View full screen - View 1 of Lot 681. A Village Wedding.
681

Harold Knight R.A. R.O.I. R.P.

A Village Wedding

Estimate:

40,000

to
- 60,000 USD

Property of a Private Collector, Palm Beach

Harold Knight R.A. R.O.I. R.P.

Harold Knight R.A. R.O.I. R.P.

A Village Wedding

A Village Wedding

Estimate:

40,000

to
- 60,000 USD

Lot sold:

100,800

USD

Property of a Private Collector, Palm Beach

Harold Knight R.A. R.O.I. R.P.

1874 Nottingham - 1961 Colwall Stone

A Village Wedding


oil on canvas 

canvas: 64 1/4 by 76 1/4 in.; 163.2 by 193.7 cm.

framed: 71 by 83 in.; 180 by 210.8 cm.


We would like to thank R. John Croft F.C.A., the great nephew of Dame Laura Knight R.A., R.W.S., for his contributions to the catalogue entry for this work, which will be included in his forthcoming catalogue raisonné of Harold Knight R.A., R.O.I, R.P. 

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: The work is in excellent condition. This work is restored and should be hung in its current condition. There are very few retouches. These retouches are all clearly visible under ultraviolet light—in the left glove of the mother of the bride and in the sky in a small group in the upper right and in a few dots on the extreme left edge. Any other unevenness to the paint layer when viewed under ultraviolet light is all original to the artist.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

C. Fox, Painting in Newlyn, 1900-1930, Penzance, Cornwall, 1985, p. 120, reproduced;
Architectural Digest
, New York, May 1987, p. 123, reproduced.
Newlyn, Newlyn Art Club, March 25, 1908;
London, Royal Academy, 1908, no. 513;
London, Royal Academy, 1962, no. 244.

Harold Knight studied at the Académie Julian in Paris under Jean Paul Laurens and Benjamin Constant. In 1897, he trained at the Nottingham School of Art, where he met Laura Johnson (the future Dame Laura Knight), one of the most accomplished female painters of her age. The two married in 1903 and later became the first husband and wife Academicians in the history of the Royal Academy (Laura admitted in 1936, and Harold in 1937). In 1907, Laura and Harold settled in Cornwall, where they were central to the artistic communities in Lamorna Cove and Newlyn.


A Village Wedding was Knight’s first painting of Newlyn, where the work was first exhibited in 1908. Leaving St. Peter’s Church in Newlyn, the confetti-sprinkled bride and groom are likely from local fishing families. According to their friend Norman Garstin, the move to Cornwall from Staithes, in Yorkshire, precipitated in the work of both husband and wife "an utter change in both their outlook and method: they at once plunged into a riot of brilliant sunshine of opulent color and sensuous gaiety," which is evident in the brightly colored palette of the present work.1


1 as quoted in C. Fox, Dame Laura Knight, Oxford, 1988, p. 28.