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A glazed stoneware cat 'Iris' 20th century, in the manner of Roger Fry, with a celadon glaze, inscribed 'Iris', 22cm high Condition ReportChip to the ear and to the base. Small crack to the tail, exploded air bubbles in the glaze throughoutPlease see additional images. 

ROGER FRY (1866-1934). CONTINENTAL VILLA. watercolour, signed and dated, 61cm x 48cm, framed.

Anthony Fry, British 1927-2016 - Provence, 1986; oil pastel on paper, 19.5 x 24.7 cm (ARR) (VAT Charged on the Hammer Price) Provenance: Browse & Darby, London (according to the label attached to the reverse); Bernard Jacobson Gallery, London, purchased from the above, October 1986 (according to the label attached to the reverse); private collection, London Note: Fry was a cousin of the Bloomsbury Group painter and critic Roger Fry, and a cousin of Howard Hodgkin. 

Duncan Grant, British 1885-1978 - Study of Clive at Charleston Manor; oil on paper laid down on board, indistinctly signed lower right, 36.5 x 26.2 cm (ARR) Provenance: Christie's, London, Twentieth Century British Art, 27th March 2003, lot 428; private collection, purchased from the above Note: Richard Shone previously assisted in the cataloguing of this work. This a warm and spontaneous depiction of Clive Bell, art critic and husband of Vanessa Bell. 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. Condition Report:Please note the work is oil on paper laid down on board and not oil on board as previously catalogued, which appears original to the making and sheet appears well affixed.Held in a wooden frame with minor scuffs and wear. Minor losses to the sheet bottom left corner and right of bottom edge and near centre of top edge. Small fleck of missing paint above centre of right edge. Flecks of black particles across work. Possible minor discolouration to surface but colours are fresh. 

Duncan Grant, British 1885-1978 - Tulips, 1929;  oil on board, signed and dated lower left 'D. Grant 29', 75 x 56.5 cm (ARR) Provenance: with The London Artists' Association (according to the inscribed and stamped label attached to the reverse); private collection, purchased from the above (according to the indistinct inscription on the label attached to the reverse); private collection Exhibited: The London Artists' Association, London, c.1929-31, no.128 (according to the inscribed and stamped label attached to the reverse) Note: this is a brilliant example of the artist's most beloved subject of a still life with flowers and has been in the same private collection for nearly 50 years. This is an extremely exciting opportunity to purchase the work the first time it is coming to the market in nearly half a century. 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. Grant was a member of the London Artists' Association between 1929-31, locating when this work was first shown to the public. 

Duncan Grant, British 1885-1978 - Vanessa Bell (with 'Male Nude Study' on the reverse); pencil on paper, signed with initials lower right 'DG' and annotated lower left 'VB', 26.5 x 23.3 cm (ARR) Provenance: with The Fine Art Society, London, June 1975, no.NIC (according to the label attached to the reverse of the frame); Christie's, London, Twentieth Century British Art, 13th June 2001, lot 13; private collection, purchased from the above Note: this is a moving study of Grant's lifelong companion and artistic partner, Vanessa Bell. 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. 

Duncan Grant, British 1885-1978 - Lovers Entwined, c.1965; waterolour and pencil on paper, annotated lower right 'fixed', 55.5 x 65.5 cm (ARR) Provenance: Christie's, London, British & Continental Furniture from 1860 to the present day - 20th Century British Decorative Arts, 29th October 1998, lot 524; private collection, purchased from the above Note: with thanks to Richard Shone for his assistance with the cataloguing of this work. 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. 

Attributed to Roger Eliot Fry (British, 1866-1934) - View across a pond - Pencil sketch - 22 x 35cm - 39 x 51cm framed - Apparently given to Sheila Macdonald in September 1939 - Provenance: By descent from James (Jim) O'Connor, Edward Wolfe's partner

AR * Hatt (Doris Brabham, 1890-1969). Musicians, circa 1930, watercolour, gouache and pencil on buff paper, a group of four musicians play various stringed instruments, in good condition, pinholes to upper corners, minimally attached to mount with tape to sheet verso, image size 26.5 x 23.2 cm (10 1/2 x 9 ins), sheet size 28.2 x 24.8 cm (11 x 9 3/4 ins), framed and glazed (40.5 x 36 cm) QTY: (1)NOTE:The daughter of a Mayor of Bath and a professional concert pianist, Doris Hatt went first to Berlin in 1909 to train as a pianist and to study art, but returned to England to continue her studies at Goldsmith's College and The Royal College of Art. She moved to Clevedon in 1922 with her widowed mother. Her early work was shown at the Clifton Arts Club in 1921 alongside works by Wyndham Lewis, Duncan Grant and Roger Fry. In 1925 she moved to Paris to work in the studio of Fernand Léger, returning to Clevedon an ardent communist. She exhibited at the Leicester Galleries in 1943 and the Modern Art Gallery in 1944 with Sickert, Kokoschka, Pissarro, Modigliani, and Spencer.

AR * Hatt (Doris Brabham, 1890-1969). Dial Hill, 1930, wood engraving on paper, signed, dated, titled and numbered 'Print No 5' in pencil to lower margin, image size 11.3 x 15 cm (4.5 x 6 ins), framed and glazed (36 x 39 cm)QTY: (1)NOTE:The only other impression found (and inscribed in pencil 'Print No 11') is entitled 'Walton Castle from Dial Hill'.The daughter of a Mayor of Bath and a professional concert pianist, Doris Hatt went first to Berlin in 1909 to train as a pianist and to study art, but returned to England to continue her studies at Goldsmith's College and the Royal College of Art. She moved to Clevedon in 1922 with her widowed mother. Her early work was shown at the Clifton Arts Club in 1921 alongside works by Wyndham Lewis, Duncan Grant and Roger Fry. In 1925 she moved to Paris to work in the studio of Fernand Léger, returning to Clevedon an ardent communist. She exhibited at the Leicester Galleries in 1943 and the Modern Art Gallery in 1944 with Sickert, Kokoschka, Pissarro, Modigliani, and Spencer.

Art. Bloomsbury Group: Fry (Roger), Cézanne: A Study of His Development, first edition, London: Published by Leonard and Virginia Woolf, at the Hogarth Press, 1927, b/w illustrations, verso pastedown and endpapers with contemporaneous manuscript annotations and notes, presumably in the same hand as the ownership inscription on the recto ffep, original publisher's binding, cloth over pictorial papered upper-cover, worn, split but holding, 4to; Some Contemporary English Artists, [London]: Birrell and Garnett, 1921, b/w illustrations, the contents leaf annotated by a contemporary reader: These markings are not quite up to the corresponding ones in the Frenchman's books of illustrations, foxed letterpress leaves, original pictorial wrappers designed by Duncan Grant, annotated, chipped and disbound, 8vo; auction catalogues, comprising Henry Spencer & Sons:~ By Direction of His Grace the Duke of Portland, K.G. Welbeck Abbey: Catalogue of Surplus Furniture, Handsome Chimney Pieces, Old Oak Panelling, Interior Fittings, and other Effects, April, 1937, some b/w plates, original wrappers, 4to; idem, Welbeck Abbey, Nottinghamshire: Surplus 17th & 18th Century Furniture, August-September, 1947, illustrated, original wrappers, 4to; another country house sale catalogue, Sotheby's:~ Chatsworth: The Attic Sale, October, 2010, wrappers, 4to; Christie's:~ Théodore Géricault: The Hans E. Bühler Collection of Pictures, Drawings and Lithographs, November, 1985, hb, 4to; Bonhams:~ The Albion Collection of Portrait Miniatures, April, 2004, dj, hb, 4to; etc., (8)

Roger Fry (English, 1866-1934) Villa D'Este, Tivolioil on canvasinscribed verso68 x 42cm Oil on original canvas in honest untouched condition, a little dirty, stretcher marks showing but otherwise in good order, housed in probably the original now rather tatty gilt gesso frame.Local private vendor.The painting hung for many years in Stonesfield Manor, Oxfordshire and has been passed down the family from the current vendors grandmother.Ottoline Murrell was persuaded to buy the painting by the family to support the artist. The painting was professionally restored in the 1970’s.Frances Spalding the author of Roger Fry, ‘Art and Life’ visited Stonesfield Manor to view and photograph the painting before the publishing of the book.*PLEASE NOTE - POSTAGE AND OR PACKING NOT AVAILABLE ON ANY PICTURE LOTS IN TODAYS SALE, COLLECTION OR COURIER RECOMMENDED*PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Hester Sainsbury (1890-1967)   Seated Nude  Woodcut  Signed  Framed W31.5cm x H44cm Provenance : Private Collection Note : Printmaker, primarily a book illustrator. Daughter of Dr Harrington Sainsbury, Queen Victoria's court physcian. Her mother, Maria Tuke, was sister of the painter Henry Scott Tuke (q.v.). She grew up in artistic circles and associated with Roger Fry, Gwen Raverat and the Omega Workshop Group. Her youngest brother, Phillip, co-founded the Favil Press, for which she provided illustrations; as well as for the Cayne, Cresset, Golden Cockerel and Westminster Presses. In 1932 she married the Vortist painter, architect and publisher, Frederick Etchells (1886-1973) and illustrated several volumes for his firm, Haslewood Books. She was a member of the Society of Wood Engravers, 1926-32 and exhibited with them from 1921-9. Her work was included in the exhibition, The Wood Engraving Revival in Britain 1900-1930, at Wolsley Fine Arts in 2000. She lived with her husband at Wantage, Berkshire, where they were neighbours of John Betjeman.

Roger Fry (1866-1934) Figure Studies in a Dutch Market, circa 1910pencil12.5 x 11cmProvenance:With The Bloomsbury Workshop, London

William G. Boswell (mid-century), a collection of ink portraits of British writers, including Joseph Conrad, James Joyce, Roger Fry, Jane Welsh Carlyle, etc, mostly signed, the largest 27.5cm x 19cm (qty)

Eric Gill (1882-1940) Gill family collection of photographs of the artist's work 25 photographs of Gill's sculptures and commissions, all labelled to reverse in his hand, including: ‘BBC details of Ariel, unfinished’; bas-relief of Nausica and Ulysses, Midland Hotel, 1933; ‘Mankind' (Tate Collection); ‘Model for South Wind’ (St James’s Park Station); Madonna and Child, Glastonbury Abbey; Sir Charles Hamilton memorial, Broadway; St Dominic Caen, Blackfriars Priory, Oxford; garden statue, later in the collection of Roger Fry; crucifix for G.K. Chesterton’s grave, 1937; Coat of Arms for Jesus College, Cambridge, 1930-31; lychgate, West Dean Cemetery.46 photographs inscribed to reverse by Mary Gill (wife), Petra Tegetmeier and Joan Hague (his daughters), Evan Gill (brother), and Sir William Rothenstein, including: War Memorial, Leeds University; door carvings, Radcliffe Library, Oxford; Lady Ottoline Morrell memorial, St Mary’s Church, Garsington; Mary Beatrice Johnson memorial, St James’s, Piccadilly, 1930; ‘The Golden Calf’; ‘The Divine Lovers’.15 photographs inscribed verso by the artist or his wife.9 photographs of works executed by Gill's assistants Antony Foster, Charles Blackman, H.J. Cribb and Laurie Cribb, 6 inscribed to reverse in Gill's hand, including Gill's own headstone, designed by Gill and carved by Laurie Cribb.127 photographs of Gill's work, not inscribed, including: Mother and Child, commissioned by Rupert Brooke; portrait panel of Baron Rutherford of Nelson, New Zealand physicist; ‘Ecstasy’ (Tate Collection); portrait panel of the Maharani of Bastar, Maharani Hospital, Jagdalpur; Herbert Trench gravestone, Boulogne Eastern Cemetery (200+)

Duncan Grant (1885 - 1978): oil on board, French Townscape 1946 (Dieppe), signed LL, dated 1946, with Philip Mould insurance valuation (2022) affixed verso, image 53 x 38 cm, overall 69 x 54 cm. Grant was a central figure in the circle of artists and writers known as Bloomsbury, which included Grant's cousin Lytton Strachey, Maynard Keynes, Roger Fry, Virginia and Leonard Woolf, Virginia's sister the painter Vanessa Bell and Vanessa's husband the critic Clive Bell. Grant and Vanessa Bell were closely associated in their professional and personal lives for more than fifty years. In 1913 Roger Fry founded the Omega Workshops, of which Grant and Vanessa Bell were directors. The workshops produced furniture, pottery and textiles designed by various young artists including Grant and Bell themselves. Artist Resale Rights may apply Not available for in-house P&P

Vanessa Bell (1879 - 1961): oil on canvas, Flowers in a Black Pot c. 1948, estate stamp and inscription VB verso, in the hand of Duncan Grant, image 29 x 39 cm, overall 40 x 50 cm, Very good throughout, various labels as shown including The Bloomsbury Workshop and Philip Mould. later re-framed, canvas does not appear to have any repairs, from a private Cheshire collection. Bell was an English painter and interior designer, a member of the Bloomsbury Group and the sister of Virginia Woolf. The Bloomsbury Group, which included: Lytton Strachey, Desmond MacCarthy, Maynard Keynes, Leonard Woolf, Roger Fry, and Duncan Grant. Bell and Grant painted and worked on commissions for the Omega Workshops, established by Roger Fry. Her first solo exhibition was at the Omega Workshops in 1916. She also designed book jackets for all of her sister Virginia's books that were published by Virginia and Leonard Woolf's publishing company, the Hogarth Press. Artist Resale Rights may apply Not available for in-house P&P

Roger Fry (1866 - 1934): oil on canvas portrait, Aldous Huxley, signed LL, image 30 x 40 cm, overall, 45 x 53 cm. Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. Fry's efforts significantly increased the profiles of artists such as Cézanne, Gauguin, and van Gogh. Artist Resale Rights may apply Not available for in-house P&P

Roger Eliot Fry (1866 - 1934): oil on canvas, Garden in Cassis (believed to feature Virginia Woolf seated), with Philip Mould and other gallery labels verso, image 64 x 79 cm, overall 80 x 95 cm. Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. Fry's efforts significantly increased the profiles of artists such as Cézanne, Gauguin, and van Gogh. Artist Resale Rights may apply Not available for in-house P&P

20th Century School -Study of flowers on a meadow -Charcoal sketch -29 x 24cm - 46 x 40cm framed -Formerly attributed to Roger Fry -Provenance: By descent from James (Jim) O'Connor, Edward Wolfe's partner

CIRCLE OF ROGER ELLIOT FRY (BRITISH 1866 - 1934), MODERN BRITISH LANDSCAPE oil on canvas, signed indistinctlyframedimage size 51cm x 76cm, overall size 55cm x 81cm

Henri-Matisse by Roger Fry. 1935, French and European Publications, New York [over load label to the publishers details.4to. First edition. Original ;binding. Monochrome and colour plates, text in English. With folding colour plate of the “Dance” Scarce.

ROGER FRY (BRITISH 1866–1934) THE DANCERS, c.1910 oil on board 71cm x 56cm (28in x 22in) Lady Ottoline Morrell;Christie's New York, 1987;Sandra Lummis Fine Art, London, from whom acquired by Bernard Kelly in November 1987. Roger Fry’s Dancers encapsulates both the artistic vision of the Bloomsbury Group and something too of their real-world attitudes to life, love and sex that set them so apart from most of Edwardian England. This painting is steeped in Bloomsbury influences. There’s a certain Medievalism in its composition, like an illumination in a manuscript, that recalls William Morris, yet a louche sensibility and abstraction in its execution that is pure Post-Impressionism. And it was Fry, after all, who had just brought Modern French painting to London, to shocking effect, in the same year that this work was painted. He may well have known about Matisse’s The Dancers, painted for the Russian collector Sergei Schukin in 1909, with its similar circle of Bacchante, but Fry’s work speaks equally to Cezanne’s painting of bathers, or Gauguin’s Tahitian fantasies – albeit seemingly set  in garden at Garsington Manor, home of society hostess Lady Ottoline Morrell, where all the bright young things of Bloomsbury would gather at weekend, both to dress up and (later) take off their clothes. Indeed, one could easily imagine Fry turning this image into a fire-screen or cabinet door for his Omega Workshops, which he had set up precisely to blur the boundaries between art and life for this new generation of modernists and libertines, in that glorious – but short-lived – moment before the coming of the Great War.

Woolf (Virginia). The Captain's Death Bed and Other Essays, 1st edition, London: The Hogarth Press, 1950, partial offsetting to endpapers, original cloth, spine faded and lettering dulled, price-clipped, dust jacket designed by Vanessa Bell, spine toned with small chips at ends, short closed tear at head of front panel, a few small stains, 8vo (Kirkpatrick A30), together with Woolf (Leonard & James Strachey, editors). Virginia Woolf & Lytton Strachey Letters, 1st edition, London: Hogarth Press & Chatto and Windus, 1956, original cloth, fading to extremities, dust jacket by Vanessa Bell, tear and loss at head of spine and top right corner of front panel, some toning and small chips, 8vo, plus Garnett (David). Go She Must!, 1st edition, London: Chatto & Windus, 1927, a little minor spotting, original cloth (slight lean), dust jacket, spine lightly toned, 8vo, with 13 others including The Village in the Jungle, by Leonard Woolf, 1st edition, 1913, Cezanne. A Study of his Development, by Roger Fry, 2nd edition, 1932, the Death of the Moth and Other Essays, by Virginia Woolf, 1st edition, 1942 (lacking dust jacket), , Winter Movement and Other Poems, by Julian Bell, 1930 (2 copies), others by David Garnett etc QTY: (16)

Walter Sickert RA (1860-1942) - Vision Volumes and Recession, a Portrait of Roger Fry, etching, visible sheet 21 x 12cmLiterature: Sickert: The Ruth and Joseph Bromberg Collection p.219 Very slight undulation to the sheet.No tears, holes or creases.Not examined out of frame.

Attributed to Roger Eliot Fry (British 1866-1934) seven oil on board landscapes and a cafe scene. Largest 41cm by 33cm, one inscribed verso "Roger Fry The Mill Baylham Suffolk" (7) 

Roger Elliot Fry (British 1866-1934) Thirteen lithographs church interiors and buildings, largest 56cm by 38cm. All have some staining/wear.

WOOLF, Virginia. Mrs. Dalloway, FIRST EDITION, FIRST PRINTING, 8vo, publisher's maroon cloth, [1-6], 7-293pp., tipped-in advertisement for Boots Book-Lovers' Library, contents mostly very good & bright, roughly cut edges, a few leaves with pale marginal stains, rear endpapers slightly worn with an early library label on pastedown, cloth discoloured & worn, London: Published by Leonard & Virginia Woolf at the Hogarth Press, 1925. Together with first editions of The Common Reader, 1925; Flush, 1933; The Moment, 1947; The Captain's Death Bed, 1950; A Writer's Diary, 1953; Granite and Rainbow, 1958; Roger Fry, 1940; Between the Acts, second impression, 1941; A Haunted House, fourth impression, 1947; The Death of the Moth, fourth impression, 1945, and others, including uniform editions, later printings, and biographical & bibliographical works on Woolf. Condition varied, some with unclipped dust-jackets designed by Vanessa Bell, sold as one collection with all faults (24)

The Decorative Arts - British, American & Canadian Koldeweij, Eloy The English Candlestick. 500 Years in the Development of Base-Metal Candlesticks 1425-1925, 2001  Wills, Geoffrey Candlesticks, 1974  Pinto, Edward & Eva Tunbridge and Scottish Souvenir Woodware, with Chapters on Bois Durci and Pyrography, 1970  Reade, Brian Regency Antiques, 1953 Fry Roger, Manson J B, et al Georgian Art 1760-1820, 1929  Pinto, Edward H Treen and Other Wooden Bygones, 1968  Field, June Collecting Georgian And Victorian Crafts, 1973  Irwin, David English Neoclassical Art: Studies in Inspiration and Taste, 1966  Gloag, John Early English Decorative Detail, 1966  Fowler, John & Cornforth, John English Decoration in the 18th Century, 1986  Priestley, J. B. The Prince of Pleasure and his Regency 1811-1820, 1970  Snodin, Michael & Styles, John Design and The Decorative Arts - Britain 1500-1900, 2001  Cornforth, John The Search for a Style: Country Life and Architecture, 1897-1935 (signed by the author), 1988  Gloag, John Victorian Comfort: A social history of design from 1830-1900, 1961 Larwood, Jacob & Hotten, John Camden ENGLISH INN SIGNS - Being a Revised and Modernized Version of History of Signboards - With a Chapter on the Modern Inn Sign, 1951  Watkin, David Thomas Hope, REGENCY Furniture & Interior Decoration, 1971  Guild, Robin The Victorian House Book, 1991  Hornung, Clarence P Treasury of American Design, in Two Volumes, 1950  Exhibition Catalogue 19th-Century America Furniture and Other Decorative Arts; an Exhibition in Celebration of the Hundredth Anniversary of The Metropolitan Museum of Art, 1970  Webster, Donald Blake The Book of Canadian Antiques, 1974  Constable, W G Art Collecting in the United States of America, An Outline of a History (Quarter leather bound), 1964  Trevor-Venis, Peter The Eighteenth Century English Dining Room, The Israel Museum, Jerusalem  Gere, Charlotte & Whiteway, Michael Nineteenth-Century Design: From Pugin to Mackintosh, 1993  Saumarez-Smith, Charles Eighteenth Century Decoration: Design and Domestic Interior in England, 1993  Hughes, Therle and Bernard English Painted Enamels, 1951 Watney, Bernard M & Babbidge, Homer D Corkscrews for Collectors (revised edition), 1993  Gloag, John Georgian Grace A Social History of Design from 1660 to 1830, 1956  Beard, Geoffrey Craftsmen and Interior Decoration in England 1660-1820, 1981 Darlington, Ida & Howgego, James Printed Maps of London, c.1553 to 1850, 1964  (30)

Roger Fry (British, 1866-1934)View from Rodwell House titled 'View from Rodwell Ho' (to stretcher bar)oil on canvas38.5 x 46.5cm (15 3/16 x 18 5/16in).Footnotes:ProvenanceHelen AnrepWith Louise Kosman Modern British Art, EdinburghPrivate Collection, U.K.Rodwell House in Baylham, Suffolk, was the country home of Helen Anrep, who shared Roger Fry's life from 1925 until his death in 1934. Although France was the inspiration for the majority of Fry's landscapes, in his last years he painted the Suffolk countryside with increasing pleasure. 'It's no wonder', he wrote, 'that the only English painting or at least landscape comes from these parts. One finds everything arranging itself, the way the trees grow, the way they belong to the soil, the way they fill the spaces of the valley, and then the splendid cloud effects.' (V. Woolf, Roger Fry: A Biography, The Hogarth Press, London, 1940, p. 282)We are grateful to Richard Shone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

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 (photo of the original label attached to the reverse);  J. C. Greer, purchased from the above c.1957 (according to the label originally attached to the reverse);  the Collection of Bernard Sheridan (1927-2007) and thence by descent (label attached to the reverse of the frame);  Roseberys, London, Modern British & Contemporary Art, 12th March 2024, lot 6;  private collection, purchased from the above Exhibited:  The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (photo of the original 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. 

JEAN VARDA (TURKISH/AMERICAN, 1893-1971)Fish in underwater scene signed 'J. Varda' (lower right) and inscribed 'No. 10' (to backboard) mixed media collage on board 40 x 49.5cm ARR Provenance Private collection, UKFootnoteJean 'Yanko' Varda was a Turkish born American artist of mixed Greek and French descent. At the age of 19 he moved to Paris where he met Picasso and Braque, before moving to London during the First world War, becoming a ballet dancer, and then returning to Paris by 1922. He subsequently spent many summers in Cassis in the South of France, sharing Roland Penrose's home Villa Les Mimosas, where they hosted many creative guests including Braque, Miro, Derain, Max Ernst, Roger Fry, Duncan Grant and others. He spent most of his winters in this period in London.During the 1930s Varda developed a type of mosaic using pieces of broken mirrors, which he would scratch and then paint in bright colours. He exhibited work in London and Paris and, once he had moved to The United States in 1939, in New York, at the Neumann-Willard Gallery. He later moved from New York to Big Sur and Monterey, his home in the latter becoming a haven for artists and writers during the Second World War. In the 1940s Varda developed his style, moving from mosaics to collage, usually combining scraps of cloth and paper with paint on board. In the late 1940s Varda and the British artist Gordon Onslow Ford acquired an old ferry boat, the Vallejo, permanently mooring it in Sausalito, across the Golden Gate Bridge from San Francisco, and adapting it for their artist's studios and also providing living quarters. Varda continued to create art, mostly collages, throughout his life before he died in 1971 from a heart attack in Mexico City.

JEAN VARDA (TURKISH/AMERICAN, 1893-1971)Spanish dancers in an abstract landscape signed 'J. Varda' (lower right) and inscribed 'No. 16' (to backboard) mixed media collage on board 53 x 73cm together with a ring-bound file with information on the artist compiled by the vendor ARR Provenance Private collection, UKFootnoteJean 'Yanko' Varda was a Turkish born American artist of mixed Greek and French descent. At the age of 19 he moved to Paris where he met Picasso and Braque, before moving to London during the First world War, becoming a ballet dancer, and then returning to Paris by 1922. He subsequently spent many summers in Cassis in the South of France, sharing Roland Penrose's home Villa Les Mimosas, where they hosted many creative guests including Braque, Miro, Derain, Max Ernst, Roger Fry, Duncan Grant and others. He spent most of his winters in this period in London.During the 1930s Varda developed a type of mosaic using pieces of broken mirrors, which he would scratch and then paint in bright colours. He exhibited work in London and Paris and, once he had moved to The United States in 1939, in New York, at the Neumann-Willard Gallery. He later moved from New York to Big Sur and Monterey, his home in the latter becoming a haven for artists and writers during the Second World War. In the 1940s Varda developed his style, moving from mosaics to collage, usually combining scraps of cloth and paper with paint on board. In the late 1940s Varda and the British artist Gordon Onslow Ford acquired an old ferry boat, the Vallejo, permanently mooring it in Sausalito, across the Golden Gate Bridge from San Francisco, and adapting it for their artist's studios and also providing living quarters. Varda continued to create art, mostly collages, throughout his life before he died in 1971 from a heart attack in Mexico City.

British Comics and Celebrities, a collection of autographs including:Hugh Lawrie, single sheet, mounted with colour portrait photographStephen Fry, single sheet 'With best wishes, Stephen Fry', with black and white full length portrait,Bob Hoskins, single sheet, mounted with colour portrait in his role in Who Framed Roger RabbitVic Reeves and Bob Mortimer, individually signed publicity cards mounted as one,and others including Sean Bean, Samantha Janus, Elizabeth Hurley, Caroline Ahern, Angus Deyton, Martin Shaw.Qty: 11

Fry (Roger). Ten Architectural Lithographs, London: The Architectural Press, [1930], 10 window-mounted monochrome lithographs, loose as issued in publisher's portfolio, original spine relaid, joints splitting at head, edges rubbed, cloth ties renewed, folio, 57.5 x 39.5 cm QTY: (1)NOTE:Limited edition 31/40, signed by the artist.The plates are 1. Trinity College Library, Cambridge. 2. A Staircase, Narbonne. 3. Arles Sur Tech. 4. Rock-Cut Church, Saint-Emilion. 5. Cluny Museum, Paris. 6. Notre Dame, Clermont Ferrand. 7. St. Front, Perigueux. 8. Rock-Cut Church, Aubeterre. 9. Elne. 10. Baroque Altar, Perpignan.

IVON HITCHENS (BRITISH 1893-1979) BLUE RIVER, 1932 signed and dated 32 (lower left), oil on canvas 50.8cm x 76.2cm (20in x 30in) with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm.  Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.

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