Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970), The Bathing Pool, gouache on paper, signed and dated lower right 'Laura Knight '12', 45.5x66cm.
Provenance: the painting was purchased by the vendor’s father from Knight’s retrospective exhibition held at the Royal Academy in 1965, where it was item number 84. There is a letter from Knight to the buyer. The original exhibition catalogue is with the painting.
From 1907 Knight lived in Cornwall, first in Newlyn, then the village of Lamorna, just west of Penzance. Around this time Knight began painting nudes outdoors. Lamorna is a rocky cove, surrounded by quarries, with the great rocks seemingly tumbling into the sea, and it was typically on these rocks or atop the cliffs that Knight set her nude compositions. There was, apparently, some local resentment at this, but the landowner Col. Paynter, allowed Knight a free rein. This piece, painted in 1912, is almost certainly Lamorna, the bathers in a granite rock pool exposed by the low tide.
Attrib. Thomas Hudson (1701-1779), Portrait of Anne Dorothy Smith-Barry 1748 - 1797, three-quarter length seated, in a silver silk dress with lace collar, bonnet and trim holding a small wreath of flowers. 74x61cm
Provenance: The picture has passed by descent through the Smith-Barry family and subsequently though the marriage of Captain Anthony Villiers MFH and Rosemary Bell, daughter of the Hon. Dorothy Elizabeth Bell (nee Smith-Barry).
Laurence Stephen Lowry R.A. (1887-1976), 'The Pond', lithograph, Fine Art Trade Guild blind stamp with code 'KDC', signed in pencil lower right, 43x57cm
Attributed to Thomas Phillips RA (1770-1845), oil on canvas, portrait of Sarah Siddons (1755–1831), née Kemble, in Turkish dress with a Capriccio of Istanbul beyond, extensively inscribed on a label attached to the reverse, 89x112cm
20th century Belarusian, 'СУПРЕМАТИЗМ' (Suprematism), abstract oil on canvas, the stretcher marked Vitebsk, 73x45cm
Benjamin Killingbeck (act. 1769-1783), Horse Held by his Rider on Newmarket Heath, oil on canvas, 101.5x127cm
Provenance: part of the contents of Stepleton House, Blandford, Dorset
Provenance: bears label to verso for Dickinson, Agents and Dealers in Fine Art, London/New York
Part of the contents of Stepleton House, Blandford
Pieter Van Lint (1609-1690), 17th century Dutch, portrait of Anna Maria Schumann, oil on canvas, 107 x 86cm
Attrib. George Gower (circa 1540-1596 London), portrait of Sir Francis Willoughby (1546/7-1596), 'Who Built Wollaton House In The Year 1580', oil on board, 'Spink & Son, 93/18' label to reverse, 51 x 41cm
Provenance: by descent through the Birkin family who married into the Willoughby family - Cecil Edward Willoughby born 1851 married Harriet Birkin born 1864, daughter of Sir Thomas Birkin, 1st Bt. Long understood by the family to be by Gower.
Francis was the second son of Sir Henry Willoughby and his wife Anne, née Grey, and was probably born at Woodlands in Dorset.
His father inherited the Wollaton and Middleton estates on the death of Sir John Willoughby in January 1548/9, but died in August the same year while fighting in Kett's Rebellion. Francis's mother had died the previous year, and Francis spent the early part of his childhood being looked after in Essex by his guardian and uncle, George Medley. His other uncle the Duke of Suffolk, guardian of Francis's elder brother Thomas, was executed in 1554 following the failed plot to place Lady Jane Grey on the throne, and Medley was incarcerated in the Tower of London for a short time, bringing more confusion to Francis's life.
Francis was educated in London, Saffron Walden, and Jesus College, Cambridge. In 1559 Thomas died and Francis unexpectedly became heir to the Wollaton estate (which he came into full possession of in 1564), comprising the two principal manor houses of Wollaton and Middleton. He was knighted in 1575.
Joseph Highmore (1692-1780), three-quarter length portrait of a lady holding white gloves, oil on canvas, 125 x 99cm