Beschreibung:

λ LAURA KNIGHT (BRITISH 1877-1970)
TWO ROMANY LASSES ON ASCOT HEATH
Oil on canvas
Signed (lower left)
63.5 x 76.2cm (25 x 30 in.)
Provenance:
Ian MacNicol, Glasgow
John E. Milne Esq., Private Collection, Glasgow, acquired from the above in 1966
John Martin of London, Modern Art from Britain & Ireland, London
The Collection of the Bowerman Charitable Trust, acquired from the above in 2001
Exhibited:
Penzance, Penlee House Gallery & Museum, Laura Knight In the Open Air,16 June 2012 - 8 September 2012, touring exhibition to Nottingham, Djanogly Art Gallery, 22 September - 4 November 2012; Worcester, Worcester Art Gallery, 17 November 2012 - 10 February 2013
Penzance, Penlee House Gallery & Museum, Laura Knight A Celebration, 17 May - 16 September 2021
This painting will be included in the forthcoming Catalogue Raisonné of the work of Dame Laura Knight currently being prepared by R. John Croft F.C.A., the artist's great-nephew.
 
Gypsy and traveller communities have long cherished the tradition of gathering at racing events, particularly at Ascot and Epsom, as horses have always held significant importance within the traveller community. These occasions, following months of travel, offered a chance for communities to meet and celebrate. The races provided a vibrant backdrop for socialising and an opportunity to display their finest clothes and jewellery. It became tradition to sell flowers and lucky heather to fellow attendees, a tradition that continues to this day.
 
During the 1930s, Laura Knight regularly attended the races at Epsom Downs and Ascot, initially recommended by her friend Sir Alfred Munnings. Her connection with Ally Bert, wife of a circus performer, led to an introduction to Mr. Sully, who owned a garage. Mr. Sully kindly agreed to chauffeur Knight and her companions in his Rolls Royce, which, with its high roof, accommodated Knight's easel and canvas comfortably. Knight would record from life scenes from these meets, capturing the festivities, characters and everyday life providing a unique insight into these historic meets.
 
'This Royal meeting was a special occasion for the gipsies [sic.]; they came in their bright satin gala dresses, hair elaborately arranged with curls soaped to their cheeks, their sharp black eyes alert for police as they made a round of parked cars which had passengers standing on top. Out came a crystal from a hidden pocket, and a wheedling voice offered to tell fortunes - forbidden by law. They never bothered Laura at her easel in the Rolls; she was a source of money in another way, for now she asked gipsies [sic.] of different ages to pose for her, and paid them. More important still, they knew that she liked and admired Romany folk' (J. Dunbar, Laura Knight 1975, p. 143)
 
Laura Knight beautifully captures the essence of Romany life through her paintings. Following on from the races, Knight was welcomed into the travelling community, spending time painting direct from life in Iver. She engaged intimately with the community which lends her work a remarkable authenticity and realism that is both honest and romantic. In the present lot, the Ascot racecourse is depicted in the distance, with the Queen Anne Enclosure visible in the upper right corner. The lawn is scattered with groups of people at leisure, relaxing and resting under the trees. Central to the composition are two female figures: one seated and the other lying with her head resting in the lap of the seated figure. The seated figure wears a striking red cape with primary blue sleeves and a yellow tartan skirt, her auburn curls flowing over her shoulders. The figure lying down has jet black hair with a curl resting on her forehead. Her arms are delicately placed on her friend's knee, her right arm gently entwined with her companion's. The soft pastel shades of her patterned dress create a serene and beautiful contrast.
 
Condition Report:
The canvas is not relined. Ultraviolet light reveals some scattered spots of retouching to the tip of the upper left corner, along the edges and to the sky as well as a couple of further small spots. Otherwise, the work is in good condition.
Condition Report Disclaimer