Friends of Dame Laura Knight Society
Newsletter December 2020
Special ‘Lockdown’ Edition
As we continue to live restricted lives in this extraordinary year of the Covid-19 pandemic, we would like to keep in touch with you all and send you our very best Christmas wishes with this special ‘lockdown’ edition of our society newsletter.
As is well documented in Laura’s autobiographies, we know she enjoyed her festive gatherings and below is a charcoal sketch (with a touch of Laura’s humour, I think) from 1931 titled ‘Christmas Celebrations’ to set the mood.
Dame Laura Knight, R.A. (1877-1970)
Christmas celebrations
Dame Laura Knight, R.A. (1877-1970)
Christmas celebrations
signed with initials, inscribed and dated ‘L.K/Xmas/1931’ (lower left)
charcoal
13 7/8 x 10 3/8 in. (35.3 x 26.5 cm.)
Christie’s Interiors
London, South Kensington 5 February 2013
Price realised GBP 1,000
Talking of Christmas – here is the ideal ‘stocking filler’ or gift for a friend: LAURA KNIGHT IN THE MALVERNS by Heather Whatley. Below is a note from Heather about the book:
Members and friends have responded really well to the booklet published in July and so far over 300 have been sold. Generally readers have given me good feedback. Some have asked why have you spent so long producing a small book or when is the next instalment due? Chance would be a fine thing! If you have enjoyed reading the book and perhaps learnt something about LK in our town, then I am more than pleased. Our Society will have achieved one of our objectives in publicising Laura’s impact on Malvern during the pre and post war time she spent here. I felt though a great deal has been written by academics about Laura’s life and work, until now there has been very little detail about her time in Malvern. Using our archives and based on talks I have given about her over the years, I hope my book has brought Laura the famous painter to life, a dynamic person everyone remembered.
What held me up from writing the book initially was fear that copyright would be too costly. No book about a painter would be of interest without illustrations of their work. Last year, by some act of God, RJC (John Croft – LK’s great nephew and trustee to her estate) agreed to give us free copyright on condition sales were for the benefit of the Society. Combined with the support of the Committee and Evie’s time in pursuing image rights from galleries all over the world, by Xmas 2019 I was able to put my copy together with very good illustrations. Prior to that I was really grateful to my colleagues who had read, reread and edited my copy. So ‘bright eyed and bushy tailed’ I finally delivered my creation to Aspect the printers in Jan 2020. Sadly they had a backlog of books to print so I had to wait until March when they were ready to begin. As we know just a few days later they closed due to lockdown. I felt the fates were against me and Laura but I could do little apart from ‘champ at the bit’ for 4 months. The printing finally happened in July and was fortunately ready for sale to coincide with our outdoor Exhibition in Malvern.
I have to congratulate Aspect printers especially Paul Sykes, the designer, for doing us proud in creating a compact and impressive book. If you have not read it yet then Gwyn has written a flattering review on our website (and I haven’t paid her anything!!).
The book might just be the arty ‘stocking filler’ you have been looking for in this drab year! If so, it is available at M H Tourist Information, Malvern Cooperative Bookshop, Ledbury Books, Worcester Museum, at Aspect Publications or via Amazon. Or members can order from me (07792154436) for £5 plus postage £1.40. I am flattered that Penlee Gallery hope to stock it next April when the postponed DLK Exhibition is due to start. Another exciting event to plan for.
HW Nov 2020
***************************************************************************
Dame Laura Knight: An Artist’s Appreciation
On-line talk by Brian
November 2020
Review by Gwyn Klee
Those of us who watched Brian Gorst’s talk last week were treated to a refreshingly personal approach to the work of Laura Knight.
The speaker captured the heart of the matter by acknowledging and illustrating the artist’s explorative breadth and diversity of subject, both of these led by an urge to constantly seek the new and different and able to express them in her multi-talented way .
Her ability to catch an image in a few lines was well illustrated. We were shown how her draughtsmanship enabled her to free up the painting process, bringing an energy to the depiction of her subjects.
Dame Laura, towards the end of her life, claimed that no-one had influenced her; Brian Gorst was able to illustrate for us, with scholarly aplomb, where, and from whom, all her influences came, not least, of course, from Harold, a master of the art of tone and who was slavishly, and profitably copied by the very young Laura. There were others and we could see for ourselves the evidence – from Goya and onwards.
Many of her paintings, we were told, reflect the energy of the artist herself – the kite-flying picture, the circus performers, animals and human, the physical effort of handling the Barrage Balloons by members of the W.R.A.F. The art of story-telling portrayed in these large works gave her a wide appeal and again, not least perhaps, her painting of the War Crimes trial at Nurnberg – a very telling depiction.
The use of her elevated viewpoint was explained by the many images where it had been used, for example, the Sennen Cove pictures, and the delightful cosy view from the window of the Mount Pleasant hotel. This viewpoint, he suggested, allowed the onlooker to be drawn into the picture and evoke a warm response.
Brian Gorst comments on that iconic self-portrait with nude model (?) We are treated to an insightful summation of the artist. He drew our attention to the fine profile of Laura, painted turning away from the mirror, turning away from the model and looking, quite deliberately, out of the picture. What is this saying? Look at me, I am the important woman here. And why not. She had every reason to be proud of her achievements, her drive and her talents.
This talk is full of originality, thought provoking comment and enlightening observations. Do watch it. I shall, again, and again.
If you would like the link for Brian’s on-line talk, please email evieknight3@gmail.com
************************************************************************************************
Susan’s Success
It has been a quiet year for most of us, but Susan Edwards (artist and member of the society) has been particularly busy and she has some exciting news!
We are delighted that her painting of the Malvern Hills (inspired by LK) has been selected for the annual NEAC (New English Art Club) Annual Exhibition Show 2020 in the Mall Galleries London.
Malvern Hills Sue Edwards
The NEAC showcases paintings, drawings and prints from its elected members alongside work by emerging artists whose ethos reflects its own: informed by the visual world and personal interpretation, while underpinned by drawing.
Here is the link for a virtual tour of the exhibition:
https://www.mallgalleries.org.uk/virtual-art-exhibitions/new-english-art-club-annual-exhibition-2020
New Website
Although we have all curtailed our social gatherings during 2020, the FDLKS website is always a good place of contact to find out what is happening and to review what has happened and much more. Here is an update from Diana Stockford (committee member) on our new website:
Welcome to the website of the Friends of Dame Laura Knight – Malvern and Colwall Branch
Our website: The Malvern Gateway to Dame Laura Knight
It is a truth commonly acknowledged among many, that an organization, in possession of a website, should update that website from time to time – and the website of the Friends of Dame Laura Knight Society is no exception.
We set about the task, with our designer, Philip Johnson, to create a website which would draw the viewer straight into finding out more about Dame Laura Knight, (or DLK as we refer to her). We therefore chose an exuberant self-portrait that we felt showed her vivacious character. She wears one of her modish hats, (and many of you will know the famous National Portrait Gallery self portrait of her in a similar, dashing hat), and our logo is of course a hat with paintbrushes.
Who we are as a Society, what we aim to achieve, what we do is all on the main page of the website, together with a précis of the life of DLK. We hope this sets the scene for you to explore the rest of the website, which features both what is happening now and what we have organized in the past.
As to the former: considering we are functioning in a time of Covid, we have done a lot: Heather Whatley has published her excellent short biography of DLK and we have mounted an exhibition of prints of many of DLK’s work outside Waitrose and Wilko in Malvern, (much appreciated by many who saw it), and recently streamed an incisive and insightful talk by Brian Gorst on DLK’s style as an artist.
As to the latter: the website offers a sight of past newsletters, reviews of events, and of course gives you access to the details of our archives, which are to be placed in Malvern Library where they can be accessed by application through the Society.
The archives are a great resource for all sorts of people interested in DLK and her artistic milieu and we are proud to have them and make them accessible. Similarly, we now have some high quality prints of DLK’s work that will, through exhibitions, develop more awareness of her work in Malvern and the region – particularly important when we do not have any of her actual work on permanent display in the town.
So, the website awaits you. Many people have visited it already and we hope and expect you to find it both interesting, and somewhere you can develop your understanding of one of this country’s most versatile and talented artists, and if you haven’t already, please join us as a member and get to know Dame Laura’s work more through the events the Society will put on in the future.
Diana Stockford
***************************************************************************
DLKS Archive
Diana mentioned the society’s unique archive which is in the process of becoming an on-line resource. Michael Johnson (committee member archivist) has the latest news:
To many members of our society their first introduction to our archive may have been at our exhibition ‘Magic of a Line’ (Elmslie House 25/03/2017). Here we were able to display our collection of material and pictures accumulated and collated by Prof. Murray Forsyth, then the society’s archivist. Whilst it was a great success, unfortunately due to us overrunning our agreed time of closure, we were forced to rather hastily pack all material into boxes and bags for storage.
It was sometime later that I was happy to take over as society archivist from P Murray with the first task being to return the collection to an ordered state. This was becoming important due to the increasing number of enquiries we were receiving from interested parties and students. However, as often, life has a habit of getting in the way, for me a house move after 23 years, so it wasn’t until late last year that a proper start was made.
With the assistance of two generous volunteers: Virginia and Gwyn, we decided that we should first decide just what an archive should be and how to best make it appropriate to one of the main aims of our society: ‘To promote awareness of her (Laura Knight’s) work’. We therefore concluded:
The archive should contain material that would add historical value towards the life and time of Laura Knight, both as a person and her canon of work produced.
That we the society, must encourage and facilitate secure access to the archive both by society members and members of the public.
Consequently, our first job was to categorize material as either ‘true archive’ or ‘presentational’. (The latter being mostly pictures and photographs regularly used for our display boards at society events). This done, all the archive material was identified, recorded and assigned to individual file-boxes. It will be these records that will be uploaded onto our website to provide an accessible resource.
In conjunction with categorizing the archive we applied ourselves to the second task of achieving open accessibility. With this in mind I approached Malvern Library who responded to our request for a meeting and after a short time we were jointly agreeing on both the design and location of a secure archive cupboard along with the opportunity to openly display of some of our items; all set to coincide with our summer outdoor exhibition.
Unfortunately, once again life intervened with the outbreak of Covid19 and the subsequent lockdown. Whilst our outdoor exhibition was able to go-ahead, the library had to close and although did partly reopen, it was under strict limitations. Consequently, it was jointly decided to postpone our archive installation until early 2021.
However, there still remains some work to be done, specifically the next stage of identification being to take a ‘thumbnail’ photograph of each item and then index to the register, thereby enabling better identification and improve understanding of this, our important resource.
Michael Johnson
November 16th 2020
**********************************************************************************
Coronation Mugs
Dame Laura Knight made her mark in history in many ways, one of which is her design work for coronation mugs.
Of all the varied items and material we have in our archive, one group (coronation mugs) have a unique story to tell; one that many may not be fully aware of.
On the 12th May 1937, the coronation of Edward VIII as King was due to take place at Westminster Abbey. However, on the 11th December 1936, Edward announced that he was abdicating, and would not be crowned king rather to marry the American socialite Wallis Simpson. This very quickly became one of the most scandalous moments in British history. Edward’s coronation was duly cancelled, and his brother was somewhat forced into the role, becoming King George VI.
However, preparations for the coronation were already underway, and souvenirs were already on sale when he abdicated on 11 December 1936. To keep everything from going to waste, it was decided to hold the coronation of his brother and successor King George VI on the same date. Any items that could be modified or re structured such as celebratory coins or medals were quickly collected before distribution and recast in the name of the new king.
Clearly not possible for the many china mugs that had already been designed, produced and distributed. Perhaps the most popular designs on sale before the announcement, was by Dame Laura Knight for both the Burleigh and Myott companies. In her design, she seemed to have steered away from convention, whereby instead of being surrounded by the more traditional images of royalty she introduces both a circus elephant and the George and Dragon motif alongside her portrait of Edward. I could only surmise that the elephant was presumably drawn from her extensive sketching and painting done backstage at circuses and not meant to be a comment on the expected pomp and circumstance usually expected for these occasions. (Unlike Royal Doulton who stuck with ‘traditional’ imagery and design)
Photograph of Laura on the production line painting mugs……Perhaps a little contrived!
It should be mentioned that though both had identical imagery, mugs that were produced by the Burleigh Company had slightly tapered sides and incorporates (I think) a lion’s head profile on the handle, whilst those from the Myott company had a plain handle and straight sides. There was also a smaller production of the Burleigh design by the Crown Ducal company, one supposes under licence. Whether at the time of release either make sold for a higher price than the other I have yet to discover. However, at current auctions the Crown Ducal will tend to attract a slightly higher price due to its relative scarcity whilst both the Burleigh and Myott seem to be evenly selling for around £40/£50. (Note: The Royal Doulton ‘traditional’ examples tend to be on offer for £20/£25)
Example of the Myott (Edward VIII) mug and Burleigh (George VI and Elisabeth) mug.
We in the Dame Laura Knight Society hold two examples of the Edward VIII mugs of the Burleigh design and one of the Myott. We also have five of the George VI and Elizabeth Coronation mugs. (Three Burleigh and two Myott)
As a footnote; the artist Eric Ravilious was also given a commission by the company Wedgwood to design a mug for the commemoration of Edward. As with Laura Knight this mug too was withdrawn and the design revised for King George VI and Queen Elizabeth, and furthermore later to be used for the coronation of Queen Elizabeth II in 1952. When comparing designs and asked to comment on that of Laura Knights, Ravilious was recorded as stating: “bloody beyond description”. Though his design was only reluctantly produced by Wedgwood, curiously the first customer was Wallis Simpson, Edward’s future wife, who was said to be delighted by it.
Eric Ravilious Mug.
However, it is interesting to note that a Wedgewood Ravilious mug today will sell for circa £300, significantly more than that of Laura Knight. Possibly more of the Laura Knight design were produced before the announcement of abdication but not enough to warrant a scarcity of Ravilious. Might it be that the more ‘modern’ style of Ravilious has survived and flourished over the years whilst that of Laura Knight deemed to be of another generation? That perhaps, may be an idea for another article.
Michael Johnson
***************************************************************************
Book Review
In 2018 some members of the society enjoyed a wonderful holiday in Cornwall and this area has long been recognised as a magnet for artists. Diana has reviewed a book by Michael Bird who has explained why he thinks this is the case:
‘The St Ives Artists: A Biography of Time and Place’ by Michael Bird
A review by Diana Stockford
‘From Sea to Shining Sea’
St Ives has been a place where artists lived and worked for at least a century, and this well illustrated history sets out to explain why that might be the case, and what sort of importance it had to the development of British art in the 1940s, 50s and 60s.
Someone once told me that it attracted so many artists because they were drawn there by a special sort of light, and Michael Bird says in his introduction: ‘the very air of Cornwall contains more light than in England, light reflected up and off the sea’.
There were clearly other forces at work too: social, intellectual, artistic and emotional, and Michael Bird sets out to explore how these related to the place, developing St Ives during this period into one of the most important artistic centres in Britain: he describes the connections and intersections as lines, which, ‘if you could plot these as lines on a map the sheer density of their convergence on St Ives would be matched in Britain only by London’.
The author does not follow a conventional art historical approach: ‘it … seems to me impossible to express in purely art historical terms just how and why modernist abstract art came to matter so intensely to Frost, Heron and their contemporaries in this unlikely place at this particular time’. His approach supplies context to both the artists and the production of their work, referencing contemporary political events, their experiences of WW11, class, social background and the changing mores of society, plus mass consumerism, television and new directions in architecture in the rebuilding of Britain after the war. All this provides a depth of understanding to what these painters wanted to achieve, and Michael Bird writes this history with wit and eloquence, (always noting the important connections between artists), and an informed detachment which is entertaining and enlightening. He even devotes a chapter to that overlooked person, the post-war female artist. There are many good stories here to enjoy – watch out for what Terry Frost did in Barbara Hepworth’s greenhouse, for instance.
The Roll Call of artists in St Ives at this period is impressive: Ben Nicholson, Barbara Hepworth, Terry Frost, Patrick Heron, Roger Hilton, as well as ceramic artists such as Bernard Leach and Shoji Hamada. The inevitable questions are asked: was it because Nicholson and Hepworth went there at the beginning of the war, (thus attracting other artists), the landscape, ‘getting away from it all’, cheap and attractive digs/studios? Whichever it was, there seems to have been at any one time enough of a critical mass of artists to generate a force field which made it a national, and internationally known, centre.
This is a very engaging account of the development of British modernist art in the latter 20th century, taking a wider view than usual of the context in which the artists operated. St Ives was not unique in cultural history; Wordsworth and Coleridge are synonymous with the Lake District, and the Glasgow Boys, (and Girls), with Kirkcudbright, for example. St Ives however, drew, and draws, people from a long way away; I talked to a ceramic artist in Heidelberg two years ago and asked her where in Germany she visited for inspiration: ‘Oh’, she said, ‘I go to St Ives…..’
Diana Stockford
************************************************************************
Works sold this year
It has been a quieter year than recent for SALE OF WORKS by Dame Laura Knight but here are a few highlights from 2020:
Lot 179: Dame Laura KNIGHT, R.A., R.W.S. 1877 – 1970 Circus folk – Circa 1930 Huile sur toile
Provenance : Acquis directement auprès de l’artiste par les parents de l’actuel propriétaire
Expositions : Londres, Alpine Club Gallery of Mill St, Conduit St, 1930
Newcastle upon Tyne, Laing Art Gallery, 1933, n°68
Nottingham, Nottingham Castle Museum, mars 1934, n°35
Est: €20,000 – €30,000 Sold: €39,000 ; Artcurial July 9, 2020 Paris
Lot 108: Dame Laura Knight, RA, RWS (British, 1877-1970) Two gypsy girls Dame Laura Knight, RA, RWS (British, 1877-1970)
Two gypsy girls signed ‘Laura Knight’ (lower right) charcoal, red chalk and watercolour 50.8 x 33.3cm (20 x 13 1/8in).
Est: £2,000 – £3,000 Sold: £3200 Bonhams November 10, 2020 London
Lot 18: Dame Laura Knight DBE RA RWS, British 1877-1970- Portrait of Rae Robertson
Dame Laura Knight DBE RA RWS, British 1877-1970- Portrait of Rae Robertson; charcoal on paper, signed and inscribed, 36×25.5cm (ARR) Provenance: Christie’s London, 2 March 1978, lot 15 Note: Ethel Bartlett and Rae Robertson were a famous classical piano duo during the 1930s and 1940s. Bartlett was a frequent model for both Laura Knight and her husband Harold. The present sitter, Rae Robertson, was Bartlett’s husband.
Est: £500 – £700 Sold: £480 Roseberys February 11, 2020 West Norwood
Lot 17: Dame Laura Knight DBE RA RWS, British 1877-1970- A Tyrolian.
Dame Laura Knight DBE RA RWS, British 1877-1970- A Tyrolian; charcoal, signed with initials and titled, 35.5x25cm (ARR) Provenance: Christie’s London, 2 March 1978, lot 15 Note: this work likely dates from 1923, when Laura and her husband Harold travelled to the village of Madonna di Campiglio on the Italian side of the Tyrol, where they painted and sketched the locals and the scenery
Est: £500 – £700 Sold: £480 Roseberys February 11, 2020 West Norwood
************************************************************************************************
Finally, here is news of the society’s FORTHCOMING EVENTS.
We have an exciting and varied programme of events for 2021 but the exact dates cannot be decided until all Covid restrictions are lifted and life resumes normality.
However, following the success of our first on-line talk in November, there will be another one in February/March 2021. Art historian, Catherine Wallace, will talk about ‘The Models of Laura Knight’.
May 2021 as part of the MALVERN WALKING FESTIVAL, there will be a walk on the Malvern Hills led by Michael Johnson and Mike Averill: ‘Appreciating and Understanding Dame Laura Knight’ visiting places Laura painted.
Later in the year, we hope to rearrange the postponed talk by Marcia Whiting, a Curatorial Associate from The Munnings Art Museum at Dedham, who will present an illustrated talk on the ‘Life and Art of Sir Alfred Munnings’.
The other event we hope to rearrange for 2021 is a visit to the Barber Institute and Winterbourne House and Garden.
Those of you who enjoy exhibitions may be interested to hear Penlee Gallery, Penzance, have a Dame Laura Knight exhibition due to open 28th April 2021 until 11th September, postponed from2020.
Sad news of one of our members.
Marion Percy, a legend of Colwall and the Friends of DLK
I am sad to have to tell you of the death of Marion, one of our earliest supporters and a great friend. I understand she died peacefully at home in Luston, Herefs. on 19th October after a year’s illness.
As the Manager of Colwall Village Hall and an energetic networker there wasn’t much about the Village or the Hall that she did not know or with which she was not involved. Our earliest meetings relied very much on her facilitating knowledge and enthusiasm. The Hall was only one part of Marion’s active life. Amongst many others were playing the flute, calling for ceilidhs/ barn dances, reading to schoolchildren, involvement in the Church, visiting the elderly and doing chores for them, supporting those in need in the community. She managed to drive over from Luston, where she had retired, to attend our meetings right up till autumn of 2019 when she became less active.
Marion left an indelible mark on everyone’s lives and she will be greatly missed. Her strength, sparkle and wonderful smile will always stay with us.
HW Nov 2020
**********************************************************************************
So here we are, at the end of the BUMPER LOCKDOWN EDITION of our newsletter.
May I take this opportunity to thank you, as a member of the society, for your continued and valued support, and particular thanks to the hard-working committee for their contributions to this newsletter.
As we started on a festive note, we shall end on the same with this light-hearted challenge to share with your friends and family over Christmas: