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Roger Fry (1866-1934)Sous Bois, oil on canvas, 58.5 x 71.5cm. Provenance: Magdalene Street Gallery, Cambridge; The collection of Oliver Carey. Repair work to the reverse of canvas top left corner.Paint losses to painting. The white marks on our photos are where the losses are. Tree trunk, and other specks throughout.Patchy areas of craquelure throughout.Please see new photos.

Sir William Rothenstein (lot 76) and Albert Rutherston (lots 77-82)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic and worked on a number of designs for the ballet and theatre. He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 76), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker.SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)THE CHURCH OF ST GERY, HAVRINCOURTtitled Havrincourt Church lower left and numbered 29 lower right oil pastel over pencil on paper52 x 36cm; 20 1/2 x 14 1/4in85.5 x 63.5cm; 33 3/4 x 25in (framed)Havrincourt was on the battle front during the First World War. By November 1917 the German ‘Hindenburg Line’ crossed through it, and the village was part of the opening phase of the Battle of Cambrai at the end of the month. The second battle at Havrincourt opened in mid-September 1918, and marked the beginning of the German retreat back to the Belgian-French border. The vast majority of the village was destroyed in the conflict, but much was rebuilt following the Armistice, including the church of St Géry. Rothenstein worked alongside Eric Kennington (1888-1960) as a War Artist, recording in his memoires how 'We worked at Cambrai, Bourlon, Moeuvres, Havrincourt, Lesquières - everywhere the fantastic shapes and colours of ruined houses and shell-shocked trees provided a constant stimulus... No work has ever satisfied me so completely as that which I undertook while acting as a British, and later, as a Canadian, Official Artist. (William Rothenstein, Men and Memories, London, 1932, vol. II, p. 361).

Giovanni Battista Tiepolo, 1696 Venedig – 1770 Madrid, Kreis desVARIANTE ZUM GASTMAHL DER CLEOPATRAÖl auf Leinwand. Doubliert.91 x 123 cm.Ungerahmt.Dem Fresko Tiepolos im Palazzo Labbia entweder vorausgehend oder folgend, zeigt die hier angebotene Darstellung hinter einer à jour gearbeiteten und reliefierten Brüstung mehrere Musikanten beim Spiel ihrer Instrumente. Hinter ihnen werden Pilastervorlagen einer architektonischen Struktur gezeigt, die auch im Palazzo Labbia gezeigt werden, bei der Version in der National Gallery in Melbourne jedoch fehlen.Literatur:Vgl. Roger Fry, Cleopatra´s Feast by G. B. Tiepolo, The Burlington Magazine, Bd. 63, Nr. 366.Vgl. Everett Fahy, Tiepolo´s Meeting of Antony and Cleopatra, The Burlington Magazine, Bd. 113, Nr. 825, Venetian Painting.Vgl. Keith Christiansen, Giambattista Tiepolo 1696-1770, Museo Del Settecento Veneziano, Ausstellungskatalog, 5. September - 9. Dezember 1996 und im Metropolitan Museum of Art, New York, 22. Januar - 27. April 1997, New York 1996. (1411291) (3) (13))

Roger Eliot Fry (British 1866-1934): 'Chilling', watercolour c.1917 signed in pencil 23cm x 34cm Provenance: with The Bloomsbury Workshop; the painting depicts the home of Alys Russell (1867-1951), wife of Bertrand Russell (1872-1970).

Fry (Roger) A Sampler of Castile, review copy, one of 550 copies, plate by Fry, original cloth-backed boards, spine rubbed, lightly discoloured, Hogarth Press, 1923 § Nash (Paul) Room and Book, endpapers browned, jacket spine faded, extremities a little rubbed, 1932 § Fowler-Wright (Hugh), Rigby Graham & others. Piper in Print: Books, Periodicals & Ephemera, 2 vol., from an edition limited to 490, scarlet morocco-backed pictorial boards, additional printed material loose in pockets in red cloth folder, together in original slip-case, Church Hanborough, Artists' Choice Editions, 2010; and 6 others, private press and illustrated, v.s. (9)

Duncan Grant,  British 1885-1978 -  Nude Seated Figure, 1933;  pastel, crayon and pencil on paper, signed and dated lower right 'D Grant 33', 55.8 x 71 cm (ARR) (VAT charged on the hammer) Provenance:  Aeneas J. L. McDonnell (1904-1964) (according to the label attached to the reverse of the frame);  Magdalene Street Gallery, Cambridge (blank label attached to the reverse of the frame);  with Wolseley Fine Arts, London (according to the label attached to the reverse of the frame);  with Richard Salmon Gallery, London (according to the label attached to the reverse of the frame);  private collection, purchased from the above  Exhibited:  Contemporary Art Society, 'Loan Exhibition', 1950 (according to the label attached to the reverse of the frame)  Note:  Aeneas J. L. McDonnell (1904-1964) was an Australian archivist, art dealer, collector and connoisseur, who spent time in Europe in the mid-20th century. In 1928, he became a partner of Macquarie Galleries in Sydney and was later adviser to the Felton Bequest of The National Gallery of Victoria in Melbourne, Australia. He died in London in 1964. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

A good collection of works on art, pottery and sculpture. Roger Fry. 'Henri-Matisse,' first edition thus, cloth backed boards, colour plates tipped in, illustrations throughout out, some light finger soiling and toning but generally vg, A. Zwemmer, London, 1935; Jacques Guenne. 'Portraits D'Artistes,' original paper wraps debound with a tear towards the spine, b+w plates throughout, good to vg, Editions Marcel Seheur, Paris, n.d; 'Michael Cardew. A Collection of Essays,' introduction by Bernard Leach, staining to card wraps, b+w illustrations throughout, bibliography, vg, Crafts Advisory Committe, 1976; Nine exhibition catalogues including Ben Nicholson, Peter Startup, Garth Evans, Peter Brandes, Another View by Marion Whybrow, Pia Anderson &c. &c.; 'Picasso. From The Ballets to Drama 1917-1927' card slip, Kinemann, 1999; 'The Wood Engravings of Gwen Raverat'; 'Gwen John' by Mary Taubman; With seven other works mostly on art and illustration including 'The Greenman' by Jane Gardman & Mary Fedden, 'Albert Durer' by T. Sturge Moore &c. &c. (Q)

Duncan Grant (Scottish, 1885-1978) 'Autumn Bunch' a still life of flowers in a vase, another painting in the background, oil on canvas, signed and dated 'D Grant '41' lower right. With exhibition label verso: "Exhibition of works by Artists of Fame & Promise, Held at the Leicester Galleries, July August 1941, 'Autumn Bunch', Duncan Grant, Purchaser Miss Stevenson"; and gallery label for 'Ernest Brown & Phillips Ltd, The Leicester Galleries, Leicester Square, London, WC2'. 49.5 x 39 cmNote: this painting was most likely completed at Grant's home in Charleston, showing another painting of a still life in the background. This technique of featuring a painting in the background of his works is used in a number of paintings including ‘The Coffee Pot (Metropolitan Museum of Art). Duncan Grant was a pivotal figure in the Bloomsbury Group, intimately connected with prominent early 20th-century British cultural icons like Virginia Woolf, Vanessa Bell, E.M. Forster, and Lytton Strachey, as well as the influential art critic Roger Fry, who significantly shaped Grant's artistic style. His works are held in numerous collections across the country, including Tate Britain and the V&A in London, the Ashmolean Museum in Oxford, and the Scottish National Gallery of Modern Art in Edinburgh.Provenance: Estate of the late William Lloyd George, 3rd Viscount Tenby (1927-2023), the grandson of David Lloyd George, 1st Earl of Dwyfor (1863-1945) the British Prime Minister from 1916 to 1922 during WWI.Condition Report: Overall condition is fairly good, there is some paint loss on the upper right side and small dent lower left, images have been added to the listing, together with an image under UV light. UV inspection doesn't show any signs of retouching or strengthening.

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.  

Fry (Roger), Vanessa Bell, Duncan Grant, etc.. Original Woodcuts by Various Artists, first and only edition, number 44 of 75 copies, a few spots but generally cleaner than usual, original Omega patterned paper boards, rubbed, discolouring to edges, spine fraying and rubbed, [Greenwood p.63], 8vo, Omega Workshops Ltd, 1918. *** The last of only four books printed at the Omega Workshop.This copy with the rarer pink hand-printed pattern paper known only on "a few copies" - Greenwood. The experimental design studio was founded in 1913 by members of the Bloomsbury group with the intention of providing graphic expression to the essence of the Bloomsbury ethos, with close associations to the Hogarth Press. Roger Fry, the principle figure behind the enterprise, believed that artists could design, produce and sell their own works, and that writers could also be their own printers and publishers. However, after a few short years of poor financial decisions and internal conflicts, the company shut down in 1919. Yet it remains an important moment of the Bloomsbury group’s history and association with the visual arts. The conception of a book of original woodcut illustrations by practising artists began with Virginia Woolf, though she realised quickly that she would have to buy a new press to print the illustration adequately. When it came out, Woolf declared it to be "very magnificent but fearfully expensive" (Greenwood p.16). 

HUGHES, Philip (b.1936, illustrator). Elysian Garden, Monterrey, 1997, 4to, 6 coloured lithographed plates SIGNED AND DATED by the artist, original wrappers, box. ONE OF 80 COPIES SIGNED BY THE ARTIST AND 2 OTHERS. With 9 other miscellaneous books. (10)HUGHES, Philip (b.1936, illustrator).  Elysian Garden. [Spanish: Jardin Eliseo]. Poem by Carmen Boullosa ... Translation by Psiche Hughes. Monterrey, Mexico: Roberto E. Hernandez, 1997. 4to (404 x 345mm). Text in Spanish and English, 6 original coloured lithographed plates by Philip Hughes, each SIGNED AND DATED by the artist, plans, some full-page. Original plain wrappers, original buckram box with suede tie inside and two string ties outside (some staining to the box). NUMBER 41 OF 80 COPIES SIGNED BY THE ARTIST, THE POET AND THE TRANSLATOR. With 9 other miscellaneous books including Eustace Neville Rolfe's Pompeii Popular and Practical (Naples & London, 1888 [?but 1887], small 4to, folding map at the end, original pebbled boards gilt, rebacked, FIRST EDITION, PRESENTATION COPY, the half title inscribed, "E. H. E. Addington, Christmas 1887, From the Author"), Oliver Goldsmith's She Stoops to Conquer (New York, 1895, large 8vo, plates, attractively bound in original dark blue decorated buckram gilt), Richard Wagner's The Rhinegold & the Valkyrie (London, 1910, 4to, 34 mounted coloured plates by Arthur Rackham, rebound in later buckram gilt with vellum panel illustrated in gilt laid down on the upper cover, NUMBER 125 OF 1,150 COPIES SIGNED BY THE ARTIST), Art. Goût. Beauté. Feuillets de l' Elégance Féminine (Paris, Janvier 1923, no. 29, 3e. Année, 4to, coloured illustrations, some mounted, original pictorial wrappers, stained), Mona Wilson's The Life of William Blake (London, The Nonesuch Press, 1927, small folio, plates, original vellum-backed marbled paper boards, ONE OF 1,480 COPIES) and Roger Fry's Flemish Art. A Critical Survey (London, 1927, 4to, plates, original pictorial cloth-backed paper boards by Roger Fry, FIRST EDITION). (10) 

[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910], 8vo, 38-page exhibition catalogue, wrappers. FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE WRAPPER.[BELL, Vanessa (1879-1961)] - [Exhibition Catalogue:] Manet and the Post-Impressionists. Nov. 8th to Jan. 15th 1910-11. 10 a.m. to 6 p.m. (Under Revision). London: Ballantyne & Company Ltd [for Grafton Galleries], [1910]. 8vo (178 x 120mm). 38-page exhibition catalogue, advertisements (some very light mainly marginal spotting and staining, very lightly browned throughout). Original printed wrappers (detached, lacking backstrip, some fraying and short marginal tears not affecting letters, each wrapper lightly stained at one edge). FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE UPPER WRAPPER. The exhibition held at the Grafton Galleries in London was a ground-breaking succès de scandale which first established the term 'Post-Impressionist'. It contained previously unseen works by Manet, Cézanne, Gauguin, Matisse, Picasso, Seurat and Van Gogh, among others, and shocked the British artistic establishment which remained largely Victorian in outlook, as revealed in the vitriol of contemporary reviews with their accusations of 'degeneracy'. On the gallery's "Honorary" and "Executive" committees were Clive Bell - Vanessa Bell's husband - Roger Fry, Lionel Cust, Lady Ottoline Morrell and, its Secretary, Desmond MacCarthy. In the catalogue's 7-page introductory essay, unattributed but probably by Roger Fry, the writer (commenting specifically on Matisse, although his words could apply more generally to the artists on display) states: "... this search for an abstract harmony of line, for rhythm, has been carried to lengths which often deprive the figure of all appearances of nature. The general effect ... is that of a return to primitive, even perhaps of a return to barbaric, art. This is inevitably disconcerting ..." Vanessa Bell (née Stephen), who has signed the upper wrapper of this catalogue in ink, was an English painter and interior designer, a prominent member of the Bloomsbury Group and sister of Virginia Woolf. Provenance: Included in the lot is Sotheby's 'Charleston' catalogue for its sale held on 21st July 1980, containing 130 lots "... donated from various sources to be sold for the benefit of The Charleston Trust ..." and in which the present exhibition catalogue ("Vanessa Bell's copy") is included as lot 225 with the footnote "The celebrated exhibition which introduced Post-Impressionism into this country"; loosely-inserted is an accompanying autograph note from the buyer. RARE.

A COLLECTION OF EARLY 20TH CENTURY ART CATALOGUES AND PERIODICALSFlemish Art - a critical survey by Roger Fry, 1927 Spanish Painting, the National Gallery London, Landscape in French Art, The Studio, etc.

ROGER FRY: 'VISION AND DESIGN' Chatto and Windus, London 1920 (numerous pencil annotations, binding a/f)

Duncan Grant, British 1885-1978 - Landscape near Charleston, c.1924; oil on board, 39.5 x 53.5 cm (ARR) Provenance: Sotheby's, Olympia, 27th November 2002, lot 49 (unsold); private collection Note: the authenticity of this work was confirmed by Richard Shone in 2002. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Vanessa Bell (1879-1961) was a British painter and interior designer known for her contributions to the Bloomsbury Group, a circle of writers, artists, and intellectuals who were influential in the early 20th-century British art and literature scene. Here are some key points about Vanessa Bell:1. **Early Life and Background**: Vanessa Stephen, later known as Vanessa Bell, was born on May 30, 1879, in London, England. She was the elder sister of Virginia Woolf, the famous writer. Her family was part of the intellectual and artistic elite of London.2. **Bloomsbury Group**: Vanessa Bell was a central figure in the Bloomsbury Group, a loosely affiliated collective of writers, artists, and thinkers that included her sister Virginia Woolf, as well as artists Duncan Grant and Roger Fry, among others. The group emphasized artistic and intellectual freedom and often challenged societal norms.3. **Artistic Career**: Bell was primarily known for her painting. Her style evolved from a post-impressionist approach to a more abstract and modernist style influenced by the works of Cézanne and Matisse. She painted landscapes, portraits, and still lifes.4. **Interior Design**: In addition to her painting, Bell was also known for her work as an interior designer. She created innovative and artistic designs for various spaces, including her own homes.5. **Charleston Farmhouse**: Vanessa Bell, along with Duncan Grant, transformed Charleston Farmhouse in Sussex into a vibrant and artistic home. The farmhouse became a hub for the Bloomsbury Group and featured their artistic creations throughout the interior.6. **Personal Life**: Vanessa Bell had a complex personal life. She was married to Clive Bell, an art critic, but their marriage was unconventional and open. She had romantic relationships with other members of the Bloomsbury Group, including Duncan Grant.7. **Portraiture**: Bell created portraits of various members of the Bloomsbury Group and other notable individuals. Her portrait of her sister Virginia Woolf is particularly well-known.8. **Literary Connections**: Bell was closely connected to her sister Virginia Woolf, and their creative endeavors often intersected. Bell designed book covers for Woolf's Hogarth Press.9. **Legacy**: Vanessa Bell's contributions to the visual arts and her role in the Bloomsbury Group have earned her a lasting place in the history of modern British art. Her work continues to be studied and celebrated for its innovative and influential nature.10. **Death and Recognition**: Vanessa Bell passed away on April 7, 1961. Her work has been featured in numerous exhibitions, and her legacy as a pioneering artist and a central figure in the Bloomsbury Group remains significant.Vanessa Bell's artistic career, innovative interior design, and her involvement in the Bloomsbury Group collectively reflect her impact on the cultural and artistic milieu of early 20th-century Britain. Her work continues to be appreciated for its contribution to modernist art and design.Measures 27.8 x 21.5.

Royal Variety Performance. A Royal Birthday Gala at 8.00pm on the evening of the Thursday 19th July at the Palladium, London, Souvenir programme, colour portraits of the Queen Mother, The Queen and Prince Phillip, small reproduction photographs of the performers, plus other illustrations including adverts, signed in various pens by performers, Anita Harris, Wayne Sleep, Stephen Fry, James Galway, Bernie Winters, John Mills, Patricia Hodge, Robert Hardy, Vera Lynn, Willard White, Warren Mitchell, Roger Moore, Michael Caine, Kiri Te Kanawa, Cliff Richard, Richard Attenborough, Darcey Bussell, Peggy Ashcroft, Elaine Paige, Placido Domingo, Rowan Atkinson, John Gielgud, Lionel Blair and others, a total of thirty-four autographs including multi-signed pages, original printed wrappers, a few minor marks, slim folioQTY: (2)NOTE:Provenance: The Autograph Collection of Peter Bland (1928-2003).Peter Bland, whose original printed ticket (seat F27) is included with the lot.

Royal Variety Performance. A group of 9 multi-signed Royal Performance programmes, at Victoria Palace, The Palladium and the Theatre Royal, Drury Lane, London, 1982-90, photo illustrations and adverts throughout, the 1982 programme containing a total of 55 autographs, including: Christopher Timothy, John Inman, Ruth Madoc, Gloria Hunniford, Dennis Waterman, Esther Rantzen, Bonnie Langford, Tim Curry, Sylvester McCoy, Angela Rippon, etc., together with a ticket; the 1983 programme containing a total of 25 autographs, including: Twiggy, Les Dawson, Wayne Sleep, Sarah Kennedy, Michael Barrymore, Gene Kelly, etc., the 1984 programme containing a total of 29 autographs, including: Emma Thompson, Barry Humphries, Eric Sykes, Robert Lindsay, Peter Sallis, Terry Wogan, Ronnie Corbett, Simon Callow, Matthew Kelly, Denis Norden, etc., together with a ticket; the 1985 programme containing a total of 35 autographs, including: Maureen Lipman, Jose Carreras, Joan Collins, Su Pollard, Sarah Brightman, Norman Wisdom, Roy Castle, Rula Lenska, etc.; the 1986 programme containing a total of 33 autographs, including: Bob Monkhouse, Val Doonican, Petula Clark, Peter Ustinov, Victoria Wood, etc., together with a ticket; the 1987 programme containing a 28 autographs, including: Eartha Kitt, Tommy Cannon, Bobby Ball, Stephen Fry, James Galway, Hugh Laurie, Tom Jones, etc., together with a ticket; the 1988 programme containing 36 autographs (18 inserted on separate piece of card), including: Kylie Minogue, Mickey Rooney, Cliff Richard, Brian Conley, Bruce Forsyth, Julio Iglesias, Russ Abbot, Bella Emberg, etc.; the 1989 programme containing 13 autographs, including: David Essex, Andrew Lloyd Webber, Rosemarie Ford, Michael Ball, Julian Lloyd Webber, Chris De Burgh, etc.; the 1990 programme containing 33 autographs, including: Sir John Gielgud, Patricia Hodge, Michael Caine, Roger Moore, Dame Kiri Te Kanawa, Warren Mitchell, Darcey Bussell, Elaine Paige, Placido Domingo, etc., signatures in all programmes mostly in blue ball-point pen and adjacent to their publicity photographs with some pages multi-signed, all original printed wrappers, 1982 programme central leaf detached, 1987 programme a few leaves detached, slim folioQTY: (13)NOTE:Provenance: The Autograph Collection of Peter Bland (1928-2003).

ROGER FRY, English (1866 - 1934) "Chantilly" ink, ca 9.5 x 13.5" signed and dated

DOD PROCTER (BRITISH, 1890-1972)Girl in a Black Dress (c. 1915) signed 'Dod Procter' (upper left) and inscribed with title (to back of stretcher) oil and tempera on canvas 77 x 62cm with an oil of a water fountain (verso) ARR Provenance The present owner's grandparents; thence by descent; Private collection, UK We are grateful to Toby Procter who has confirmed the authenticity of this work.Catalogue noteA solitary seated female figuregazes out past the viewer. Dressed in a medieval-esque black smock with abright lacquer-red cap which envelops her dark shoulder-length hair, the girlcrosses her arms and sits motionless, her piercing blue eyes staring into thedistance, her mind lost in thought and detached from the present. She sits infront of a decorative pattern of flower motifs which adorns a panel ofwallpaper, tapestry or silk cloth, alongside a plain blue/grey wall. In the top left-handcorner, the maker’s signature reads ‘Dod Procter’.This newly discovered work by DodProcter (1890-1972), from a private collection, is truly remarkable as itappears to be the earliest figurative work by the artist to have appeared onthe market in the last couple of decades. It provides a glimpse into Dod’searly years as an artist, exploring and developing a visual vocabulary whichwould then characterise her oeuvre from the 1920s. Only three other figurative works painted before 1920 by Dod, but which arguably post-date the present painting, are known to us in public collections: a portrait in oil from 1916 of her friend Sheelah Hynes (sister of the artist Gladys Hynes) at The Wolfsonian-Florida International University (Colour Magazine, June 1919), and two line drawings, one most certainly a preparatory sketch for the oil, at the Tate Archives (these are recto-verso on a sheet of paper and the second sketch, the figure wearing a hat, may be of Sheelah or Gladys). Another figurative work, The Charm, from this period was reproduced in Colour Magazine in December 1918.The composition and subject are typicalof Dod’s more mature figurative work from the 1920s, which led to her rise tofame in 1925 with The Model (exhibited at the RA in 1925) andsubsequently Morning (exhibited at the RA in 1927 and immediatelyacquired for the nation by the Tate, where it is still held today), propellingher to stardom and international acclaim. These works often depict the figurepositioned close-up at a three-quarter angle to the viewer and, viewed slightlyfrom above or sometimes from below, offer a sense of monumentality andweightiness akin to sculpture. The sitter, as in the present work, if notasleep, gazes into the void, the minimalist space and the various propsstrategically placed beside her creating a possible accompanying narrative.The presence of tempera in thiswork with its transparent quality, most notably in the bodice, is evidence ofits early dating. We know from her letters to Ernest Procter, whom she marriedin 1912, that during the 1910s Dod was experimenting and practising withtempera, a medium which was experiencing a revival at the turn of the 20thCentury, promoted by critics such as Roger Fry and artists such as MarianneStokes, herself a member of the Newlyn School in the last decade of the 19th century. On occasion Dod would use tempera as a means of mapping out a colourscheme before working on the final piece in oil. It would appear from thepresent work that she also worked in mixed media, namely tempera and oil.The bold lacquer-red pigment which Dod employed for the girl’s hatattests to the dating of this work and a similar colour was used for a stilllife entitled Poppies and Foxgloves (Modern Britishand Irish Art Day Sale, Christie’s, London, 21st March 2024, lot 145), which Dod described duringits production in a letter to Ernest in 1917. The hat itself may be the onelater worn by Dod’s model Lillian in Girl with a Red Cap (1923) (Paintings Sale, Woolley& Wallis, Salisbury, 21st March 2012, lot 249). Dod exhibited nationally in groupexhibitions with, but not solely, the Royal Academy, WIAC (Women’sInternational Art Club), Society of Women Artists, United Artists, AlliedArtists and in gallery shows such as the Leicester Galleries and Brook StreetGalleries. She also exhibited internationally with the British Artists’Exhibition in Buenos Aires in 1928, the Venice Biennale from 1922 to 1930, theCanadian National Exhibition, the Carnegie International in Pittsburgh from1924 to 1935, in a solo show at the Carl Fischer Gallery New York in 1936 and asolo show at the Carnegie in 1936-37, thereby gaining an internationalclientele.Greatly supported by the Britishpress, art journals and art critics, most notably Frank Rutter, the Francophileand proponent of Post-Impressionism, Dod was an important and highly recognisedmodernist painter and in 1942 became the second woman to be elected a RoyalAcademician (Laura Knight being the first). Her paintings are now held inimportant national and international institutions, such as the Tate and the CarnegieMuseum of Art in Pittsburgh.Trained in Newlyn under theauspices of Stephen and Elizabeth Forbes, who sought inspiration from the artcolonies in Brittany, Dod was part of the second generation of painters fromthe Newlyn School and a key member of the Newlyn and Lamorna art colonies, herartistic and social network counting among others Laura Knight, Gluck, GladysHynes, Ernest Procter, Gertrude and Harold Harvey, Cedric Morris and AJMunnings.We are grateful to Alexandra Kett-Baumann for her assistance with the cataloguing of this work and for preparing this catalogue note.Condition ReportOriginal canvas with the basis of another composition (verso); approximately 1inch surface abrasion to the sitter's chest, lower right; smaller abrasions to background, lower left and to curtain, lower right; further scattered frame abrasions to each border; canvas visible to the upper left border;  Ultraviolet reveals retouching to the sitter's forehead, cheeks and chin but these barely fluoresce and are therefore likely to be the artist's hand.  Held in a modern composite gilt frame in fair condition.

‡ NINA HAMNETT (Welsh 1890-1956) pencil - entitled verso, 'Life Class', signed with initials, dated verso c.1920, 44 x 28cmsProvenance: private collection West MidlandsAuctioneer's Note: born Tenby, studied at the Pelham Art School and the London School of Art between 1906 and 1910. Then launched herself into the London art world on the strength of a fifty pound advance on an inheritance from her uncle and a stipend of two shillings and sixpence a week from her aunts. She socialised with the likes of Augustus John, Walter Sickert, and Henri Gaudier-Brzeska. She became very popular as a result of her high spirits, her devil-may-care attitude, and her sexual promiscuity. Like other women at the time revelling in a newfound independence, she had her hair cut short in a ‘crophead’ style (what we would now call a basin cut) and she wore eccentric clothing: It was said that at this phase in her life Nina Hamnett had the knack of being in the right place at the right time. In 1914 she went to live in Montparnasse, Paris, immediately meeting on her first night there the Italian painter Amedeo Modigliani. He introduced her to Picasso, Serge Dighilev, and Jean Cocteau, and she went to live at the famous artist’s residence of La Ruche which housed many other Bohemian artists and modernist writers. It was there that she met the Norwegian artist Roald Kristian, who became her first husband. Rapidly she established herself as a flamboyant and unconventional figure - bisexual, drank heavily, and had liaisons with many other artists in Bohemian society, often modelling for them as a way of earning a (precarious) living. She established her reputation as ‘The Queen of Bohemia’ by such antics as dancing nude on a cafe table amongst her drinking friends. Her reputation as a Bohemian and an artist eventually filtered back to London, where she returned to join Roger Fry and his circle working on the application of modernist design principles to fabrics, furniture, clothes, and household objects as part of the Omega Workshops. She acted as a model for the clothes along with Mary Hutchinson, Clive Bell‘s mistress, and she mingled with other members of the Bloomsbury Group, such as Vanessa Bell and Duncan Grant. Her paintings were exhibited at the Royal Academy and the Salon d’Automne in Paris. She also taught at the Westminster Technical Institute in London. Around this time she divorced her first husband and lived with the composer and fellow alcoholic E.J. Moeran. During the 1920s (and for the rest of her life) she made the area in central London known as Fitzrovia her home and stomping ground. This new locale for arty-Bohemia was centred on the Fitzroy Tavern in Charlotte Street which she frequented along with fellow Welsh artists Augustus John and Dylan Thomas, making occasional excursions across Oxford Street to the Gargoyle Club in Soho.After the glamorous world of modernism and the artistic avant-garde, there was a no less spectacular descent into poverty, squalor, and alcoholism, living in a bed-sit in Howland Street, infested with lice and littered with rodent droppings. It was said that the flat was furnished only with a broken-down chair, a piece of string for a clothes line, and newspapers instead of proper bedding. In 1932 she published a volume of memoirs entitled 'Laughing Torso', which was a best-seller in both the UK and the USA. Following its publication she was sued by Aleister Crowley, whom she had accused of practising black magic. The ensuing trial caused a sensation which helped sales of the book, and Crowley lost his case.Her success in this instance only fuelled her downward spiral, and she spent the last three decades of her life propping up the bar of the Fitzroy trading anecdotes of her glory years for free drinks. She took little interest in personal hygiene, was incontinent in public, and vomited into her handbag. Her ending was as spectacular as had been her previous life. Drunk one night she either fell or jumped from the window of her flat and was impaled on the railing spikes below. She lingered miserably in hospital for three more days, where her last words were “Why don’t they let me die?”Comments: framed and glazed, ready to hang

Roger Eliot Fry (British 1866-1934): 'Still Life', pen and ink unsigned c.1918, 36cm x 23cm Provenance: private collection, purchased The Bloomsbury Workshop, Galen Place, London, label verso

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  

Alfred Wolmark, British/Polish 1877-1961 - Village in the countryside; oil on panel, signed lower right 'Wolmark', 29 x 39.5 cm (ARR) Provenance: Leighton Fine Art, Marlow; private collection, purchased from the above (by repute) Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Charles Vilette, French 1885-1946 - Bois-Colombes, before 1912; oil on board, signed lower right 'C. Vilette', 53.9 x 72.9 cm Provenance: Roger Fry (according to the labels attached to the reverse); Pamela Diamond, by descent; private collection, gifted by the above  Exhibited: Grafton Gallery, London, 'Second Post-Impressionist Exhibition', October-December 1912 (according to the annotated label attached to the reverse) Note: the artist exhibited in pivotal exhibitions in the early 20th century, including 'Neue Kunst. Erste Gesamt-Ausstellung' at Hans Goltz, Munich in 1912 (alongside Gabriele Münter, Paul Cezanne and Vincent van Gogh), the 'Second Post-Impressionist Exhibition. British, French and Russian Artists' at the Grafton Galleries, London and 'The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition' at the Galleries of the Alpine Club, London in 1914. 

Robert Medley CBE, RA,British 1905-1994 - Interior with a Cello; oil on panel, 60.5 x 63.5 cm (ARR) Provenance: Pamela Diamond; private collection, gifted by the above Note: there is a typed label with artist's name, address and artwork title, along with another partial label that is handwritten with artist's name and artwork title. The previous owner of this painting, Pamela Diamond, was the daughter of Roger Fry. Medley was heavily influenced by he Bloomsbury Group in his early work and worked with Vanessa Bell and Duncan Grant between 1929 and 1934. This influence can be seen here in the warm palette and choice of a quiet interior scene. A related work is 'The Top Floor, 1929' now in the collection of Newport Museum and Art Gallery. Medley had a varied career and in the 1930s was particularly known for his work in leftist theatre, designing sets and costumes for plays by T. S. Eliot, Christopher Isherwood, Louis MacNeice and his earlier lover W. H. Auden. 

Duncan Grant, British 1885-1978 - Parrot Tulips, c.1957;  oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (according to the label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (according to the label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Alfred Wolmark, British/Polish 1877-1961 - Cyclamen, 1947; oil on panel, signed with monogram and dated lower left '47', 57.5 x 41.5 cm (ARR) Provenance: The Artist's Studio; The Belgrave Gallery, London; private collection Exhibited:  The Belgrave Gallery, London,  'Alfred Wolmark', 7th-29th November 1985, cat. no. 35 Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Sackville West, Vita, 1945, Another World Than This, London: Michael Joseph, 247p, signed by the author; Mauron, Charles and Fry, Roger, 1927, Nature of Beauty in Art and Literature, London: Hogarth Press, Leonard and Virginia Woolf; Complete Catalogue of Books Published by the Hogarth Press 1917 to 1927 (3)

(Omega Workshops, Vanessa Bell, Roger Fry.) Jeremy Greenwood: 'Omega Cuts', Woodbridge, The Wood Lea Press, 1998, limited edition, number 1 of 105 copies of the special edition, 145,[2]pp, a collection of woodcuts and linocuts by artists associated with the Omega Workshops and the Hogarth Press forming a comprehensive study of the work of many important artists including Roger Fry, Vanessa Bell, Henri Gaudier-Brzeska, Duncan Grant, E. McKnight Kauffer, Dora Carrington, Edward Wadsworth and others, black and white illustrations and tipped-in colour plates throughout, folio (36 x 26cm), original quarter brown morocco, patterned paper covered boards (based on one of the Omega Workshops papers) with the accompanying separate portfolio of woodcuts 'Original Woodcuts by Three Artists', 10 full page woodcuts by Vanessa Bell, Dora Carrington and Roger Fry, printed from the original blocks owned by the Hogarth Press, also numbered 1 of 105, folio, original patterned wraps, housed together in original buckram solander box

Woolf (Virginia), five association copies from the library of one of her biographers, including Flush: A Biography, first edition, London: Published by Leonard and Virginia Woolf at The Hogarth Press, 1933, half-title, original publisher's cloth only, mottled, 8vo, Roger Fry: A Biography, first edition, third impression, The Hogarth Press, 1969, original publisher's dustjacket, chipped and slightly soled, cloth, 8vo, A Haunted House, and Other Short Stories, first American edition, New York: Harcourt, Brace and Company, 1944, cloth, 8vo, The Death of the Moth, and Other Essays, first edition fifth impression, The Hogarth Press, 1947, cloth, 8vo, [&] Night and Day, first edition, sixth impression, The Hogarth Press, 1950, cloth, 16mo, with two further Hogarth Press imprints, Woolf (Leonard), Imperialism and Civilization, first edition, 1928, ffep and verso of title-page with ex-lib stamps, original cloth only, traces of shelf numbering to base of spine, 8vo, [&] Blunden (Edmund), Nature in English Literature, first edition, 1929, original cloth only, somewhat soiled, 8vo, (7)  Provenance: from the library of Roger Poole (1939-2003), literary theorist and man of letters, authority on Virginia Woolf and Kierkegaard, author of 'The Unknown Virginia Woolf ' (first published 1978).

Strachey (Julia). Cheerful Weather for the Wedding, uncorrected proof, London: Hogarth Press, 1932, ink annotations and corrections, R. & R. Clark Ltd, Edinburgh ink stamps and 'First Proof' stamps, contemporary morocco-backed boards, spine ends chipped, 8vo, together with An Integrated Man, uncorrected proof, London: John Lehman, 1951, a few ink corrections, original wrappers with publisher's label to upper wrapper, tear and loss at spine ends, a little toned, 8vo, plus Fry (Roger). A Sampler of Castile, London: Hogarth Press, 1923, 16 monochrome illustrations, endpapers toned, previous owner signature of Lawrence Gowing, original illustrated boards, some toning and light edge wear, 4to, limited edition 6/550, with others, Hogarth Press etc, including, Art and Commerce, by Roger Fry, Hogarth Press, 1926, Afterthoughts, by Logan Pearsall Smith, 1931 (limited edition of 100), The Man on the Pier, by Julia Strachey, 2nd impression, 1951, plus an album of photographs belonging to Julia Strachey, circa 1916 and later, with numerous family photographs loose and mounted, with a copy typescript poem of 'The Sluggard's Quadrille and Other Remains of Stephen Tomlin' loosely inserted QTY: (17)NOTE:Small archive of books and photographs belonging to the writer Julia Strachey (1901-1979), the niece of Lytton Strachey, and was associated with the Bloomsbury Group through him. She married the sculptor Stephen Tomlin in 1927, and after they separated in 1934 she married artist and critic Lawrence Gowing, in 1939.Her most famous novel was Cheerful Weather for the Wedding, in 1932, of which Virginia Woolf remarked 'I think it astonishingly good - complete and sharp and individual'.

Roger Eliot Fry (British 1866-1934): 'Still Life', pen and ink unsigned c.1918, 36cm x 23cm Provenance: private collection, purchased The Bloomsbury Workshop, Galen Place, London, label verso

EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden. Please see the full listing below. Sold not subject to return. (c.60)EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden (arranged chronologically) - L. J. TROTTER. Rulers of India. The Earl of Auckland, Oxford, 1893, 8vo, cloth, annotated and underlined in black or red ink throughout [probably not by Eden], bookplate [please see the note regarding bookplates at the end of this lot], J. W. FORTESCUE. The Story of a Red-Deer, London, 1904, 4to, cloth, SIGNED in crayon, "Robert Anthony Eden 1906", and again with initials, bookplate; D. S. MARGOLIOUTH. Mohammed and the Rise of Islam, London, 1905, 8vo, buckram, with some annotation and highlighting by Eden, bookplate; A. F. HORT. The Gospel According to St Mark. The Greek text Edited with Introduction and Notes for the Use of Schools, Cambridge, 1907, 8vo, cloth, SIGNED & INSCRIBED "R. A. Eden, March 1914, Eton College, Windsor" on the front pastedown, with Eden's copious schoolboy annotation to the Greek text; Gustave MERLET (editor). Anthologie Classique des Poètes du XIXéme Siècle, Paris, [n.d.], 8vo, boards, SIGNED "R. A. Eden, [?]E.J.C., Oct. 17th 1914" [the day on which Anthony's older brother, John, was killed in action] and with 2 further dates added in ink, on p.162, "16/6/15" and on p.338 "30th June 1915"; G. E. MITTON. The Lost Cities of Ceylon, London, 1917, 8vo, cloth, with sparse annotation and highlighting, bookplate; Rupert BROOKE. 1914 & other Poems, London, 1918, 8vo, cloth, "Twenty-fourth Impression", bookplate; James BRYCE. Modern Democracies, London, 1921, 2 vols., 8vo, cloth, SIGNED "R. Anthony Eden, Mulberry Walk, Sept, [illegible year]" on front free endpaper, with occasional outspoken annotation by Anthony Eden, for example, on p.135 in vol. one: "!!!Too proud to fight! The worst soldiers ever seen -" and some highlighting to text, bookplate; Anatole FRANCE. Vie de Jeanne d' Arc, Paris, [1921], 2 vols., large 8vo, hessian, wrappers bound in, wrappers signed "R. Anthony Eden, Jan. 18, 1923", with some highlighting mainly to the beginning of vol. one, and an envelope, inscribed by Eden, loosely-inserted, indicating a highlighted quote on p.xxi of the book (the printed passage reading, "Au long d' interminables guerres, la misère et l' ignorance avaient appauvri les esprits et réduit l'homme à une extrême maigreur morale"), with some other notes, bookplate; Maurice PALEOLOGUE. La Russie des Tsars pendant La Grande Guerre, Paris, 1921-23, reprints, 3 vols., 8vo, later buckram, wrappers bound in, wrappers signed "R. Anthony Eden, 1923", and with some highlighting, bookplate; Chateaubriand's Atala [and 2 other works], Vienne, [n.d.], 8vo, boards, SIGNED "R. Anthony Eden, June 5th, [?]1923" on the front pastedown, with emotional printed passages on pp.109-113 highlighted; Lytton STRACHEY. Landmarks in French Literature, London, 1923, 8vo, cloth, with some sparse annotation and highlighting, bookplate; Essays of To-Day and Yesterday. Augustine Birrell, London, 1926, 8vo, original wrappers, the half title with an autograph quotation in ink, possibly in Eden's hand, of the words from "As I Sat Under a Sycamore Tree", inscribed at the foot, "To Goonie [i.e. Lady Gwendeline Spencer-Churchill], Christmas Day, 1926, A. [?]E"; Charles Mauron. The Nature of Beauty in Art and Literature ... Translation and Preface by Roger Fry [upper cover: Hogarth Essays. Second Series], London, The Hogarth Press, 1927, 8vo, original boards decorated by Vanessa Bell, upper board detached, with annotation and highlighting throughout; Henry TAYLOR. The Statesman. An ironical treatise on the art of succeeding, London, 1927, "Reprint Series No. 2", 8vo, cloth, with highlighting throughout, bookplate; Frederick Morton EDEN, 2nd Baronet. The State of the Poor, London, 1928 [but first published in 1797], 8vo, cloth, SIGNED "Anthony Eden 1950"; Langhorne GIBSON & J. E. T. HARPER. The Riddle of Jutland. An Authentic History, London, 1934, large 8vo, folding maps in a pocket at the end, buckram, SIGNED in pencil by Anthony Eden on the front free endpaper, with his annotation on p.335 and some highlighting [Midshipman Nicholas Eden, Anthony Eden's brother, was killed at the Battle of Jutland in 1916], bookplate; Charles HARRINGTON. Plumer of Messines, London, 1935, 8vo, plates and maps, cloth, with some annotation on wartime experiences and highlighting; R. B. MOWAT. Europe in Crisis, London, 1936, 8vo, frontispiece portrait of Anthony Eden, cloth, without annotation, bookplate; Siegfried SASSOON. Sherston's Progress, London, 1936, 8vo, cloth, with Anthony Eden's old armorial bookplate heavily-annotated in pencil indicating colours for "Burke's Peerage, DeBrett" (written in pencil above), and with some sparse annotation and highlighting to the text of the book itself; R. B. MOWAT. The Fight for Peace, London, 1937, 8vo, cloth, with typed compliment slip from the author loosely-inserted, and inscribed by Eden on the front free endpaper, "A friendly book. A. E." but without any further annotation or highlighting; George Macaulay TREVELYAN. Grey of Fallodon, London, 1937, 8vo, cloth, with Eden's annotation and highlighting and a loosely-inserted empty envelope inscribed by Eden on the outside, bookplate; F. Elwyn JONES. The Battle for Peace, London, 1938, 8vo, uncorrected proof copy, wrappers, with Eden's highlighting throughout including, on p.[65] to a printed quotation from a speech made by Hitler in Munich in 1936 in which he (Hitler) stated, "I do not believe there can be peace among the nations until they all have the same law and system of law. That is why I hope that National Socialism will one day extend over the world. This is no fantastic dream, but an achievable object" and again to a printed passage by the author on p.197: "For Hitler's aim is not primarily 'ideological', however much he insists on this in his speeches. Hitler's real aim is a Greater Germany which will dominate Central and South-East Europe"; Johannes STEEL. The Truth About Munich ... A Collection of Broadcasts Given Recently on Station WMCA, New York, 1938, 8vo, stapled (lacks wrappers), with one passage highlighted by Eden; W. MACNEILE DIXON. The Human Situation, London, 1938, 8vo, cloth, reprint, with some annotation by Eden including on p.98 a comment on the German massacre of civilians at Dinant in 1914, "Yes - I saw some of this evidence myself" and highlighting, bookplate; Anthony EDEN. Foreign Affairs, London, 1939, 8vo, cloth, with Eden's sparse annotation and highlighting; Documents concerning German-Polish Relations and the Outbreak of Hostilities Between Great Britain and Germany on September 3, 1939, London, "His Majesty's Stationery Office", 1939, 8vo, wrappers, without annotation; Duff COOPER. The Second World War. First Phase, London, 1939, 8vo, cloth, with Eden's single correction to a year on p.195 (from 1937 to 1938) and one passage of Duff Cooper's printed text quoting his own (Cooper's) article highlighted by Eden on p.207 ("Germany and Italy under their present rulers are determined to dominate by force the whole continent of Europe. If there is a man living who still doubts that fact he should lose no time in consulting a mental specialist"); L. RASKAY. How They Did It. Life Stories. Anthony Eden, London, Pilot Press Ltd., 1939, square 8vo, wrappers, second impression; Thomas MANN. This War, London, 1940, 8vo, cloth, with Eden's annotation and highlighting; Isaiha BERLIN. Karl Marx. His Life and Environment, London, 1939, 8vo, cloth, signed "Clarissa S. Churchill"; Anthony Eden. Address to the Maryland General Assembly, Annapolis, Marsh 26th, 1943, [?Annapolis, 1943], 12mo, wrappers; Your M.P. by Gracchus, London, Victor Gollancz, 1944, 8vo, cloth, dust-jacket, with a printed record of Eden's important votes in...

Duncan Grant, British 1885-1978 - At the Easel (Janie Bussy), 1956;  oil on paper, signed and dated lower left 'D Grant /56', 62.4 x 44.5 cm (ARR) Provenance:The Bloomsbury Workshop, London, 1993 (according to the label attached the reverse of the frame); The Harris Collection, USA and thence by descent Note:in correspondence from Tony Bradshaw of the Bloomsbury Workshop, the lady depicted painting at an easel is Janie Bussy, daughter of the artist Simon Bussy and his wife Dorothy, Lytton Strachey's elder sister. Janie Bussy was born and brought up in France, but she spent time every year at Charleston and exhibited her still life paintings at the Lefevre Gallery in London. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Alfred Wolmark,  British/Polish 1877-1961 - Still life with flowers;  oil on canvas, signed with monogram lower left, 54 x 65.2 cm (ARR)  Provenance:  Galerie Bonaparte, Menton (according to the stamp on the reverse of the stretcher);  private collection, purchased from the above  Note:  Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Duncan Grant, British 1885-1978 - Composition, 1966; oil on canvas board, signed with initials, dedicated and dated lower left 'DG for Desry / 66', 25.2 x 24.3 cm (ARR) Provenance: with Jill Newhouse Gallery, New York (according to the label attached to the reverse of the frame); The Harris Collection, USA and thence by descent Note: Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.  

Lots 58-64 The Harris Collection - Duncan Grant, British 1885-1978 - Abstract composition, 1965; gouache and biro on paper, 26.1 x 11.1 cm (ARR) Provenance: Richard Shone, gifted by the artist;  with The Bloomsbury Workshop, London (according to a copy of the original invoice);  private collection, USA, purchased from the above on the 3rd November 2004 and thence by descent Note:Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Roger Fry (1866-1934) - Oil painting - "Studies San Tropez 1921", board 12ins x 7.5ins, framed and glazed Provenance: The Bloomsbury Workshop, 12 Galen Place, London This work has not been inspected out of its frame. There is some light scattered foxing but otherwise the work appears to be in reasonably good condition.

Roger Fry (1866-1934) - Ink - "Church at Etaples" - Interior with figures, signed and dated '29, 13.75ins x 9.5ins, framed and glazed Provenance: The artist's family and thence the Bloomsbury Workshop, 5 Pied Bull Court, Galen Place, London There is some slight discolouration to the paper.  However apart from this the lot appears to be in good overall condition with no obvious damage loss or restoration. 

Vanessa Bell (British, 1879-1961)The Turkish Box signed and dated 'V Bell 1934' (lower right)oil on canvas61 x 73.5 cm. (24 x 29 in.)Footnotes:ProvenanceWith The Adams Gallery, LondonSale; Bonhams, London, 16 November 2011, lot 108, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Adams Gallery, Vanessa Bell Memorial Exhibition, 6-27 October 1961 (catalogue untraced)The Turkish box in the present work is still at Charleston and is thought to have been a gift to Duncan Grant from his aunt Daisy McNeil, perhaps before the First World War. Bell had visited Turkey in 1911, traveling with Roger Fry, whose unexpected death in September of 1934 coincides with the execution of the present work. This late summer still life would have been painted at Charleston and shows some of the seasonal fruits grown in the garden. The glass on the left holds three zinnias, a flower Vanessa Bell regularly planted at the house.We 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

An Omega Workshops pottery vase probably by Roger Fry, swollen cylindrical form, covered to the foot with a pale lavender glaze, impressed omega mark to base, minor glaze loss, 10cm. high

SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) Sir William Rothenstein (lots 1-13) and Albert Rutherston (lots 14-23)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893) (lots 1-8), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. (lots 9 & 10). For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic (lot 20) and worked on a number of designs for the ballet and theatre (lots 14-16). He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 12), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker (lots 24-30).SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)PROFILE OF PAUL GERVAISinscribed P Gervais lower right charcoal with white chalk36.5 x 23cm; 14 1/4 x 9in41.5 x 34cm; 16 1/4 x 13 1/4in (framed)Executed in Paris circa 1890. The painter Paul Gervais (1859-1944) was a teacher at the Académie Julian where Rothenstein studied from 1889-1893. A pupil of Jean Léon Gérôme, Gervais was known, and occasionally rebuked, for his depictions of sensuous nudes. Prominent commissions included Les Graces Florentines for La Salle Blanche in the Casino de Monte-Carlo and the Salle Empire in the Hôtel de Paris, Monte-Carlo.

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) A PAINTED TABLE The central roundel painted with stylised flowerheads and leaves within simulated marble and green borders 65 x 49.5 x 49.5cm (25½ x 19¼ x 19¼ in.) The present work most likely dates from the 1940s or 1950s. See next lot for the design for the roundel. Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. Although The Omega Workshops closed in 1919 due to financial troubles, Grant's interest in the decorative arts was now firmly part of his artistic oeuvre. In 1918, along with Edward Wolfe, he was commissioned by John Maynard Keynes to decorate the doors, fireplace and shutters of the first floor sitting room at 46 Gordon Square. Again in 1920, Keynes commissioned Grant, this time alongside Vanessa Bell, to produce eight panels for his residence at Webb Court, King's College, Cambridge. When Vanessa Bell rented Charleston farmhouse in East Sussex in 1916, the house and its interiors become a canvas on which Grant and Bell could express their creativity. Tables, chairs, bookcases, walls, lampshades, headboards - all became covered with the inimitable swirling designs of the two artists. The present table and associated design (lot 103) most probably date from the 1940s or 1950s and demonstrate Grant's continued interest in furniture design into later life. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Please see lot 103 - the design for this table top.There are abrasions, nicks and craquelure across the paint surface on the table top commensurate with age and use. There are isolated areas of paint separation to the surface and general surface dirt. Some of the blocks to the underside of the table.Please see the additional condition report photographs as a visual reference of condition.Condition Report Disclaimer

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) DESIGN FOR ROUNDEL Pencil and watercolour 46.5 x 46.5cm (18¼ x 18¼ in.) Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. The present lot is a pencil and watercolour design for Lot 102, as a preliminary design for the painted table top. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Executed on cream wove paper, not laid down. A repaired tear to the centre of the lower edge, approx 2cm long.. The upper right corner and right hand edge with restored tears and creases. There are creases running through the centre of the work, both horizontally and vertically where the sheet appears to have been folded into quarters in the past. Further creasing to the sheet throughout, notably to the upper right corner. There is staining and smudging throughout, in particular two brown stains to the lower right quadrant and grey smudging, most probably original to the work, to the centre circle. Framed under glass.Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) VIEW OF A WOMAN IN AN INTERIOR Oil on canvas Signed (lower right) 61 x 76cm (24 x 29¾ in.)Painted circa 1919.We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Relined. Very small loss to the lower left corner revealing the reline. Some very fine patches of craquelure scattered throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition. Condition Report Disclaimer

Alfred Wolmark, British/Polish 1877-1961 - North End, Old Hampstead; oil on panel, signed, tiled and inscribed on a sheet of paper attached to the reverse 'Alfred A Wolmark Old Hampstead (destroyed in 1940)', 36.2 x 26.2 cm (ARR) Provenance: Christie's, March 1985 (according to the label attached to the reverse); Louise Kosman, Edinburgh; private collection Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'.