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Gilbert Albert. A gold diamond set necklace, with brilliant cut diamonds claw set to the centrepiece, and barrel link chain, maker's mark, stamped 750, length 39cm, together with Gilbert Albert suede pouch Born in 1930 in Geneva, Gilbert Albert’s prodigal talent was recognised from a young age and he was admitted to the l’Ecole des Arts Industriels. The school enabled Albert to engage with his interest in all aspects of design and modern sculpture, putting him in contact with the work of Brancusi and Mondrian. In 1955, at the youthful age of 25, he began working for Patek Philippe as a designer and head of workshop. His seven year stint at the firm was wildly successful, winning the company the DeBeers Diamonds International Award - the Oscar of the design world - three times consecutively. His iconic collections, particularly ‘Ricochet’, remain highly sought after collectible items for their asymmetric and angular faces. Following on from Patek Philippe, he worked with Omega. This collaboration continued his success streak, winning the DeBeers Award two times further under the company name. In 1962, however, the Swiss jeweller moved away from watchmaking to establish a jewellery house and open his own atelier. This daring business move is commonly attributed to the advice given by his tutor from l’Ecole des Arts Industriels: ‘if you want to succeed, do what others will not do.’ The jewellery he designed in this period was even more groundbreaking than his previous collections. As the first designer to set meteorites into fine jewellery, he created incredible contrasts between roughly hued and unconventional raw materials with highly polished, textured 18 carat gold. This innovative approach earnt him five more DeBeers Awards in his own name, totalling to a previously unprecedented ten awards in his lifetime, earnt between 1958 and 1988. His works have been widely exhibited around the world, including Paris, New York, Dubai and Johannesburg. He was the first living artist to be invited to show his pieces at the Kremlin in Moscow since 1917.Condition Report: Approximate weight 14.69 grams.

A 1970s Omega De Ville 8272 18ct gold wristwatch by Gilbert Albert. The watch having a naturalistic strap with fold-over snap clasp. The clasp marked 750 711. 1685 Caliber 620 mechanical, 17 jewels.  Movement number 32 433 103, Case number D 22832 A. The interior of the case marked 18K 750 Omega Watch Co. Fab Suisse Swiss Made. Total weight 113.9g. We have confirmed that watch is ticking at time of cataloging however this watch is sold as found without guarantee that it will continue to do so. All weights, measurements and sizes are approximate. 'Gilbert Albert was born in Geneva in 1930 he always had a love of nature and this influenced his designs. His father encouraged this love alongside the study of entomology which would later inform much of his work. His prodigious talent was recognized at an early age, and at 15 years old he attended the l’Ecole des Arts Industriels in Geneva. Here he was able to explore all aspects of design and develop his love of modern sculpture and his admiration for artists such as Brancusi and Mondrian. Most importantly, he learnt to follow his college tutor’s advice that “if you want to succeed, do what others will not do”. His talent was noticed by Patek Philippe when he was only 25. He worked there as part of the designer team and was head of the workshop from 1955 to 1962, during which he coined signature asymmetrical watches for the house. He also worked with Omega SA watchmakers before opening his own atelier in 1962. Pieces made by Gilbert Albert are highly sought after by watch collectors worldwide.'

Five Liberty silk scarves consisting of: Hera style scarf decorated with peacock feathers, 90cm x 90cm, Moroccan style scarf, 88cm x 88cm, pink floral silk scarf, 70cm x 70cm, tapestry print style scarf,91cm x 91cm and one other floral print, 132cm x 135cm, all either printed Liberty or with Liberty label and a Sacred Silks scarf, Bloomsbury Group and Omega Workshop design commissioned by the Courtauld Gallery 167cm x 28cm (6)The dark floral print scarf does have one or two small holes, others overall ok with minimal signs of wear.

Fry (Roger) Twelve Original Woodcuts, second impression, 12 plates, printed on alternate rectos, advertisement leaf at end, toning to title, original wrappers, one or two spots, creased at edges, spine a little toned, [Woolmer 13; Greenwood p.68], 8vo, Hogarth Press, 1921. *** See previous lot for details: a rare second impression of this Omega Workshop item.In a letter of 2 December 1921, Virginia Woolf noted that "the first edition of Roger's woodcuts sold out in two days, and another [is] to be printed, folded, stitched and bound instantly" - Letters, II, p.495. The second impression was printed on superior paper stock, without the titles of the woodcuts. Though the size of the impression is unknown, we can trace few examples of this impression in commerce. 

Fry (Roger) Twelve Original Woodcuts, first edition, [one of 150 copies], review slip with autograph insertions in Virginia Woolf's hand loosely inserted, 1p. advertisements at end, light toning strip to title and rear endpaper, original handmade paper wrappers, light creasing to edges, [Woomer 13; Greenwood p.68], 8vo, Hogarth Press, 1921. *** The last title hand-printed by the Woolfs at the Hogarth Press. Including a rare review slip with Virginia's trademark purple ink."Roger again last night, scraping at his woodcuts while I sewed; the sound like that of a large pertinacious rat. We live in stirring days." - Virginia Woolf, Diary, 12 April 1921.A rare Omega Workshop work, printed two years after the experimental design studio founded in 1913 by Roger Fry shut down in 1919. "At this moment all my time is spent in stitching Roger Fry's woodcuts. We sold our first edition in 2 days, and now have to provide a second in a hurry. It is very encouraging, but I wish we had a capable woman on the premises." - Woolf, letter to Violet Dickinson, 6 December 1921.  

Edward Wolfe,  South African/British 1897-1982 -  Queen, 1950;  felt-pen on paper, 23 x 15 cm (ARR)  Provenance:  with The Catto Gallery, London (according to the partial label attached to the reverse of the frame);  private collection  Literature:  John Russel-Taylor, 'Edward Wolfe, Trefoil Books for Odette Gilbert Gallery', London, 1986, p.188 pl.169 Note: Edward Wolfe was invited by Nina Hamnett to work with Roger Fry's Omega Workshop during the latter stages of the First World War and worked with Duncan Grant to decorate the dividing doors in the first floor sitting room at 46 Gordon Square when Maynard Keynes had control of the house. These decorated doors are now in the collection of Kings College, Cambridge. Works by the artist are in the collections of the Tate, Manchester Art Gallery and the Ben Uri Gallery & Museum.

MANNER OF THE OMEGA WORKSHOP: AN EMBROIDERED WOOLWORK PANEL DEPICTING A BOWL OF FRUITcirca 1910, 38cm x 51cm, in a period frameProvenance: Paul Reeves, Cirencester, GloucestershireHis auction, 'Textiles as Art: From the Collection of Paul Reeves', Lyon & Turnbull, 23rd February 2017, lot 91Framed dimensions: 54cm x 67.5cm

ROGER FRY (BRITISH 1866-1934) TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN Red chalk Signed and dated 1923 (lower left), titled (lower right) 32.5 x 44.5cm (12¾ x 17½ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Roger Fry, A Sampler of Castile, Leonard & Virgnina Woolf Hogarth Press, London, 1923, reproduced plate 8 with the caption 'Segovia: S. Nicolas''Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: Unexamined out of glazed frame. Very light undulation to the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) BURNHAM MARSH, SCOLT HEAD, NORFOLK Gouache on card Signed with initials (lower right); signed and titled (to backing board) 25 x 28cm (9¾ x 11 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

ROGER FRY (BRITISH 1866-1934) WOODED LANDSCAPE WITH HILLS BEYOND Oil on board Signed, dedicated and dated Marion Richardson/with best wishes for Christmas/1926 Roger Fry (verso) 20.5 x 26.5cm (8 x 10¼ in.)Provenance: Gifted to Marion Richardson, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: There is some light surface dirt and the work would benefit from a light clean. There are two tiny holes to the surface of the board at the centre and lower left, possibly original to the board before it was painted. Otherwise in good original condition with no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) SELF-PORTRAIT, AGED 17 Pencil 32 x 26cm (12½ x 10 in.)Drawn in 1910.Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Marion Richardson, Art and the Child, London, 1948 (illustrated) Jessica Kilburn, Thomas Hennell: the Land and the Mind, London, 2021 (illustrated) 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Foxing scattered to the sheet throughout, most notable to the sitter's blouse and down the right side of the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912.  Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) FLOWER PIECE Oil on canvas laid on board Signed (lower left) 51 x 41cm (20 x 16 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: The paint surface is dirty and would benefit from a clean. There is a fine surface scratch to the lower centre left. In otherwise good original condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read     Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) HOUSE BY THE WATER'S EDGE Ink Signed and indistinctly dated 15[?] (lower right) 23.5 x 35cm (9¼ x 13¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerExhibited: London, The London Artist's Association 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  Condition Report: Unexamined out of glazed frame. Overall fading throughout the sheet, most notable to the signature and date to the lower right corner. Otherwise no other obvious condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDER Oil on board Signed (lower right) 32.5 x 40.5cm (12¾ x 15¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: The paint surface is dirty and would benefit from a clean. There is some damage and associated paint loss to the edges and corners of the board. There is a surface scratch (approx 1.5cm long) to the lower left quadrant and some other further light surface scratches. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF COFFEE POT, TUREEN AND DISH Oil on canvas 36 x 46cm (14 x 18 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) VILLAGE SCENE, SOUTH OF FRANCE Oil on board 33 x 41.5cm (12 x 16¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) MARION RICHARDSON'S MOTHER, ELLEN RICHARDSON (NÉE DYER) Oil on canvas 40.5 x 35.5cm (15¾ x 13¾ in.) Unframed Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read    

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF APPLES AND PEARS Oil on canvas 41 x 51cm (16 x 20 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

Nina Hamnett, British 1890–1956 - The Lounge Lizard, 1917; ink on paper, signed with initials and dated lower right 'NH 17', 16.5 x 108 cm (ARR) Provenance: Sandra Lummis Fine Art, London (according to the label attached to the reverse of the frame); Dreweatts, Newbury, Modern and Contemporary Art, 19th October 2022, lot 78; a private collector of Bloomsbury related art Note: Hamnett was notorious for her bohemian lifestyle and powerful portraits, depicting the artistic circle around her that included figures such as Henri Gaudier-Brzeska, Ossip Zadkine and Horace Brodzky. She worked for Roger Fry's Omega Workshop and was dubbed the 'Queen of Bohemia'. Her work was recently the focus of an acclaimed exhibition at Charleston Farmhouse, the home of Vanessa Bell and Duncan Grant, in 2021. Sandra Lummis sold works by Vanessa Bell and John Nash to the British Museum. 

Modern three piece suite upholstered in 1913 design, Bloomsbury Group/Omega Workshop, fabric ‘Pamela’ by Vanessa Bell or Duncan Grant all recovered in 1913 design, produced by Charleston Enterprises under licence, comprising three seater and twin seater sofas and armchairThree seater sofa approximately 235cm long x 90cm deep x 75cm high, two seater approximately 170cm wide x 87cm deep x 80cm high, armchair approximately 108cm wide x 87cm deep x 80cm high, no severe damage but some fading, discoloration and staining to fabric most pronounced on the two seater which also has more wear and seat is less firm (see images), otherwise structurally sound and these are very comfortable

Late 18th / early 19th century stickback armchair, possibly ash and elm, with turned legs and outswept arms, with cushion covered in Vanessa Bell’s ‘Maud’ fabric, designed for and produced by the Omega Workshop in 1913, and named for Maud Cunnard, reproduced under licence by Charleston Enterprises on behalf of Charleston HouseGood solid condition, some worm damage to base of two legs, general wear and minor worm holes overall. 78.5cm high, 71cm wide at edges of arms, the seat 58cm wide, 38.5 cm deep, centre of seat 39.5cm high from ground

Vinyl - 10 limited edition soundtrack albums and two 10” albums to include: Kurt Stenzel – Jodorowsky's Dune Original Motion Picture Soundtrack (double album, CINE 806), Angelo Badalamenti – Blue Velvet (original motion picture soundtrack) (blue / black split coloured vinyl, FROST 003LP), Bernard Herrmann, Dave Blume – Taxi Driver (original soundtrack recording) (yellow marbled double vinyl, WW 015), John Barry – The Tamarind Seed (original motion picture soundtrack album) (limited edition numbered, red & blue vinyl, SILLP 1647), Ron Grainer – The Omega Man (original motion picture soundtrack) (limited edition numbered double album, SILLP 1561), Paddy Kingsland, BBC Radiophonic Workshop – The Changes Original Television Soundtrack (limited edition numbered, double white vinyl, SILLP 1540), Jerry Goldsmith – Planet Of The Apes (original motion picture soundtrack) (double album, MOND 038), Pat Metheny Group – The Falcon And The Snowman (original motion picture soundtrack) (limited edition white vinyl, MOVATM 099) sealed, Delia Derbyshire / Brian Hodgson / David Vorhaus – Electronic (SILLP 1539), Craig Safan – Warning Sign (original motion picture soundtrack) (limited edition double red white splatter vinyl, INV 136LP), Tristram Cary – Quatermass And The Pit - Electronic Music Cues (limited edition luminous clear vinyl 10”, SILLP 1466), Desmond Briscoe And The BBC Radiophonic Workshop – The Stone Tape (limited edition numbered, green fluorescent vinyl, SILLP 1548). Condition at least EX overall

A GOLD NECKLACE, FRENCH, CIRCA 1965Composed of two interlaced flexible gas-pipe link necklaces, in 18K gold, with partial maker's mark for Gross, French export marks, length 38.4cmGross is a Parisian workshop founded in 1860 by August Gross. They were originally chain makers and have worked for Cartier amongst others. Condition Report: Clasp secureWith Mercure marks located on the tongue for 18K gold, French then exportedAnother mark looking like an Omega in a square: unable to identifyPartial maker's mark: visible vertical lozenge with A and stick/whip for GrossMinor signs of wear, overall in good conditionTotal gross weight approx. 100.08g

Omega Workshops; Arthur Clutton-Brock & Roald Kristian (ill.): 'Simpson's Choice: An Essay on the Future Life', London, Omega Workshops Ltd., 1915, 1st edition, limited to 500 copies only, 3 full-page wood-engraved illustrations, numerous head and tail-pieces, and decorative opening initials by Roald Kristian as called for, printed under the direction of J.H. Mason, 4to, original cloth backed pictorial paper covered boards. The Omega Workshops was a design enterprise founded by members of the Bloomsbury Group in July 1913, with the intention of providing graphic expression to the essence of the Bloomsbury ethos. The Workshops was also closely associated with the Hogarth Press, with Roger Fry, Duncan Grant, and Vanessa Bell as its directors. Wyndham Lewis was also initially part of the operation, and whilst Fry was keen to encourage a Post-Impressionist influence in designs produced for Omega, Cubist and Fauvist influences are also apparent, particularly in many of the textile designs. Unfortunately Omega Workshop was short-lived and closed down in 1919, 'Simpson's Choice' was the first work to be published at the Omega Workshop, and was to be one of only four books completed by the Press.

A pair of American emerald, sapphire, ruby and diamond clip earrings, c.1950, of scrolled form, each claw set with a cabochon ruby, emerald and sapphire. A twisted with scroll with a row of claw set old Swiss cut diamonds to a reeded scroll claw set with graduated old brilliant and old Swiss cut diamonds. Omega clip fittings. Marked 14K. Tested as approximately 14ct gold and platinum. 26mm x 23mm,16.32gCondition ReportLight surface marks commensurate with its age. Diamonds bright and lively.Gemstones bright and lively.It would be very simple job for a workshop to add posts for pierced ears.

Edward Wolfe (South African/British, 1897-1982)Portrait of Eva Leech signed and dated 'Wolfe/1918' (upper right)oil on canvas76.5 x 50.5cm (30 1/8 x 19 7/8in).Footnotes:ProvenanceWith Odette Gilbert Gallery, LondonSale; Christie's, South Kensington, 12 December 2013, lot 85, (as Mrs Hutchinson (Omega Workshop Housekeeper)), where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Parkin Gallery, Aspects of Jewish Art in England 1900-1950, 21 May-21 June 1975, no. 60London, Belgrave Gallery, Jewish Artists of Great Britain 1845-1945, 15 March-16 April 1978; this exhibition travelled to Bradford, Cartwright Hall, no. 51, illustratedLondon, Patrick Seale Gallery, Edward Wolfe, April (undated), no. 42We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

§ § Attributed to the Omega Workshop, a design for a fan oil on silk fan leaf, 46 x 85cm overall

HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) THE MADONNA OF 'THE MIRACLE' WITH SELF-PORTRAIToil on canvas55 x 43cm; 21 3/4 x 17in74 X 61cm; 29 x 24in (framed)Property from a Deceased EstateProvenance:Mr & Mrs Thomas Leman Hare (commissioned from the artist. Thomas Leman Hare was a publisher and collector and in the 1920s became editor of Apollo magazine)Mrs Genevieve Shillingford (god-daughter of Mrs Leman Hare)Miss Joia Shillingford (daughter of the above)Sale, Sotheby's London, 11th November 1981, lot 242 (sold by the above)A. Leslie (probably purchased at the above sale)Alton Gallery, BarnesPurchased by the late owner from the above prior to 1990Painted in 1912, this is a unique example in Gaudier-Brzeska’s oeuvre both in being painted on canvas rather than paper, and in the silhouette self-portrait holding a brush. The statuette in the foreground of the composition is a plaster Gaudier had recently completed of Madame Carmi in the leading role of the Madonna in The Miracle performed at the London Olympia. The plaster is now in the collection of Kettle's Yard, Cambridge (fig. 1). The present painting was almost certainly executed in the Thameside home of his patrons, Mr and Mrs Leman Hare, on Chiswick Mall. Thomas Leman Hare (1872-1935) was a painter, collector and writer on art, who subsequently became editor of Apollo magazine. Friends of the Leman Hares included fellow art writer Haldane Macfall, painter and illustrator Claud Lovat Fraser and the aspiring young writer Enid Bagnold, who later achieved fame as the author of National Velvet. Gaudier-Brzeska had arrived from his native France with his companion Sophie Brzeska early in 1911 and had entered the orbit of this group in January 1912 after writing to Haldane Macfall in response to an article he had published in the English Review. Gaudier modelled portraits of several of them and contacts with more advanced artists and writers followed notably with the sculptor Jacob Epstein, some of the Camden Town painters and with Roger Fry’s Omega Workshop. In 1914 he was elected to the London Group and emerged as one of the leaders of the short-lived, radical Vorticist Group before his tragically premature death in France aged only 23. Performed from 21 December 1911 to 10 February 1912, The Miracle, produced by the German impressario Max Reinhardt was an extravaganza - part medieval miracle play, part wordless musical pageant involving around 1,700 performers including orchestra and chorus, horses, actors and a set evoking the interior of a medieval church which is probably that sketched on the verso of Gaudier’s canvas (fig. 2). It was a hit which subsequently toured in Europe and the US, was revived in the 1920s and filmed in three versions. It also launched the career of Maria Carmi who incarnated the central figure, a sculpture of the Madonna and the redemptive figure of the nun at the core of the plot.The statuette of Maria Carmi (1880-1957) was one of Gaudier’s earliest commissions. He was paid £5. The commission and the process of its making were described both by Sophie Brzeska in the ‘Journal’ of her life with Gaudier (Cambridge University Library) and by Gaudier himself in a letter, dated 12 February 1912, to Haldane Macfall (National Art Library).In Sophie Brzeska’s account Mrs Leman Hare arrived at their Chelsea lodgings, just as they were packing up to move, to offer Gaudier the commission and to insist that he and Sophie Brzeska accompany the Hares to the final performance who had already seen it eight times; ‘There is a large number of people who admire Maria Carmi as much as we do. So my husband had the idea to ask Lord Northcliffe and a few other gentlemen whether they might not like to contribute to having a bust made of this divine Madonna. Lord Northcliffe was enchanted by the idea. . . We are going to have a copy cast in bronze to offer to Madame Carmi and then fifty or so in plaster which will sell easily.’Two days later Gaudier gave a down-to-earth account in a letter to Macfall, describing the sculpture as a statuette rather than a bust. ‘Off we went as tired as could be, made about sixty sketches of the subject, came back home…at 1 o’clock yesterday, and spent the whole morning putting up the clay for the thing.’ He added ‘Mr Hare gave me a very good idea. He suggested that I should indicate on the plaster cast the different colours gold, red and blue and this I will do.’On 26 February Gaudier was able to report to Macfall that the mould was finished and he expected to be able to cast the piece that evening. A second plain white cast was made, later probably destroyed, but the projected edition never came to fruition.The archive image of the statuette (fig. 1) shows short brush strokes of colour applied in an Impressionist technique although all the colour has now deteriorated to dark brown in this sculpture (Kettle’s Yard, Cambridge). A pastel of The Madonna alone (Private Collection) is more densely pigmented in red, blue, green and ochre (H Brodzky, Gaudier-Brzeska Drawings, 1946, colour frontispiece). One may surmise that Gaudier included the mirrored image of himself as a painter rather than sculptor in his canvas in acknowledgement of Leman Hare’s colour suggestion.We are grateful to Dr Evelyn Silber for her assistance in preparing this catalogue entry. fig. 1, Archival photograph of Gaudier-Brzeska, Mme Carmi as the Madonna in 'The Miracle', plaster, 1912 (courtesy of Kettle's Yard, University of Cambridge)fig. 2, The reverse of the present lot, almost certainly showing the stage set of The Miracle performed at Olympia Exhibition Halls 1911-12

A Swiss diamond and cultured pearl suite by Gilbert Albert, circa 1960, comprising a collar necklace, ring and pair of ear clips, the design of fluid polished and textured beads, randomly spaced with collet set brilliant-cut diamonds and cream or pink spherical and bouton cultured pearls, the hinged ear clips with post fitting, all stamped with maker’s monogram and ‘750’, necklace length 37.5cm, ring size R, ear clips length 2.5cm. £3,600-£4,000 --- Born in 1930, Gilbert Albert began his career studying jewellery craftsmanship and design at L'Ecole des Arts Industriels in Geneva. In 1955 he became designer and head of Patek Philippe's workshop where he remained for seven years before founding his own atelier in 1962. He won the prestigious ‘Oscar’ award at the Diamonds International Awards ten times: three for Patek Philippe, two for Omega and five times under his own workshop – a unique achievement. “In the enchanted world of jewellery, every piece much be original in its execution.” Gilbert Albert. Condition Report All in very good condition, no damage or repairs. Weights: necklace 73.2gm, ring and earrings 31.3gm.

Jeremy Greenwood:'The Graphic Works of Edward Wadsworth'with an introduction by Richard Cork, published by The Wood Lea Press, Woodbridge, 2002, complete with slipcase;'Omega Cuts'with an introduction by Judith Collins, woodcuts and linocuts by artists associated with the Omega Workshop and Hogarth Press, published by The Wood Lea Press, Woodbridge, 1998, complete with slipcase (2)Condition ReportIn good condition.

Edward Wolfe, South African/British 18971982 - Seated woman; felt-pen on paper, signed lower right 'Wolfe', 29.7 x 21.3 cm (ARR) Note:Edward Wolfe was invited by Nina Hamnett to work with Roger Fry's Omega Workshop during the latter stages of the First World War and worked with Duncan Grant to decorate the dividing doors in the first floor sitting room at 46 Gordon Square when Maynard Keynes had control of the house. These decorated doors are now in the collection of Kings College, Cambridge. Works by the artist are in the collections of the Tate, Manchester Art Gallery and the Ben Uri Gallery & Museum.

Manner of Nina Hamnett (1890-1956) Two women with babyinscribed to the reverse oil on canvas86cm x 81cm Provenance:The collection of the late Eric Stevens, removed from Hampstead, LondonSale; Cheffins, Art & Design, 11 October 2018, lot 363Widely known as the ‘Queen of Bohemia’, Welsh artist, writer and authority on sailors’ shanties, Nina Hamnett was a Vesuvius of both talent and character.Born to a military family in Tenby, Wales, Hamnett enjoyed a privileged childhood, attending a private boarding school on the Kent coast and later in Somerset. However, her father’s dishonourable discharge from the army and his subsequent employment as a taxi driver appears to have been a seismic event in Hamnett’s early life. Although she was able to continue her education, due to financial support from other family members, her father’s change in circumstance allowed Hamnett to liberate herself from the constraints of middle-class expectations and affectations. A lady, she claimed, was the last thing she ever wanted to be.After training in London, in 1914 Hamnett moved to Montparnasse, Paris, to attend the academy of Marie Vassilieff. In Paris, Hamnett dedicated herself to hedonism and became close friends with a number of influential cultural figures, including Modigliani, Picasso, and Cocteau. Tales of this fiercely vibrant and openly bisexual sybarite soon spread back to England and upon her return she was invited to work at the Omega Workshop with Bell, Fry and Grant where she produced a number of textiles, murals, furniture and rugs.Although prodigiously talented, Hamnett was a reluctant artist with a baffling disregard for her own artistic gifts. She received robust advice and encouragement from both Sickert and Fry, who were amongst her most ardent supporters. Revelling in her reputation as a libertine, however, Hamnett often chose pleasure over artistic rigour and as such, her output suffered. Indeed, this is noted in her seminal memoir Laughing Torso (1932), which recalls a number of carousals across Paris and Fitzrovia, including dancing for Satie, hiding from Modigliani and singing shanties to Cocteau. Hamnett’s life was cut tragically short in 1956 when she fell from the window of her Paddington flat. Accounts of this incident vary with some claiming that she was impaled on the railings below. Whether the fall was a tragic accident, a drunken stumble or a deliberate act remains in question.The present lot is an excellent example of Hamnett’s works which are typified by their contemplative qualities and their meditations on everyday life. Although quiet and still, one can imagine that her sitters have a fully realised internal life.

A pair of American carved aventurine quartz gold earrings, by Seaman Schepps,the 'shrimp' style ear cuffs with twisted wire beads to omega clip fittings. No.4269. Marked 750. 25.00 x 15.90mm, 23.68gCondition ReportNo posts, but a simple job for a workshop to fit them.Scratches and marks consistent with its age.

Outright winner of the 1965 RAC Rally in the hands of Rauno Aaltonen, this remarkable Mini is a true British competition legend and, having formed part of highly regarded UK private collections over the years, DJB 93B is now offered on the open market.Unlikely though it may have seemed to anyone viewing an 848cc-engined 'Mini Seven' in 1959, when John Cooper got hold of it a few years later the resulting 'Mini Cooper' became the most successful works rally car of the 1960s. The Mini Cooper family's ultimate expression - the 1,275cc 'S' - won first time out in 1964 and became the works' frontline car from 1965 onwards, winning eight international rallies outright that same year, an amazing achievement.According to the British Motor Industry Heritage Trust, this now Morris-badged (though originally Austin) Mini Cooper 1,275S, 'CA2S7/662044', was built at Longbridge on 26th November 1964 prior to despatch on 2nd December to the MG Car Company at Abingdon where, like most BMC factory competition cars, it was issued with a Berkshire registration, in this case 'DJB 93B'. Following subsequent preparation by the Abingdon-based Competitions Department, initially as an Austin for export market reasons, it took part in the 1965 Swedish and Acropolis Rallies before finishing 13th in class on the Alpine and (as a Morris) winning the RAC Rally of GB in the legendary Rauno Aaltonen's hands.Having been driven to victory by Tony Fall on the Scottish Rally the following season, 'DJB 93B' rolled into retirement from Abingdon Competitions Department service during the 1966 Gulf London Rally and was not seen again until 1986. By 1991, ownership had transferred from clubman Jeff Wilson to Mini Machine of Darlington, from whom the project was taken on in 1996 by the highly respected and very successful Works Rally co-driver and subsequent World Rally Team Manager (Toyota, Mitsubishi etc) Phil Short, who commissioned a total restoration to original 'Works' specification.A correct and fully restored Mk1 body shell was employed, though with double-skinned exhaust tunnel, floor under driver's feet and cross-member, strengthened bulkhead steady bar bracket, steering rack mounts and rear shocker mounts all being to Abingdon specification. Although run initially in hydrolastic form, like most works Minis of the day, the car was given 'dry' suspension in period and is in this form today. Parts were sourced by marque specialist John Kelly while Simon Wheatcroft's workshop was responsible for the detailed build.The engine incorporates a 1,275S thick-flange block, linered and bored out +0.020" to 1,293cc; Omega dished pistons; Farndon cross-drilled crank in EN40B steel; fully machined conrods in EN24V; Downton No. 2 cam; and 12G940 cylinder head fed by twin SU H4 carburettors. Engine builder Bryan Slark, formerly with Downton, achieved a dynamometer reading of 117bhp at 7,000rpm and 1071b/ft torque at 5,000rpm. The transmission specification includes a 22G333 gearbox casing, straight-cut close-ratio pinions, straight-cut drop gears, 4.3:1 final drive and Quaife Torsen-type limited-slip differential. Following installation in the car, the rolling road showed 96bhp at 7,250rpm and 811b/ft at 4,250rpm. The engine is said to be extremely flexible from 3,000rpm and eager to rev to 8,000rpm at which point it sounds wonderful!As the early BMC roll-bar with single rear stay no longer complies with FIA/MSA safety requirements, a Safety Devices bolt-in full cage with easily removable front hoop was chosen. 1964 glass windows have been used, while the heated screen and all trim, as well as the Springalex-type steering wheel, air horns and internally mounted electric washers, are exactly as used on the 1965 RAC. The seats are exact replicas of the originals: the driver's a bucket-type with tubular frame, the co-driver's reclining. The works dash and well-equipped navigator's department are Abingdon-correct, while the Willans harnesses and FIA cut-out switch are compliant with current regulations.The electrics are authentic, having been wired by Stan Chalmers who, with John Smith of Lucas, used to wire-up all the factory cars. There are five extra Lucas lamps with quick-release brackets and a swivelling roof light with Aaltonen anti-glare scoop. Under-body protection is provided by a 'Scottish' sump guard with optional extension guard and battery skid. The wheels, six of them, are genuine magnesium Minilites shod with Yokohama A008 tyres: five new, one used. Roof and body, as well as engine and transmission, paint colours are all authentic. For display purposes, there is a December '65 tax disc.A most impressive history file contains signed and dated BMIHT Heritage Certificates pre- and post-rebuild confirming manufacturing, registration and competition history; Abingdon 'Build Sheets' for 1964 RAC Rally; BMC Homologation Forms from period; FIA Historic Vehicle Identity Form; current MSA Competition Car Logbook; MoT Test Certificates 1986-July 2007; two folders of original invoices; and current Swansea V5C registration document. Photograph albums record the car's restoration, wiring and engine - both in build and on the dyno - and winning drivers Aaltonen and Fall with it at the Abingdon Reunion. On the front covers of Autosport (December 1965) and Mini World, 'DJB 93B' has also featured in several other publications, copies of which accompany the car also.'DJB 93B's BMC factory team rally history:1965 Swedish (Rauno Aaltonen) retired, mechanical1965 Acropolis (Timo Makinen) retired, mechanical1965 Alpine (Pauline Mayman) 13th in category1965 RAC (Rauno Aaltonen) 1st overall1966 Scottish (Tony Fall) 1st overall1966 Gulf London (Tony Fall) retired, accidentThis is one of the most correctly specified and detailed ex-works Minis around. Since completion in 1998, the car has been maintained regardless of cost (as confirmed by bills on file) and always garaged in a heated and dehumidified motor house. Apart from regular exercise on various historic rally 'fun runs' as part of the 'Slowly Sideways Group', 'DJB 93B' has also been successfully hill climbed and sprinted with a win in the 2001 Midland Speed Classic Championship. The car purchased at Bonhams' 'Race Retro' sale at Stoneleigh, Warwickshire in March 2007 (Lot 306), since when it has been invited to the Goodwood 'Festival of Speed' where it was driven again by Rauno Aaltonen in 2010.While other ex-works cars come onto the open market from time to time, many of them are likely to cost very much more again to restore and then involve even further expenditure to return them to period-correct specification. Few are likely to have been prepared to the standard of authenticity to be found on this car. 'DJB 93B' has been rebuilt as far as has been practical to the original specification in which it would have started the 1965 RAC Rally, which it won, making it the only Mini ever to do so. SpecificationMake: MINIModel: COOClick here for more details and images

HEARTH STOOLS, two, 93cm W and 63cm W respectively, 1930s rectangular with needlework of cranes on cabriole supports, together with a patchwork leather example, in the style of the Omega Workshop. (2)

In the style of The Omega Workshop, a painted fire screen inset with a floral still life on board,49.5 cms wide x 57 cms high.

AN OMEGA WORKSHOP STYLE STANDARD LAMP, early 20th century, of turned tapering form with bulbous collars and painted with geometric bands in bright colours on an orange ground, raised on moulded flared base, 62" high to top of original(?) light fitting (Illustrated) (Est. plus 21% premium inc. VAT)generally quite good, some small chips to paint and mild crazing to base - possibly been glazed/varnished and once removed would clean up considerably

A pair of Continental cultured South Sea pearl and diamond earrings,attributed to Alberto E Lina, Capri. Each baroque cultured South Sea pearl, peg set below a leaf spray, claw set with graduated brilliant cut and eight cut diamonds, one deficient, to omega clip fittings. Tested as approximately 18ct gold. Hinged case. 39 x 26mm, 25.45gCondition report: Cultured South Sea pearls - not cultured freshwater.2x pearls 15.90 x 14.80 x 13.50mm approximately 16.90 x 15.40 x 12.10mm approximately2.00ct total approximatelyWe do not grade diamonds of this size.These are currently clip fittings, but it would not be a difficult job for a good workshop with a laser welder to add posts and keep the current fittings.

1994 Vauxhall Omega 2.0 16v GLSMake: Vauxhall Model: Omega Year: 1994Mileage: 80929VIN: W0L000025R1102920Configuration: Right Hand DriveRegistration: L96SVFTransmission: manualIn 1994, Vauxhall fell into line with its German counterpart by naming its Carlton successor the Omega - a name that had been used by Opel since 1986. Although thoroughly modern in its curvaceous styling, it retained a traditional rear-wheel drive chassis, as befitted an executive car of the era. This maroon 80,620-mile 2.0 16v GLS was registered in May 1994, making it an especially early example, as production only started in April 1994. There isn't much paperwork beyond the V5C document and the current MoT certificate (which expires on 10 December 2021), although there is a Haynes workshop manual as well. A check back over the online MoT history shows that the January 2006 MoT was at 30,592 miles, so what is a comparatively low mileage for a 27-year-old car is largely backed up by the MoT details. The car presents very well, but does have a smattering of stonechips over the bonnet and front wings, as well as in a few areas further back. PLEASE SEE BELOW FOR VIDEO PRODUCED 12TH OCTOBER BY ACA OF THIS CAR.

An Early 20th Arts and Crafts Painted Wooden Bowl in the Style of Omega Workshop, 20cm Wide

2018 Manx Norvin Registration number 882 UYT Frame number DVLASWA3971629912 Engine number OXN V 001 The all new engine was built by Phil Pearson circa 2001 with a 5 speed Quaife gearbox, Carrillo rods, Omega pistons, magneto ignition The engine was purchased from Eric Patterson who took it to the Bonneville Salt Flats as a spare but it was never used It is still new, has good oil pressure and has been workshop tested but the bike has not been used on the road so will need re-commissioning before use Built by Oxney Motorcycles using a genuine 1961 Norton Manx Frame John Tickle swing arm, T140 side and centre stands, Manx replica forks Manx 4 LS front and Manx rear wheels Barleycorn adjustable rear sets Stainless steel straight through exhaust 5? Black Shadow speedo Hand painted graphics 12 volt electrics with electronic regulator New Amal 289 1 1/8? pre monobloc carbs Magazine and has won numerous trophies including the ?Engineering Excellence Award? at the Stafford Show in 2019 Multiplate clutch fitted The bike was featured on the front page of ?Classic Bike? magazine in January 2019 and on the front cover of MPH, the VOC

PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD - ROSEBANK FABRICS THREE HAND-BLOCKED printed linen, stripe and scroll design, in the yellow colourway(115cm x 61cm; 102cm x 75cm; 113cm x 80.5cm)Footnote: Note: Phyllis Barron, who had trained at the Slade, first became interested in printing fabrics on the discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the coming-out dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel's garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying. From there they secured commissions from Girton College Cambridge, the furniture maker Eric Sharpe and many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

In the style of the Omega Workshop, original 1920s wallpaper fabric or tie design, watercolour and gold paint, 60 x 6cm

A pair of 18ct white gold diamond set ghost rose earrings,with lines of brilliant cut diamonds, micro claw set to open rose petals between plain polished wire petals. Brilliant cut diamonds four claw set in scattered collets between the petals, to post and omega fittings. London 2006. One post deficient. 27 x 24mm, 9.13g (2) Condition report: One post deficient. This is a simple repair for a good workshop, one that has a laser welder.One Omega fitting requires some adjustment.Setting appears secure. Rhodium in good overall condition.

§ Percy Wyndham Lewis (British 1882-1957) for The Rebel Art Centre or Omega Workshops Rare hand-blocked print on silk and linen, with hand-stitched woolwork line details(255cm x 180cm (100.4in x 71in))Footnote: Literature: Rayner, Geoffrey, Chamberlain, Richard and Stapleton, Annamarie, Artist's Textiles 1949-1976 , pp.14-15, plates 4a and 4b (similar example illustrated); Mallams, Oxford, Design & Modern British Art , 8 December 2017, lot 620 for an example of the textile made into a dressing robe. The Omega Workshops, established in 1913, was a design enterprise founded by members of the Bloomsbury Group. In 1914, Lewis set up The Rebel Art Centre as a workshop for the applied arts, and it is likely that this handblocked bedspread was designed for one of these. The same design is visible on an embroidered and block-printed silk robe created by Lewis in 1914. This design was seen by the authority on the Omega Workshops and Rebel Art Centre, Dr. Judith Collins, who identified this design as the work of Wyndham Lewis. Although closely related to Lewis’s slightly earlier applied designs for The Omega Workshops and The Cabaret Theatre Club, Dr. Collins considered it to dated from 1914 and the period of Lewis’s involvement with the Rebel Art Centre.

A mixed group of nine pocket watches including five silver cased, including Joseph Fowler, Cheshire, J. Preston & Co, Bolton, others include Omega in gun metal case and MJ. Tobins, Liverpool, all of various sizes and types, all in need of some repair (9). CONDITION REPORT These are from the estate of a watch and clock repairer, these were from his workshop and we would advise that these are bought as spares or repair only and that none are in a going condition.

Omega watch crystal and glass press set, housed in a red leatherette case, omega glass press and accessories, Omega workshop tool rest, Omega watch knife, Omega waterproof watch key for models X74 and Z74 (qty)Losses to press sets, workshop tool rest has had a pen holder screwed to it

PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD - ROSEBANK FABRICSFOUR HAND-BLOCKED PRINTED LINEN SAMPLE PANELS, CIRCA 1935 stripe and scroll design, in four colourways, four samples mounted in one frame, glazed (4)each sample 18cm x 24cmProvenance: Archive of Turnbull & Stockdale, Rosebank Works, Ramsbottom (now in the collection of Paul Reeves)Note: Phyllis Barron, who had trained at the Slade, first became interested in printing fabrics on discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the coming-out dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel's garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying and from where they secured commissions from Girton College, Cambridge, the furniture maker Eric Sharpe amongst many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

Omega - Genève Chronostop 'Drivers' wristwatch, ref: 145.010, the signed black dial with racing style minute track, polished steel hour markers, luminous dots, hour and minute hands, orange chrono/running seconds hand, the stainless steel case with fly-back chrono pusher and signed crown, screw down case back, manual wind, cal 865 movement, approximately 35mm diameter, on an original Omega ref 27 mesh bracelet with deployant clasp Condition: Movement currently functions, the watch was serviced by Watchworks, Bristol (an Omega Authorised Workshop) does not appear to have been worn since, therefore is in showroom condition - ** General condition consistent with age

Manner of Duncan Grant (1885-1978) and The Omega Workshop Vase blue and yellow painted decoration 18.5cm high.

Attrib: the Omega Workshop - A treen box painted in typical 'Bloomsbury' manner. Appears unsigned. 3½'' high

STAR WARS - EP V - THE EMPIRE STRIKES BACK (1980) - X-Wing ILM Model Miniature An X-Wing model miniature from director Irvin Hershner’s Star Wars: The Empire Strikes Back. This X-Wing was used during the rebel evacuation from Hoth, and was also potentially used in other shots featuring the Rebel fleet. To save time and money, the team at Industrial Light & Magic (ILM) created this Rebel starfighter from a commercially available model kit. Assembled in the ILM workshop by Mike Fulmer, the model was then painted by Wesley Seeds III, approved by Lorne Petersen, and was ultimately shot by Ken Ralston on the motion control stage. It exhibits the brilliant weathered paint-work that was a staple of ILM’s models during the Star Wars trilogy. After its use on Empire, this model miniature was gifted to Special Visual-Effects supervisor Brian Johnson. The X-wing was built with its wings in the closed position, with an Astromech droid situated behind the canopy. The X-Wing shows intentional production distressing, such as laser fire and smoke damage throughout. The piece shows minor wear due to production use and age, with two laser tips missing from the left side of the aircraft.Included with this model miniature is a letter of authenticity from Brian Johnson, along with a printed production storyboard with additional handwritten notes verifying its authenticity. The set also includes a simple wood display base and mounting rod. Together, the lot remains in very good condition. Dimensions: 27 cm x 30 cm x 5 cm (10 ½" x 12" x 2 ¼") VAT Status - OMEGA

EDWARD WOLFE, born 1899, Johannesburg, studied at Slade & Omega Workshop 'Mother and Child', lithograph, signed in ink

* CIRCLE OF WYNDHAM LEWIS (1882 - 1957), STUDY OF WOMAN AND MAN oil on board, "Omega Workshop" stamp verso 84cm x 63.5cm Framed

WOOLF, Virginia. Kew Gardens… second edition. Richmond: [printed by Richard Madley for] Hogarth Press, 1919. 8vo (218 x 140mm). 2 woodcut illustrations by Vanessa Bell (one full-page, the other a tail-piece). (Spotted.) Original coloured decorated wrappers in royal blue, chocolate-brown and brick red by Roger Fry`s Omega Workshop, original white label printed in black on upper wrapper (the wrappers torn with loss). Provenance: The Library Collection of the Late W. Leslie Weller MBE, DL, FSA.

§ Cicely Mary Hey (British, 1896-1980) Illustrations for the book ""The Fogroom Bird"", a story written and illustrated for Barbara Jane Hext by her Aunt Cicely all signed ""Hey"" watercolour, on Omega printed papers 38 x 30cm (15 x 12in) Cicely Mary Hey was a portrait and figure painter. She studied at the Central School of Arts and Crafts under Walter Sickert, who also painted her. Cicely Hey was a member of the London Group 1927 and exhibited between 1924-1939. She worked with the Omega Workshop, and married the art critic Robert Tatlock, and had exhibitions at the Lefevre Gallery, the Leicester Gallery, Cooling and Sons Gallery and the New English Art Club. Cicely Hey was born in Faringdon, Oxfordshire; she painted mainly figures, interiors and portraits and studied in Brussels, the Slade School of Fine Art and at the Central School of Arts and Crafts under Walter Sickert and was subsequently the subject of a number of his paintings and drawings. Hey held a solo exhibition at the Lefevre Gallery in 1933, but the Leicester Gallery remained her principal showing venue. She was also a member at the Women`s International Art Club and showed at the Cooling Galleries, Leicester Galleries and with the NEAC. She was married to art critic and the editor of Burlington Magazine, Robert R. Tatlock. Examples of her work are in the collections of the Glynn Vivian Art Gallery, Swansea, British Museum and Reading University. Bibliography: Catalogue of art celebrities by Cicely Hey (Mrs R.R. Tatlock) : March, 1933 : Catalogue of an exhibition held at and published by Alex. Reid & Lefevre Ltd, London, 1933. Unframed and stuck down to the Omega papers.

A 19th century painted collectors cabinet, the exterior painted in red with gold and green floral design, the double doors opening to reveal a brightly coloured interior in the style of the Omega Workshop circa 1920, fitted with four drawers, 34cm wide, 31.5cm high, 22cm deep

PLEASE NOTE REVISED DESCRIPTION - An eastern bowl, purchased at the Omega Workshop, decorated with yellow and green bands and puce swirls, unmarked, 18cm (7in). Provenance: Bought by John Mavrogordato (1882-1970), the Greek scholar, directly from the Omega Workshop. Literature: Omega and After - Bloomsbury and the Decorative Arts - Isabelle Anscombe, illus. Plate 19, Duncan Grant’s studio at Charleston, 1977, apparently identical to one shown on a shelf