Knight Catalogue Raisonne currently being prepared.
λ DAME LAURA KNIGHT (BRITISH 1877-1970)THE REHEARSAL: RUTLAND BOUGHTON, GWEN FFRANGCON-DAVIES AND BARRY JACKSONBlack chalkSigned with initials and inscribed Rutland Boughton, Barry V.J. + Gwen (lower left)24.5 x 34.5cm (9½ x 13½ in.)The present work is a drawing backstage at Birmingham Repertory Theatre at the time of a rehearsal of The Immortal Hour, in 1921 or 1922, depicting Rutland Boughton, Barry Jackson and Gwen Ffrangcon Davies.The Immortal Hour was first performed on August 26 1914, at the inaugural Glastonbury Festival. The opera was composed by Rutland Boughton, the music teacher turned composer, and is based on a libretto by William Sharp, who also wrote under the pseudonym Fiona Macleod. The opera was revived by Barry Jackson's Birmingham Repertory Theatre Company in 1921 and was produced by him alternating at both his Birmingham Theatre and also The Regent Theatre, London for the next three years.This work is recorded in the Laura Knight Catalogue Raisonne currently being prepared by R. John Croft F.C.A. under catalogue number D#0245.The Immortal Hour is a musical drama that draws inspiration from Celtic folklore and mythology. The opera's success was due in part to the music, including the Faery Song, and the performance of Gwen Ffrangcon-Davies as Etain, which launched her acting career. Rutland Boughton (1878-1960) was an English composer who became known in the early 20th century as a composer of symphonies, concertos, chamber music, opera and choral music. His best known work was The immortal Hour. Boughton is also remembered for establishing the first series of the Glastonbury Festivals. He was also an influential communist activist of the Communist Party of Great Britain. Barry Jackson (1879-1961) was knighted in 1925. In 1913 he was the founder of the Birmingham Repertory Theatre, Birmingham, Director of the Malvern Theatre Festivals from 1929 to 1937, Director of the Shakespeare Memorial Theatre Stratford on Avon 1945/48. Jackson directed many plays for The Old Vic Theatre London, The Queens Theatre London, and The London Regent Theatre. Many famous actors gained early experience at the Birmingham Repertory company including Laurence Olivier, Peggy Ashcroft, Edith Evans, Stewart Grainger, Ralph Richardson and Protégées of Barry Jackson included John Gielgud, Cedric Hardwick and Gwen Ffrangcon Davies.Gwen Ffrangcon Davies (1891-1992) worked during her life in theatre, television, radio and film. Her first break came in 1914 when Rutland Boughton commissioned her to play in The Immortal Hour as Etain in his opera at Glastonbury Festival and she gained further fame as Juliet with John Gielgud as Romeo. Both Barry Jackson and Gwen Ffrangcon Davies became lifelong friends of the Knights and on occasion going on holiday together.
λ DAME LAURA KNIGHT (BRITISH 1877-1970)TWO THEATRE STUDIES: SONJA HENIE AT THE BLACKPOOL ICE DOME & STUDY FOR PAVLOVA TAKING A CALLBlack crayon, each study executed on two sheets of paper, the set framed as one Both signed (lower right)Each 19 x 30.5cm (7¼ x 12 in.)Overall (including frame): 68 x 53cm (26¾ x 20¾ in.) The top drawing, depicting Sonja Henie, dates in all probability from circa 1935. Knight executed five other works of Henie at the Blackpool Ice Dome, namely The Skater; Finale Skating Ballet exhibited at The Royal Society of Painters and Watercolours; Arabesque on Skate exhibited at the Royal Academy, London in 1965; Five Ballerinas exhibited at Eastbourne Fine Art in 1966 and The Skating Ballet exhibited at the Royal Watercolour Society in spring 1949.Sonja Henie (1912-1969) was a Norwegian figure skater and actress. At the time, Henie won more Olympic and world titles than any other female figure skater, achieving gold medals in 1928, 1932 and 1936. She was world champion ten times between 1927, when she was only 15, and 1936, and six times European Champion between 1931 and 1936. Henie is credited with being the first ice skater to adopt the short skirt costume in figure skating and made great use of dance choreography. She moved from competitive ice skating into films and in 1936 she joined 20th Century Fox studios in Hollywood.The lower drawing is a sketch and draft for Knight's well known ballet painting entitled Pavlova taking a call from 1920 which was exhibited at the Leicester Galleries in the same year. The present drawing can therefore be safely dated to the same period.We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot. The works will be included in the Laura Knight Catalogue Raisonne currently being prepared.
λ DAME LAURA KNIGHT (BRITISH 1877-1970) LAMORNA COVE NO.7 (A STONY BEACH)Oil on canvas Signed (lower right)45.5 x 51cm (17¾ x 20 in.) Painted circa 1920.Provenance: Westmorland Fine Arts Private Collection, London (probably acquired from the above circa 1970)Thence by descent to the late owner Undated but believed to be circa 1920, being the date of a number of similar scenes painted of Lamorna Cove from this vantage point.There are seven works titled Lamorna Cove, six of which are of very similar scenes of Lamorna Cove harbour and four of which are oil on canvas. The works vary as between each other in depicting slightly different scenes of boys in a rowing boat within the harbour, swimming in the sea and depicting different aspects of the harbour. The artist states in her autobiography Many studies were done in the cove itself that year, which resulted in a picture called Lamorna Cove, the little bay being turned to gold by the reflection of the sun shining on the cliff above. The artist is referring to what has been catalogued as #0203 Lamorna Cove No. 2, exhibited at the Royal Academy in 1920.Painted from the top of Trequrnow Cliff, not far from Flagstaff Cottage, where Lamorna Birch lived and not far from the artist's wooden studio shed perched on the rock face, provided by Colonel Paynter who owned most of the land in the surrounding area. Lamorna Cove is flanked by rugged granite cliffs rising to 300 feet. On the eastern flank there are huge piles of quarry spoil, of large chunks of granite that have weathered with vegetation taking hold.The scene reflects what the artist sees in the little bay being turned gold by the reflection of the sun shining on the cliffs, particularly on the crests of the ripples of the sea waves. The scene also depicts a lady and several children sat on the quarry spoil chunks of granite beside the sea. The lady could well be Houghton (Lamorna Birch's wife) and her two daughters together with some other local children gazing at the clear blue waters with its golden reflections. In the background is shown the quarry Count house in front of the quarry worker cottages.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.
Knight (Laura, 1877-1970). Evening Pool, 1960 AR * Knight (Laura, 1877-1970). Evening Pool, 1960, charcoal on paper, signed, titled and dated lower left, a view of the countryside with a swimming pool in the foreground, gallery labels to frame verso, sheet size 34.4 x 25.5 cm (13 1/2 x 10 ins), mount aperture 34 x 25 cm (13 1/4 x 9 3/4 ins), framed and glazed (55.5 x 44 cm) QTY: (1) NOTE: Provenance: Christie's London, 20th Century British Art, 1 March 2006, lot 139.
Knight (Laura, 1877-1970). An archive of letters and sketches, 1938-1967 * Knight (Laura, 1877-1970). An archive of letters and sketches sent to Allardyce & Josephine Nicholl, 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 Nicholls, 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 sizes QTY: (approx. 80) NOTE: An important archive of letters and drawings sent by Dame Laura Knight to Allardyce and Josephine (known as Josie) Nicholl. The letters are full of warmth and appreciation for these closest of friends, whom Laura socialised and corresponded with over three decades. Allardyce Nicholl 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 Nicholls 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 Cassson 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.'
▲ Dame Laura Knight RA (1877-1970) Edward VIII coat of arms design signed with initials l.l., watercolour over pencil with extensive annotation 20.5 x 24.5cm Condition Report: Framed: 40 x 43cm The coat of arms design has been stuck down to a larger sheet on which the annotation continues. Time staining with dirty marks and smudges, please refer to illustration. Not viewed out of glazed frame.
Dame Laura Knight R.A. (British, 1877-1970), Pavlova, signed l.r., titled l.l., pencil, 35 by 22cm, framed. Exhibited: Gainsborough's House, Sudbury, 1974. Provenance: a Private Collection, West Midlands. Note: Artist Resale Rights apply
§ Dame Laura Knight RA, RWS (1877-1970) Two pages from a sketchbook one with a circus ring, the opposing side with an elephant and inscription signed with initials and dated 67 22 x 56cm overall Provenance: By repute given by Laura Knight as a golf club charity prize
Dame Laura Knight DBE RA RWS, British 1877-1970, Lilian; drypoint etching on laid paper, signed, titled and inscribed 'drypoint' and '50 Proofs in Edition' in pencil, sheet: 46 x 32cm, plate: 35 x 25cm, (framed) (ARR)
DAME LAURA KNIGHT R.A. (BRITISH 1877-1970) SUSIE, 1928 Etching, Artist's Proof, signed in pencil to margin, editioned and inscribed with title in pencil to margin [under mount], published 1928 plate size 25cm x 34.75cm (9.75in x 13.75in) Susie is believed to have been the daughter of a fisherman in Mousehole, Cornwall. She also features in Knight's 1929 painting Susie and the Wash Basin (Harris Museum & Art Gallery, PRSMG : P356)
DAME LAURA KNIGHT (BRITISH, 1877-1970) 'NOAH'S ARK' PART COFFEE SERVICE, MADE BY FOLEY, DESIGNED 1934 English bone china, the design with prominent purple lustre glaze. Comprising a milk jug, sugar bowl, a sandwich serving plate, six sandwich plates, six cups and six saucers.Printed FOLEY ENGLISH BONE CHINA mark with Knight's facsimile signature.Sandwich serving plate 23.2cmCup 8.9 x 6.5cmThis design ware was first produced for the 1934 Harrod's Art in Industry exhibition.
DAME LAURA KNIGHT (BRITISH 1877–1970) PORTRAIT OF ANNA PAVLOVA signed, Indian ink and pencil on paper 35.5cm x 25.5cm (14in x 10in) Sotheby's, London, 30 September 1986, lot 141.
Dame Laura Knight DBE RA RWS, (British 1877-1970) Two (2) Charcoal on Paper Studies. One (1) of a ballet performance and one (1) of an animal trainer. Framed under glass. Ballet performance study image area measures: 14" H, 10" W, frame measures: 19" H, 14-3/4" W, trainer study image area measures: 10" H, 13-1/4" W, frame measures: 14-3/4" H, 17-7/8" W. Condition: Good condition. One piece of wood loose. Estimate: $1500.00 - $2500.00 Domestic Shipping: $165.00
DAME LAURA KNIGHT R.A, RWS, RE, RWA, PSWA, DBE (NEE JOHNSON) (1877-1970) MARKET DAY, ST QUENTIN, FRANCE Signed L Johnson (Knights maiden name) Watercolour Notes: This rare early work dates from circa 1890 when the artist was barely 14 years old. At the age of 12 she had been sent to live with her Aunt in St Quentin, France, where the family ran a lace making business. She was made to attend a boarding school where she was deeply unhappy and homesick. She had already been tutored by her mother in painting and was able to pursue this passion with the help of her Uncle West who presented her with a large paint box, which was to become "her companion and emotional prop for many years to come" The above was written by Dr. Barbara C. Morden (Biographer of Knight) in correspondence with the present owner, an authority on Laura Knight. Laura knight, published 2012. Dr Morden viewed the work in person in 2015 (34cm x 23cm) watercolour
Artist: Laura Knight (1877-1970). Title/Description: "The Three Graces" (from an edition of 30 proofs). Signature: in pencil lower right. Medium: Soft ground etching. Size: 14 1/4" x 10 1/4" (frame 22 1/2" x 17 1/4"). Condition appears good (not examined out of frame).
DAME LAURA KNIGHT (BRITISH, 1877-1970) COMMEMORATIVE MUG FOR THE ANTICIPATED CORONATION OF EDWARD VIII; MADE BY GRAFTON CHINA; CIRCA 1937Decorated with coat of arms to one side, and the profile of Edward VIII with supporters to the other, with gilt monopodia handle Marked with 'R.D. No. 814375/6'8.5cm high Edward Albert Christian George Andrew Patrick David (23 June 1894 - 28 May 1972), later known as the Duke of Windsor, abdicated in December 1936 and never had a Coronation service.
DAME LAURA KNIGHT (BRITISH, 1877-1970) 'NOAH'S ARK' PART COFFEE SERVICE; MADE BY FOLEY; DESIGNED 1934 English bone china, the design with prominent purple lustre glaze. Comprising a milk jug, sugar bowl, a sandwich serving plate, six sandwich plates, six cups and six saucers.Printed FOLEY ENGLISH BONE CHINA mark with Knight's facsimile signature.Sandwich serving plate 23.2cmCup 8.9 x 6.5cmThis design ware was first produced for the 1934 Harrod's Art in Industry exhibition.
DAME LAURA KNIGHT (BRITISH, 1877-1970) CLARICE CLIFF 'CIRCUS' SAUCE BOAT; DESIGNED 1934Polychrome ceramic with gilt highlights; the handle modelled as an acrobat.Printed factory marks to base.18.5cm (7¼ in) long This design ware was first produced for the 1934 Harrod's Art in Industry exhibition known as 'Modern Art for the table'.
DAME LAURA KNIGHT (BRITISH, 1877-1970) CLARICE CLIFF 'CIRCUS' SUGAR; DESIGNED 1934Polychrome ceramic with gilt highlights; the twin-handles modelled as clowns, the lid with double clown head finial, raised on four spangled ballet shoe feet.Printed factory marks to base, also marked 'First Edition' to underside.14.5cm (5¾ in.) highThis design ware was first produced for the 1934 Harrod's Art in Industry exhibition known as 'Modern Art for the table'.
DAME LAURA KNIGHT (BRITISH, 1877-1970) CLARICE CLIFF 'CIRCUS' TEAPOT; DESIGNED 1934Polychrome ceramic with gilt highlights; the handle modelled as an acrobat, the lid with double clown head finial, raised on four spangled ballet shoe feet.Printed factory marks to base.18 x 22cm (7 x 8½ in.)This design ware was first produced for the 1934 Harrod's Art in Industry exhibition known as 'Modern Art for the table'.
DAME LAURA KNIGHT (BRITISH, 1877-1970) PAIR OF CLARICE CLIFF 'CIRCUS' SIDE PLATES; DESIGNED 1934Polychrome ceramic; both decorated with a pair of dressed horsesPrinted factory marks to reverse.Each; 17cm (6¾in.) diameterThis design ware was first produced for the 1934 Harrod's Art in Industry exhibition known as 'Modern Art for the table'.
DAME LAURA KNIGHT (BRITISH, 1877-1970) SET OF FOUR CLARICE CLIFF 'CIRCUS' DINNER PLATES; DESIGNED 1934Polychrome ceramic; two decorated with acrobats, one with a horse and attendant, the fourth with a bear and attendant.Printed factory marks to reverse, the bear plate marked 'First Edition'.Each; 23cm (9 in.) diameterThis design ware was first produced for the 1934 Harrod's Art in Industry exhibition known as 'Modern Art for the table'.
Dame Laura Knight DBE RA RWS, British 1877-1970, A Fair, 1923; etching and aquatint on paper, signed, titled and inscribed 'aquatint' in pencil, from the edition of 55, plate: 27.5 x 20cm, (framed) (ARR) Provenance: Dominic Kemp, London.
‡ ATTRIBUTED TO DAME LAURA KNIGHT DBE, RA, RWS (1877-1970) PORTRAIT OF A LADY, POSSIBLY LILY POYSER Blind-stamped ESK, South Kensington Schools piece Charcoal (44cm x 33cm)
§ Laura Knight RA, RWS (1877-1970) Pas de Deux signed beneath the mount lithograph 52 x 67cm Paper is toned overall, with acid-mat burn noted beneath the mount. Toning is overall even, though there are some lighter spots. There is a large and deep dog ear crease with some cleaving over the right hand corner, some small closed tears to the top edge margin. The mount board is adhered along the bottom edge (not in contact with the lithograph) so the lower margins are not available for inspection.
DAME LAURA KNIGHT FOR MYOTT &SONS, commemorative pottery mug dated 1937, 8cm high, a decorative stoneware lidded ewer, 20cm high and an early 20th century three tile panel depicting a Persian hunting scene, 45cm wide. (3) Both have minor age related wear.
λ LAURA KNIGHT (BRITISH 1877-1970)TWO ROMANY LASSES ON ASCOT HEATHOil on canvas Signed (lower left)63.5 x 76.2cm (25 x 30 in.)Provenance:Ian MacNicol, GlasgowJohn E. Milne Esq., Private Collection, Glasgow, acquired from the above in 1966John 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 2013Penzance, Penlee House Gallery & Museum, Laura Knight: A Celebration, 17 May - 16 September 2021This painting will be included in the forthcoming Catalogue Raisonné of the work of Dame Laura Knight currently being prepared by R. John Croft F.C.A., the artist's great-nephew.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.
Dame Laura Knight (1877 - 1970) A double-sided sketch of Anna Pavlova Charcoal on paper Signed lower right recto , 'Laura Knight' and initialled lower left verso , 'L.K'. Dimensions: 16 in. (H) x 10 in. (W)
▲ Dame Laura Knight RA RWS (1877-1970) At the circus signed and dated 'Laura Knight/1930' l.r., pastel 32 x 45.5cm Provenance: The Property of a London Collector. Condition Report: Framed: 51 x 62.5cm A little very slight cockling to the top edge. Presents well overall. Not viewed out of glazed frame.
▲ Dame Laura Knight RA (1877-1970) 'Waiting to Go On' signed 'Laura Knight', inscribed with title and dated '1938' l.r., pastel 60 x 47cm Provenance: The Property of a London Collector. Condition Report: Framed: 82.5 x 69cm Cockling. Light time staining. Not viewed out of glazed frame.
▲ Dame Laura Knight RA RWS (1877-1970) Waiting to go on stage signed 'Laura Knight' l.r., mixed media 54.5 x 39.5cm Provenance: With the Leicester Galleries, London; The Property of a London Collector. Condition Report: Framed: 73 x 57cm The work is believed to be a combination of watercolour, gouache and pastel over pencil. Appears to be in good order and the colours are bright. Not viewed out of glazed frame.
▲ Dame Laura Knight RA (1877-1970) Study of a horse at the beach signed 'Laura Knight' l.l., watercolour 55 x 76cm Provenance: The Property of a London Collector. Possibly a preparatory study for 'A Seaside Holiday', 1931, offered by Bonhams in March 2018. Although the family are not present, the horse and the beach surroundings are very similar. 'A Seaside Holiday' depicts a young Gervase de Peyer on a horse, beside the rest of the de Peyer family, near their home at Middleton-on-Sea, West Sussex. Gervase de Peyer would later gain international fame as a clarinettist and a key figure in the classical music world. His mother, Edith de Peyer, hosted salons in her London home, which Laura Knight attended, fostering a close relationship between the two families. This connection was later honoured by Gervase de Peyer when he purchased Knight's house in St John's Wood after her death and displayed 'A Seaside Holiday' in her studio. Condition Report: Framed: 69 x 90cm Pin holes to the extreme edges. Light time staining. There are some faint watermarks and small spots of discolouration in places. Not viewed out of glazed frame.
Attributed to Dame Laura Knight (British 1877-1970), Nude, red chalk, 42 x 30cm. Framed and glazed. Under glass, paper somewhat discoloured, may benefit from a clean.
Dame Laura Knight DBE RA RWS, British 1877-1970 - Carnival; charcoal on paper, three drawings framed as one, each signed along lower edge 'Laura Knight' and 'L.K.', titled 'Petrushka' and 'Carnival', 25.2 x 17.5 cm and smaller (ARR)
Dame Laura Knight RA RE RWS, British 1877-1970 - A Barbary Lamb, 1937; charcoal on paper, signed and dated lower right 'Laura Knight 1937', 25 x 35.7 cm (ARR) Note: with a hand-written and signed note from the artist attached to the reverse of the frame which reads, 'This little lamb joins one in sending best wishes for your future happiness, with fondest love, Laura'. The card bears the address '16, Lanford Place, NW8' where the artist moved with her husband, Harold Knight, in the 1920s and lived in until her death.
‡ DAME LAURA KNIGHT R.A, RWS, RE, RWA, PSWA, DBE (NEE JOHNSON) (1877-1970) MARKET DAY, ST QUENTIN, FRANCE Signed L Johnson (Knights maiden name) Watercolour Notes: This rare early work dates from circa 1890 when the artist was barely 14 years old. At the age of 12 she had been sent to live with her Aunt in St Quentin, France, where the family ran a lace making business. She was made to attend a boarding school where she was deeply unhappy and homesick. She had already been tutored by her mother in painting and was able to pursue this passion with the help of her Uncle West who presented her with a large paint box, which was to become "her companion and emotional prop for many years to come" The above was written by Barbara C. Morden (Biographer of Knight) in correspondence with the present owner, an authority on Laura Knight. Laura knight, published 2012. Mrs Morden view the work in person in 2015 (34cm x 23cm)
