A mahogany double sided studio easel and a pedestal mirror, with provenance from Philip de Laszlo, O
Lot 202W
A mahogany double sided studio easel and a pedestal mirror, with provenance from Philip de Laszlo, Oswald Birley and John Leigh-Pemberton
Sold for £4,320 (US$ 7,261) inc. premium
Auction Details
Lot Details
A mahogany double sided studio easel and a pedestal mirror, with provenance from Philip de Laszlo, Oswald Birley and John Leigh-Pemberton
the H-frame easel with winding mechanisms for height and angle, the reverse with adjustable head block on a trestle base with castors, 204 x 68cm (80 5/16 x 26 3/4in), together with winding handle, inscribed to the easel "To P.A. de Laszlo from his friend G.H.F.Nuttall, 1932" and "Bought at Laszlo's sale by Oswald Birley and left by him in 1952 to John Leigh Pemberton"; the mirror with adjustable rectangular plate on a triangular column with triform base, 189cm (74 7/16in) high.

Footnotes

  • PROVENANCE:
    The present lot was previously bought at the studio sale of the renowned portrait artist Philip Alexius de Laszlo (1869-1937) by Sir Oswald Birley (1880-1952) who also worked as a portrait artist, and then moved to the studio of the painter and illustrator John Leigh-Pemberton (1911-1997).

    De Laszlo was renowned for the use of a small mirror during portrait sittings and in a 1934 interview recorded for "The Studio Publications" by A.L.Baldry he explains:

    "...its (the mirror's) chief value is that it gives me a new view of both picture and sitter and therefore enables me to discover any faults there may be in drawing, or in the relations of tones. It acts like the fresh eye which can often perceive defects that the painter, having got accustomed to them, has failed to detect. I take a look in the mirror from time to time as a sort of self-criticism - at any rate the mirror is an honest critic."

    He goes on "I place a mirror in his (the sitter's) line of vision so that he can watch in it the progress of the picture as I work. I like my sitters to see what I am doing to the portrait at every stage and I am sure that by letting them look on in this manner I not only induce in them the interested expression at which I aim".
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