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DURET (THEODORE)Die Impressionisten, LIMITED TO 1000 COPIES, this copy number 511, half-title, title printed in red and black, 7 ORIGINAL ETCHED PLATES BY RENOIR (3), CEZANNE, MORISOT, PISSARRO, AND GUILLAUMIN, and P.M. Roy after Sisley, captioned tissue guards, other illustrations in the text, the frontispiece loose, illustration by Pissarro window-mounted on front free endpaper, original cloth, worn, 4to, Berlin, Bruno Cassirer, 1909This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

After Paul Cezanne (French, 1839-1906),'The Boy In A Red Waistcoat',Oil on canvas,An unsigned modern copy,89.5cm x 69.5cm,Gilt framed

Original vintage magazine Fortune December 1938 Christmas Volume XVIII Number 6 featuring the cover by Antonio Petruccelli (1907-1994) depicting two workers welding large red star. The volume covers various topics with in-depth articles on General Motors with a map of the world by Richard Edes Harrison showing the locations of General Motors plants; The Debutante with paintings by Georges Schreiber; Business and Government articles on the American Dream; U.S. Treasury with stunning illustration and photographs by Mettee-Frittita; The Coca-Cola industry with photographs of the drink production in offices and plants, automatic dispenser, loading trucks of Cola crates, and sale places at the filling station, Radio City bottle bar, and department store; Will Hays with a caricature by Sam Berman and photo stills from films; Museum of Modern Art on the popularity of van Gogh art, with portraits of the president, trustee, museum directors, treasurer, construction of the building and packing of the painting, with twelve Modern Paintings with captions by Alfred H. Barr Jr - Cezanne, Renoir, van Gogh, Henri Rousseau, Paul Gauguin, Giorgio de Chirico, Pablo Picasso, Bombois, Salvador Dali, Orozco, Peter Blume, Grant Wood; Arbitration; and Great Britain's Europe - with photographs of Adolph Hitler's Mein Kampf and him coming to total power, Reichstag on fire, suppression of German radicals, degradation and terror for Germany's Jews, with a map of Nazism influence and spread throughout Europe, Mussolini and Goering on a promenade, and Hitler getting Vienna. The issue presents advertising painting by Hugh Terry for Bankers Trust Company, Lentheric advertisement by MAC, Bell and Howell motion picture camera advertisement by M.R. Moore, and various advertisement for whiskey and bourbon brands - Vat 69, Old Grand-Dad, Four Roses, Martell, Johnnie Walker, Old Crow, Kentucky Tavern, Gordon Rouge champagne, cognac Monnet, Harvey's cream sherry, Old Forman, Schenley's Belmont Kentucky Stragith Bourbon Whiskey. Travel advertisement for American Republics Line, Furness Prince Line, Italian Line to Egypt, Canadian Pacific. Car and vehicle advertisement by International Trucks, Cadillac, Oldsmobile, Packard, and Dodge; and various product advertisement - Goodrich rubber, Royal typewriter, Burberrys Overcoats, Cartier luxury jewellery, Gillette shaver, Leica camera, Cine-Kodak camera, Cuban Havana cigars and Alfred Dunhill cigars Montecristo, and Tobaccoland's finest gift - Lucky Strike cigarettes on the back cover. Soft paperback binding, volume consists of 186 pages. Fortune is an American business magazine, it was founded in 1929 by Time magazine co-founder Henry Luce. Good condition, paper skimming on the cover and the spine, light browning on the cover. Country of issue: USA, designer: A. Petruccelli, size (cm): 35.5x29, year of printing: 1938. For other avant-garde publications please visit our website https://antikbarbooks.co.uk/

A FRAMED PAUL CEZANNE, OLIOGRAPH, 'THE CARD GAME'

A FRAMED PAUL CEZANNE, OLIOGRAPH, 'THE CARD GAME'

A Cezanne print, together with two others 

Kurt Mühlenhaupt, "Cezanne"Platz mit Personen und Springbrunnen in einer französischen Kleinstadt, aquarellierte Radierung, um 1990, unter der Darstellung in Blei rechts signiert "Curt Mühlenhaupt", links nummeriert und bezeichnet "39/50 aquarelliert" sowie mittig betitelt "Cezanne", hinter Glas gerahmt, Darstellungsmaße ca. 20 x 29 cm. Künstlerinfo: auch Curt Mühlenhaupt, dt. Maler, Grafiker, Bildhauer und Schriftsteller (1921 Klein Ziescht bis 2006 Bergsdorf), Kindheit in Berlin-Tempelhof, ab 1935 Lehre als Modellbauer, später Fallschirmjäger im 2. Weltkrieg, Verletzung und Krankenhausaufenthalt, ab 1943 Kunststudium in Berlin, 1945 erneuter Kriegseinsatz und Verwundung, 1946-48 Studium an der Hochschule für Bildende Künste bei Maximilian Debus, 1948 Studienabbruch und als Tierzüchter sowie als Leierkastenmann in Berlin-Karow tätig, autodidaktische Weiterbildung als Künstler, 1956 Übersiedlung nach Marienfelde und 1958 nach Kreuzberg in West-Berlin, hier fortan als malender Trödler und Gastwirt tätig, unternimmt Studienreisen nach Paris, Südfrankreich, Spanien, Italien, Portugal, New York und Moskau, ab 1970 ausschließlich als Künstler freischaffend, gründete 1972 mit Günter Grass, Wolf-Dieter Schnurre, Wolfgang Schnell die Gruppe „Malerpoeten", beschickte zahlreiche Ausstellungen im In- und Ausland, zeitweise tätig in Berlin-Kladow, Sommeraufenthalte im Tal Montes de Cima in der Algarve, 1992-99 Ausbau des Gutshofs in Bergsdorf bei Zehdenick zum Wohnhaus mit Atelier und Galerie, Quelle: Eisold "Künstler in der DDR", Wikipedia und Internet.

Rubens and His Legacy From Van Dyck to Cezanne sponsored by BNY Mellon Hardback Book 2014 First Edition published by Royal Academy of Arts some ageing good condition. All lots sold on behalf of Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

PICTURES AND PRINTS ETC, to include a later 20th Century landscape oil on canvas, indistinctly signed, approximate size 51cm x 76cm, modern decorative prints by Joseph Crawhall, Cezanne and Mary Armour, Lyubov Popova, Stanley Orchart etc

Schleich, Stillleben mit Äpfeln, sign. und dat. "1977", rücks. bez. "Hommage à Paul Cezanne", Öl/Pressspan, 29 x 38,5 cm

Paul Cezanne (French, 1839-1906). Etching on laid paper titled "Guillaumin au Pendu," 1873, depicting Cezanne's friend and fellow artist Armand Guillaumin (1841-1927) seated beneath the sign for Le Pendu (The Hanged Man), an inn. Posthumous impression.Sight; Height: 6 1/2 in x width: 5 in. Framed; Height: 19 1/2 in x width: 13 1/2 in.

* Zdzislaw Ruszkowski [1907-1990] - View over Charmouth Bay,:- signed bottom right, oil on canvas, 44 x 34cm. * Provenance. The Leicester Galleries, Cork St, London, where bought by The Rt. Hon Lord Croft. * Biography Ruszkowski was born in 1907 in Tomaszow, Poland and grew-up influenced by his father, also a painter. Later influences were Van Gogh, Cezanne and the Old Masters such as Titian and Rembrandt. In 1935 Ruszkowski went to Paris, where he became closer to the work of Cezanne and the countryside around Aix-en-Provence in the south of France. In 1939 he visited Versailles, but the threat of war in Europe affected his enthusiasm to paint and in 1940 he left France for England to serve with the Polish army based in Scotland. Ruszkowski's preoccupation with light assumed a major influence in his work from the mid-50s and large areas of dark shadow are used to achieve contrast, form and expression. Light also plays a constructional role in his paintings and transitions from shadow to light have defined shape and colour. There is an artist's Catalogue Raisonne produced by Michael Simonow.

PAUL CEZANNE 'Aix en Provence', lithograph, printed by Mourlot, 51cm x 41.5cm, in French glazed frame.

AFTER PAUL CEZANNE - 'Tete de Femme', etching, later restrike from the original plate of 1873, signed in the plate, framed, 12cm x 10cm, frame size 36cm x 24cm.

Two boxes of assorted art books, including Klee, Gauguin, Goya, Cezanne, Manet etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

Two boxes of assorted art books, including Manet, Sickert, Paul Nash, Cezanne, Rembrandt, Rousseau etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

CAROL JABLONSKY, Georgia O'Keefe and White Hibiscus Flower, signed bottom right and editioned, lithograph on wove paper, and another titled Paul Cezanne and Apple and Bowl, signed bottom right and editioned, lithograph on wove paper, 23 x 18cm (2) With Certificates of Authenticity from Park West Gallery, Michigan Condition Report: Available upon request

ROLF HARRIS (born 1930); a signed limited edition coloured print, 'Still Life (Homage to Cezanne), no.262/695, with certificate of authenticity, 51 x 38cm, mounted but unframed. (D) Additional InformationOverall in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

LAURENCIN, Marie (1883-1956). Marie Laurencin. Avec une préface par Marcel Jouhandeau, Paris, 1928, original wrappers. ONE OF 1,000 COPIES. With 2 other books. (3)LAURENCIN, Marie (1883-1956).  Marie Laurencin. Avec une préface par Marcel Jouhandeau. Paris: Éditions des Quatre Chemins, 1928. 4to (265 x 215mm). Half title, tipped-in coloured frontispiece and 4 coloured plates by Marie Laurencin, 32 monochrome plates. Original wrappers with printed label laid down on upper wrapper. NUMBER 547 OF 1,000 COPIES "sur papier Lafuma." With a book and a catalogue of related interest, namely Lettres Illustrées de Édouard Manet. Introduction de M. Jean Guiffrey (Paris, 1929, facsimile letters with coloured facsimile illustrations by Manet tipped-in, wrappers, [?]original or later brown suede chemise, NUMBER 20 OF 300 COPIES) and Catalogue of Seven Paintings by Cezanne, Manet, Renoir and Van Gogh. The Property of the late Jakob Goldschmidt of New York City (London, Sotheby's, [sale date:] Wednesday, October 15th, 1958, tipped-in coloured plates, original green printed paper boards). (3) 

* JOSEPHINE GRAHAM (SCOTTISH b. 1930),MOROCCOoil on card, signedimage size 20cm x 30cm, overall size 43cm x 61cm Mounted, framed and under glass. Label verso: The Torrance Gallery, Edinburgh.Note: Josephine Graham painted in brilliant colour developing a style containing great use of tonal ranges, giving objects a simple 3D form. Her works are characterised by darker backgrounds, giving way to paler colours, greys and pinks. Her riotous use of bold colour is reminiscent of Matisse, Cezanne and the Scottish colourists.

A box of art reference books including Ben Shahn, Mark Rothko, Georgia O'Keefe, Cezanne, Leonard Baskin, Gertrude Jekyll and George Elgood "Some English Gardens", etc

Petr Petrovich Konchalovsky (Russian, 1876-1956)'A street in Ryazan', 1931 signed in Cyrillic (lower right); verso with painting of a river landscape, stretcher bearing labels including the number '899' from the artist's handlistoil on canvas60 x 73cm (23 5/8 x 28 3/4in).unframedFootnotes:ProvenanceThe collection of the artist, handlist number '899' (according to label on verso)Acquired by a noble European family in Russia between 1960-1970Thence by descentExhibitedMoscow, 1933, The 8th Exhibition of the Works of P.P. Konchalovsky, no. 45Academy of Art USSR, Department of Exhibitions (according to label on verso)LiteratureVystavka kartin, zasluzhennogo deyatelya iskusstv P.P. Konchalovskogo, 1930-1932, Vseros, 1932, eds. N. Maslenikov, V. Nikol'skii, p. 36, no. 45Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 170, listed as 'zhi 1690, no. 899'A Street in Ryazan is from the series of of 'Ryazan landscapes' referred to by the artist's wife in (O. Konchalovskaya, 'Nash zhiznennyi put' ['Our Life Path'] (1956), in K. Frolova, Konchalovskii. Khudozhestvennoe nasledie, Moscow, 1964, p. 56. Madame Konchalovskaya recalls the journeys the couple made to and from Ryazan to see their son Misha who had been drafted into military service and was stationed there. '[...] we spent that whole cold winter travelling back and forth ... the carriages were unheated and lit with candles.' (ibid.).With Cezanne ever a towering influence from his days in the Knave of Diamonds, in the 1920s Konchalovsky returned to a more traditional style of painting, his palette tamer, his representation less exuberantly expressionistic. By the 1930s, a preoccupation with winter landscapes was apparent, the complex manifestations of the Russian winter providing material for the artist's creative language.A Street in Ryazan displays Konchalovsky's mastery of colour and homage to the fauve palette; the bold orange of the upper side of the building affording no warmth to the composition, rather suggesting the pale light of the winter sun. The juxtaposition of the cool colours with the warm serves to emphasise the bitter cold of the winter, the blue of the snow drifts ambiguous – the sun could be setting or rising, the viewer cannot know. Nevertheless, the painting resonates with the energy of the men who appear to be engaged in building work, their footprints in the snow rendered with two blue strokes. In the foreground, pigeons bob up and down, foraging for food, unbothered by the men or the weather.A comparable work from the 'Ryazan series' is Pier at Ryazan (private collection), numbered '898' on the verso and hence the one prior to the offered lot (number '899') in the artist's handlist. In Pier at Ryazan, the same creative credo of Konchalovsky can be observed: a preoccupation with the energy which humans bring to a landscape, as evidenced by the men in the foreground carrying logs and the smoke issuing from the little wooden hut on the snow-laden riverbank.In the Ryazan series, Konchalovsky appears to be observing man in his context. He shows the monumentality of landscape, emphasised by free, confident brushwork in wide, artistic strokes of thick paint, and against this he shows man: small, unremarkable and yet busy with life. The laconic nature of his landscapes is undercut by the vibrant colours and it is in colour that he shows the impact man has made on landscape. In Oleg's House in Ryazan, 1931, a huge pink house dominates the composition, evidence of how humans can alter their landscape.A Street in Ryazan is emblematic of Konchalovsky's mode of expression in the 1930s. Its highly complex colour permutations undermine the apparent silence and repose of landscape, speaking as it does of the drama and energy of man within nature.For further information on this lot please visit Bonhams.com

After PAUL CÉZANNE (1839-1906). La Montague Sainte-Victoire; coloured aquatint. Inscribed “Paul Cezanne” by the artist’s son & numbered 144/200 in pencil lower margin, 24” x 17” (image), etched by Jacques Villon, publ. by Galerie Bernheim-Jeune, Paris circa 1923, framed & glazed. (24” x 30½” over-all).

After Cezanne, "La Maison Du Pendu" by Morley Hicks (1877-1959). Oil on board. Inscribed verso. Sight Size: 11 x 8.75 in.

Original vintage advertising poster for Chartres Chamber of Commerce Facing the Cathedral. Aspects of French painting Since Cezanne / Chartres Chambre de Commerce Face a la Cathedrale. Aspects de la peinture francaise Depuis Cezanne, held 5 May to 7 June 1959, featuring Francois Desnoyer's (1904-1972) painting of Chartres Cathedral in bright colours. Printed by Mourlot. Good condition, small creases, tears, and browning on the margins. Country of issue: France, designer: Francois Desnoyer, size (cm): 77x52.5, year of printing: 1959.

COLLECTION OF BOOKS RELATING TO ART,including Vincent van Gogh, Art Deco, the Surrealists, Monet and Cezanne

A mixed box of art books to include master of erotic art, Manet, Renoir, Gauguin, Picasso, Impressionism, Vermeer, Cezanne

A mixed box of art books to include Cezanne, Renoir, Gauguin, Monet, Van Gogh, Bruegel, Toulouse-lautrec

A mixed box of art books to include Cezanne, Picasso, Tibetan art, tribal art, Oceanic art

A box of assorted books, including Picasso, Van Gogh, Gauguin, Vuillard, Mantegna, Cezanne etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

In the manner of Matisse Cezanne, nude figurative charcoal sketch post-Impressionism. (2) 48cm H x 31cm W; 45cm H x 28cm W

Various authors - A collection of Art reference books to include 'Goya - The Witches and The Old women Album', Courthauld Gallery Press, 'Picasso - Portrait of Picasso as a Young Man', Norman Mailer, 'The Real Van Gogh - The Artist and His Letters', Royal Academy of Arts Press, 'Joan Miro', Walter Erben, 'Paul Cezanne', Isabelle Cahn, 'Vincent By Himself', Bruce Bernard, 'Le Morte D'Arthur', Sir Thomas Malory, illustrated by Aubrey Beardsley, 'Secret Knowledge', David Hockney, 'A History pf Pictures', David Hockney and Martin Gayford, 'Art Nouveau 1890-1914', V&A Press, and 'Cinecitta', Fellini. (11)

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

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

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

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

λ Tom Malone (British 1913-1986)Landscape: Homage to Cezanne Oil on canvasboard 41 x 51cm (16 x 20 in.)Provenance:Estate of the artistThence by descent to the present owner This landscape painting depicts the luscious banks of a river traversed by a stone bridge. The deep greens of the foliage contrasting with the earth tones of the bridge, painted with thick strokes are reminiscent of Cézanne's colourful paintings of Mont Saint-Victoire.Tom Malone (1913-1986) was an accomplished portrait painter originally from Warrington. Despite being employed as Chief Inspector of Weights and Measures in Salford, he was always involved in the art scene of Manchester, being friends with artists L.S.Lowry and Ted Finley.He was often found painting on the weekends, his subjects ranging from his two sons, Nick and Peter, to local government officials such as the Warrington and Salford Mayors. His art style was influenced by the fauvist movement, which confers to his works a very painterly and textured quality, present even in the more traditional oil portraits.Malone was a member and chairman of the Salford Art Club, participating regularly in its annual exhibition along with artists Eric Satchwell, Jose Christoperson, Stella Platt and Richard Weisbrod. His portraits were shown at the Manchester Academy of Fine Arts' 93rd exhibition in 1952, as well as the 118th Exhibition at the Manchester City Art Gallery in 1976, with his contemporary Arthur Delaney. He continued to paint after retiring as Chief Inspector, holding several solo shows at Salford Art Gallery. 

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

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

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

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

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

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

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

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

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

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

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

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

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

An enamelled and hand decorated plate, reverse marked B Samah, Atelier Cezanne, Marseille, France, 18cm, a/f

Box: seven art monograph volumes, published Nouvelles Editions Francaises, Toulouse-Lautrec, Gauguin, Pissarro, Renoir, Degas, Cezanne, Van Gogh, all in slip-cases

Original vintage advertising poster titled Vive Lorjou et Ses Amis Salon d’Automne / Long Live Lorjou and His Friends Salon d’Automne. The stylised image features a red figure against a yellow and blue background. The names of artists are written across the bottom of the poster with the title in red. Established in 1903, Salon d’Automne is an association of artists based in Paris - their annual art exhibition has featured artists such as Cezanne, Rodin, Matisse, Derain, and Marcel Duchamp. Excellent condition. Country of issue: France, designer: Bernard Lorjou, size (cm): 78x54, year of printing: 1970s

Ervin Körmendi-Frim, Dorflandschaftlichter sommerlicher Hohlweg im ungarischen Dorf, stimmungsvolle, impressionistische, pastose Landschaftsmalerei mit charaktervollem breiten Pinselduktus in freundlicher Farbigkeit, das vorliegende postimpressionistische Gemälde zeigt exemplarisch den Einfluss von Paul Cezanne und Vincent van Gogh auf das Schaffen Körmendis, Öl auf Leinwand, um 1930, unten undeutlich signiert "Körmendy-Fr.", rückseitig Zettel mit Info zum Künstler, gering reinigungsbedürftig, schön gerahmt, Falzmaße ca. 65,5 x 54,5 cm. Künstlerinfo: auch Erwin von Koermendy, Körmendij oder Körmendy, ungarischer Interieur-, Stillleben- und Landschaftsmaler (1885 Budapest bis 1939 Budapest), studierte an den Kunstgewerbeschulen Budapest, Wien und München, Schüler von Simon Hollósy in München und der Schule von Nagybánya, zählte hier später zu den "Neos" der Schule von Nagybánya, die sich dem Postimpressionismus und dem Fauvismus zuwandten, später bei Jean-Paul Laurens an der Académie Julian in Paris, beeinflusst von Paul Cézanne, unternahm Studienreisen durch Italien und Frankreich, beschickt ab 1904 den Pariser Salon d´Automne, 1914 Ausstellung im Wiener Künstlerhaus, beschickte 1930 die Biennale in Venedig, Mitglied im Reichsverband der Bildenden Künstler Deutschlands, der Nürnberger Kunstgenossenschaft, der Vereinigung Nürnberger Künstler und Kunsthandwerker und in der Nürnberger Sezession sowie im Nationalsalon Budapest, 1900-03 sowie 1914-22 tätig in Budapest, 1903-13 Aufenthalt in Paris, 1923-32 freischaffend in Nürnberg, hier Vorsitzender der Nürnberger Sezession, zahlreiche seiner Gemälde fielen 1937 der nationalsozialistischen "Säuberung der Museen" zum Opfer, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, Grieb "Nürnberger Künstlerlexikon" und Internet.

ROLF HARRIS (AUSTRALIAN 1930) 'STILL LIFE - HOMAGE TO CEZANNE' a limited edition print, 158/695 depicting fruit and wine, signed to lower margin, with certificate, mounted, framed and glazed, approximate size 55cm x 40cm (ARR) (Condition:- small chip to top right corner edge of frame)

Graham Knuttel (Irish 1954-) "Woman with Black Cat", signed, acrylic on canvas.91.5cm x 59.5cm (36in x 23.5in)Footnote:* Graham Knuttel is a highly collectible and internationally acclaimed sculptor turned painter. He was born in Dublin in 1954 and attended the Dun Laoghaire School of Art where he discovered his love for figurative, representational painting. He also became involved in sculpting, which he did out of necessity in order to pass his final year of art school. His style has become instantly recognisable and sought after, with his works being collected by celebrities such as Sylvester Stallone and Robert De Niro. Knuttel has won the Royal Canada Trust Award for young Sculptors (1976), he co-founded Wicklow Fine Art Press (1981) and in 2008 An Post released two Knuttel-designed stamps in commemoration of the Summer Olympics that took place that year. His paintings are influenced by his early studies of Cezanne and Picasso and he aims to portray his fears, doubts and hopes on to the faces of his subjects. The artist’s work can be found in public and private collections worldwide including the Swiss Bank Corporation, Allied Irish Banks, Goldman Sachs International and Saatchi & Saatchi London.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition. There is some minor cracking across the painting and a light surface scratch near the bottom edge of the canvas. The painting is unframed.

Illustrated art history and art technique volumes:The Works of Hogarth with Sixty-Eight Illustrations (J. Dicks - 313 The Strand)3 Nouvelles Editions Francaises (Cezanne, Toulouse-Lautrec and Les Impressionistes)5 Medici Society folders (Turner, Van Gogh, Pieter de Hooch, Reynolds and Rubens)Edgar Degas - Ballet Dancers (Folio Society 1960)Understanding Watercolours (Antique Collectors' Club - 1985)The Technique of Watercolour Painting (Isaac Pitman & Sons - War Economy Standard)The Student's Book of Etching (Isaac Pitman & Sons 1938)Making a Lithograph (1936)Penquin Modern Painters (Paul Nash (1944) and Henry Moore (1944)Pitmen Painters - The Ashington Group (1993) 

FOUR BOXES OF HARDBACK AND PAPERBACK BOOKS including Penguin paperbacks, art and artist related books, including Cezanne, Corot, Gustav Klimt, Renoir, Leonardo Da Vinci, Bruegel, Pisanello Caneletto, Penguin Books 'Oil Paint and Grease Paint, Autobiography of Laura Knight' volumes 1 & 2, H E Bates novels, etc (four boxes)

1 70-cl bt Prince Consort Finest French Napoleon Brandy 36% 1 70-cl bt Cezanne Napoleon French Brandy 36% 1 24 fl oz bt Saint-Vivant Armagnac chipped wax Above two 70-cl bottles and one 24 fl oz bottle

Huschens, Wolfram (Oberstein/Nahe 1921 - 1989 Saarbrücken) "Quadratspläne"/Hommage a Cezanne, Siebdruck, 60,7 x 61 cm, am unt. Rand sign., betit u. dat. 1972, bez. E.A. u. org. Siebdruck, unt. Glas ger., punktuelle Farbfehlstellen, Papier gebräunt, Gesamtgröße: 86,1 x 72,1 cm, 2722 - 0005