We found 404 price guide item(s) matching your search

ROGER FRY (BRITISH 1866-1934) THE RAVINE, THE ALPILLES, CIRCA 1932-33 oil on canvas, signedDimensions:54cm (21 1/4in), 65cm (25 1/2in)Note: Literature: Shone, Richard E. (ed.) 'The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', London 1999, repr. b/w p.13 fig.4.Note: In his 1999 essay 'The Artists of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', Richard Shone used this painting to illustrate the point that 'Roger Fry, seen as the arch-exponent of formal values and aesthetic decorum, was frequently drawn in his painting to the most romantic and picturesque aspects of the landscape - to the jagged profiles of unpopulated hillsides, to ravines and mountain pools.' (op.cit., p.13).Roger Fry’s appreciation of, and efforts to promote Post-Impressionist art were key to introducing Britain to recent developments in European art. Fry curated two Post-Impressionist exhibitions in London, the first in 1910 and the second in 1912, with the intention of showing the ways in which Impressionism had expanded and developed from its French origins and taken root in other countries, specifically in England. The work of French artists such as Cézanne, Bonnard and Matisse were juxtaposed with that of a new generation of British artists made in response to art made on the Continent. Fry’s intention was to show the artistic and cultural exchange between Great Britain and mainland Europe.One of Fry’s ambitions was to encourage a better appreciation of Cézanne’s achievements and he was the first British critic to champion his work. Fry’s 1927 study, Cézanne, remains the supreme introduction to a painter he regarded as the ‘greatest master of modern times’. On a trip to France in October 1919, Fry spent time in Cézanne’s hometown of Aix-en-Provence, the surrounding areas painted by the artist, and his house, the Jas de Bouffan. The magnificent countryside inspired Fry to paint, and led him to declare Cézanne a ‘pure naturalist’.Fry believed form, not subject matter, should be the primary expressive element in art. Cézanne’s aims closely aligned with Fry’s ideal, as it gave formal expression to nature. In his 1927 study, Fry asserts that Cézanne’s art is the antithesis of the abstraction of Cubism, constantly questing instead to explore the inner face of nature. He also notes the artist’s powers as a colourist as among the supreme aspects of his genius. Typical of Cézanne’s style, according to Fry, are the pulsating rhythms and constructed strokes that create geometric forms. According equal emphasis to all areas of the canvas, the entire picture surface is imbued with ‘the vibration and movement of life’. In one passage, Fry writes ‘Cézanne reduces actual objects to pure elements of space and volume. In their abstraction, the objects are then brought back into the concrete world of real things by expressing them in an incessantly varying and shifting texture. They retain their abstract intelligibility and regain that reality of actual things which is absent from all abstractions.’For all his academic influence, however, Fry primarily saw himself as an artist. His championship of Post-Impressionism was accompanied by a dramatic change in his own painting, becoming more experimental in style. His landscapes are arguably Fry’s most notable contribution to English Post-Impressionism, in which trees are ground down to the simplest geometrical shapes and clouds stalk the skies. He was interested in the capturing of light and mood of places, and his desire for clear-cut shapes and colours is expressed in sturdy geometric shapes.Fry was a regular visitor to southern France for much of his life. He had great admiration for its various landscapes, for the light and colours of the Midi, for the lifestyle and customs of its inhabitants, its broadly democratic attitude to culture, its architecture and artistic heritage. His extensive trips deepened his love of Provence, where he was eventually to buy a farmhouse. In 1931 he acquired Mas d’Angirany, on the Route d’Antiques leading out of St Remy-de-Provence, which he shared with Charles and Marie Mauron. It was surrounded by olive groves and the upper floor looked across to Les Alpilles, extraordinary geological formations that have been weathered into grotesque shapes and pitted by ravines that have cut their way through the rocks. Vincent Van Gough’s ‘Ravine’, painted shortly after his arrival at the Saint-Paul asylum in 1889, depicts a nearby ravine in Saint-Remy; a possible inspiration for Fry’s later production of a similar scene.Frances Spalding has written ‘some of Fry’s most lyrical late landscapes, with their observation of flickering light an intense responsiveness to the spirit of the place, were painted in the area in and around St Remy’. Until the end of his life, Provence would remain Fry’s favourite part of France. It was a painter’s love, ultimately visual.

WOOLF VIRGINIA.  Roger Fry, 1940; The Death of the Moth & Other Essays, 1942 & A Haunted House & Other Short Stories, 1944. All are 2nd imps., two in torn d.w's. (3).

Roger Fry N.E.A.C. (British, 1866-1934) 'The Downs near Guildford'oil on wooden panelsigned40 x 52cm***CONDITION REPORT***Oil on a fairly rough plywood panel in untouched condition, will need a light clean, signed lower left, slightly slipped in the frame towards the right, plain pine frame, oval stamp JHR verso.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. 

Butts (Mary) Armed with Madness, number 1 of 100 copies, signed presentation inscription from the author to Tancred Borenius to endpaper, frontispiece and 2 plates by Jean Cocteau, original blue buckram, light toning to spine t.e.g., others uncut, largely unopened, Wishart & Company, 1928.⁂ A presentation copy of Butts' key book, an experimental modernist work based around the grail legend, rare.Tancred Borenius (1885-1948) was a Finnish art historian working in England. He befriended and Roger Fry who introduced him to the art and literary circles in Britain, including it seems Butts who was also a friend of Fry's.

ATTRIBUTED TO ROGER ELLIOT FRY A LATE 19TH/EARLY 20TH CENTURY OIL ON CANVAS working portrait of a young lady, labelled on reverse and inscribed on canvas, in later gilt frame.39cm high 28.5cm wide The painting has been viewed under a black light and has no signed of restoration, there's is no tears or crazing. In very good undamaged condition.

Patrick Heron (British, 1920-1999)White and Green Upright : August 1956 signed and titled 'Patrick Heron/White + Green Upright/August 1956' (on the stretcher)oil on canvas91.4 x 50.8 cm. (36 x 20 in.)Footnotes:ProvenanceWith Waddington, Galleries, LondonPrivate Collection, U.K.ExhibitedSt Ives, Tate Gallery,Patrick Heron: Early and Late Garden Paintings, 20 March-3 June 2001LiteratureAndrew Wilson,Patrick Heron: Early and Late Garden Paintings, Tate Publishing, London, 2001, p.27 (ill.)Mel Gooding,Patrick Heron, Phaidon Press, London, 2002, p.106 (col.ill.) White and Green Upright: August 1956 is a painting that belongs to a key moment in both Patrick Heron's life and the development of British art. In April 1956, just a few months before the present work was painted, the artist and his family settled at Eagle's Nest, the home he purchased from Mark Arnold-Forster. It was here, in close proximity to his friend and fellow artist Bryan Wynter and five miles west of the artists' colony of St Ives, amongst the hills overlooking the Cornish village of Zennor, that Heron found his idyll. This corner of west Penwith had captivated numerous people before, including D.H. Lawrence who wrote 'When I looked down at Zennor, I knew it was the Promised Land, and that a new heaven and a new earth would take place' (James T. Boulton (ed.), The Selected Letters of D.H. Lawrence, Cambridge, 1997, p.123).In January 1956 Modern Art in the United States arrived on British shores and caused a sensation at the Tate. Heron reviewed the exhibition, which included Jackson Pollock, Mark Rothko, Robert Motherwell and Willem de Kooning amongst others, for Arts and there can be little doubt it had a revelatory impact on both him and his peers. The scale of the works and the confidence with which they were composed meant he was 'instantly elated by the size, originality, economy and inventive daring of many of the paintings'. However, as an accomplished artist himself, Heron was confident enough to stress his view that there was a lack of resonance in their colour. This is perhaps not surprising given his grounding in European art, shaped by the formalist criticism of Roger Fry alongside the work of great Cubists and Fauves, their canvases imbued with vivid hues. He was also a keen admirer of another American artist, Sam Francis, who as a Tachiste alongside the likes of Hans Hartung and Pierre Soulages advocated gestural painting of a softer kind than Abstract Expressionism. The arrival at Eagle's Nest in 1956 marked a move away from figuration and the embracement of abstraction as Heron saw it. The property had been described as a 'painter's garden' owing to the spectacular planting undertaken by Arnold-Forster during his prior ownership and Heron clearly felt this to be the case with much of his work from the period drawing on the rich outdoor landscape and his own reference to 'Tachiste Garden Paintings'. White and Green Upright: August 1956 predominantly incorporates the colour scheme of its title in vertical planes across the surface with subtle tones and variations of red, yellow and black also introduced to give layered complexity. We may consider the ocean to also be at play here with Heron describing how it acted as a gigantic mirror around the property, 'brilliantly silver, and reflecting white light upwards. To have the rocks and the bushes illuminated from below, from a glittering reflector which is over 600 feet beneath one, and many miles wide – is a special experience' (Patrick Heron quoted in Michael McNay, Patrick Heron, Tate Publishing, London, 2002, p.38).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

FORSTER (E.M.)Archive assembled by P.N. (Nick) Furbank for his biography of his friend E.M. Forster, being a comprehensive collection of letters, photographs, research material, books and other publications, comprising:i) Four autograph letters signed ('E.M. Forster', 'Morgan') to Nick Furbank ('Dear Nick'), the first confirming his wishes for the posthumous publication of Maurice ('...If my present literary exor. (Jack Sprott) does not feel inclined to publish the MS after my death, I should like the right to do so to pass to you... either publish in the ordinary way or issue privately...') and informing him that Christopher Isherwood might publish it in the U.S.A.; with a typed copy of Isherwood's letter to Jack Sprott on the matter; the second (first page only) on the health of Bob Buckingham; the third on the death of his godson Robin Buckingham, saying he hasn't got the letters from George Orwell and talking of his travels; the final letter in the hand of Joe Ackerley signed shakily by Forster, formally asking if he would '...write a biography or criticism of me after my death?... All the additional material for all this is in the second drawer of my bureau in my Cambridge sitting-room. Jack has a key of this drawer... You can use anything you like in it...', 7 pages, dust-staining at folds, 4to and 8vo, King's College, Cambridge and Coventry, 17 February 1956, 4 May and 12 November 1962, 26 April [19]67;ii) Correspondence to E.M. Forster from various correspondents, including: Benjamin Britten (4 letters, 3 cards), William Plomer (3 letters, one discussing Maurice '...the happy ending seems to me in a sense the whole point of the book... magnificent...'), Christopher Isherwood (from Ecuador, describing '...Little Britain, with tea and RAF slang and Churchill pinups and talk about the Royal Wedding...' and praising the 'young American writer' Truman Capote), John Morris of the BBC (describing an altercation with Nirad Chaudhuri on the British in India), Paul Cadmus, Siegfried Sassoon (2 letters, one mentioning T.E. Lawrence, another with a drawing), literary editor Joe Ackerley (3 letters, 3 postcards, one regarding Forster's short story The Other Boat), Stephen Spender, and others, c.70 pages, 4to and smaller, 1912 to 1970; with a large quantity of correspondence from the above-mentioned friends of E.M. Forster and others to the Buckinghams, the majority to May;iii) Correspondence to E.M. Forster from Bob Buckingham comprising some 76 letters on a wide range of topics, discussing family news and mutual friends, his work as a policeman, (including an amusing account of arresting a 'Bright Young Thing' on Piccadilly ('...roused all my Communist blood...'), his distaste at the behaviour of crowds at George V's funeral in January 1936 ('...if we had left them alone they would have pulled him out of the coffin and torn him up for souvenirs...'), appointing Forster as his executor ('...you are the best friend anyone ever had and I do hope we shall be able to snatch a little more happiness together...'), his pacifism, London in the Blitz, mutual friends (on Stephen Tennant '...Do you think he knows there is a war on or is he ignoring it like the French aristocrats ignored the guillotine...'), gratitude for Forster's financial help and much else, plus typescripts of articles on India, sketching and rowing, some marked 'Keep' by Forster; with a further 14 from his wife May on largely family matters, c.240 pages, 4to and 8vo, London and Coventry, 1933-1966 [c.37 undated];iv) Research papers including a large quantity of correspondence to P.N. Furbank sending reminiscences of E.M. Forster, making suggestions to his text, and giving permission to use their letters, from Forster's friends and acquaintances, such as Joe Ackerley on the publication of Maurice which, in his opinion, is '...dead as the dodo and can go into the wastepaper basket as far as I am concerned...', William Golding ('...he was so old but he positively bounded about...'), William Plomer (sending notes from his diary), Noel Annan, Evert Barger, Quentin Bell, Rebecca West ('...My recollections of E.M. Forster were few and not happy...'), Christopher Isherwood, E.V. Thompson and others, c.300 pages, 4to and smaller, [1960's to 1980's]; with other correspondence to Furbank from writers such as Frank Lissauer and Peer Hultberg, c.190 pages, 4to and smaller; typescript diary entries recording meetings and conversations with Forster between May 1952 and November 1967, 12 pages, 4to;v) Collection of c.40 photographs, loose and in an album, depicting Forster, his family and friends such as Roger Fry, the Bargers, Jack Sprott and Anwar Masood, some inscribed on reverse by Forster ('Roger Fry, inspired by local scenery', 'Wisley July 1931'), two of Forster as a child, gelatin silver prints, some press photographs and later prints, various sizes; with a booklet of 24 small photographs of the exterior and gardens of West Hackhurst (one published in the biography); and c.140 postcards, the majority collected by Forster, some in embroidered fabric silk-lined pouches entitled 'India', 'Egypt', 'Herts', 'Hants', 'Abinger', some inscribed by Forster on reverse; seven Edwardian greetings cards from Forster to May Buckingham in envelope labelled 'Very funny greetings cards from Morgan';vi) Papers of Harry Daley (1901-1971), policeman, friend and lover of E.M. Forster, including 23 densely typed and autograph letters from Daley to Furbank ('...You asked if I had much feeling for him and, assuming you meant sexual feeling, I gave an emphatic 'Oh no!'... but I was often pleased to give pleasure to my homosexual friends. If you meant affectionate feeling then the answer is an equally emphatic 'Oh yes!'...'), speaking frankly of their relationship, of showing Forster the world of the criminal classes in Notting Hill ('...My chatter with Morgan must have been chiefly about costers and boxers, gangsters, fishermen and lorry drivers...'), many anecdotes of their meetings, music and literature, his opinion of Bob Buckingham and Forster's relationship with him ('...never read a book before he met Morgan...'), homosexuality ('...Morgan's homosexuality got a good airing. Poor Bob... He once told Joe that I was silly to admit being homo. Because if ever I was challenged by Authority I wouldn't have a leg to stand on... it will be difficult for you to mention me in your book except as a stepping stone to Bob...'), giving a graphic description of Forster's sexual preferences ('...No buggery, of course...'), describing himself as '...vulgar, indiscreet, a security risk, quick-tempered and as unfaithful as an old Tomcat – not at all what Morgan wanted or deserved...', c.90 pages, 4to, Dorking, 17 March 1968 to 17 August 1970; with incoming correspondence to Daley from Forster (one autograph letter, arranging to meet for tea, photocopies of nine others), Joe Ackerley, Raymond Mortimer, Stephen Spender, Duncan Grant, commenting on the manuscript of Daley's autobiography (published posthumously) This Small Cloud, mostly 1960's; photocopies of Daley's articles on the life of a policeman in The Listener, 1929-1933, and five seemingly unpublished manuscript articles; Furbank's notes, press cuttings etc.; collection of c.25 photographs, some published in This Small Cloud, of family, in his uniform, of various young men, some in underwear, one being arrested by Daley, another two behind bars, boxers, Joe Ackerley in bed (1920's), etc.; vii) Books and printed matter, comprising association and presentation copies and Furbank's research library, including:LUARD (C.E.) et al. Dewas State Gazetteer, signed by Forster on the flyleaf, annotated in his hand throughout particularly on foldout family tree, Bombay, Bombay Education Society, 1907; FORSTER (E.M.) Alexandria: A History and a Guide, inscribed to Bob Buckingham 'Bob with M... For further information on this lot please visit Bonhams.com

Portrait miniature on card of a 17th century gentleman, named verso as 'Probably Joseph Howe of St Bartholomew by the Change Master of the Spectacle Makers Company 1673, died 1706, copied by Roger E. Fry from a miniature in the possession of Rev. A E Dalton' (possibly Roger Elliot Fry 1866-1934) 5cm high, in glazed papier mâché frame

The Book of Tobit, Walpole Press, 1945, limited edition no.239, together with Life and Other Punctures, by Eleanor Bron, Andre Deutch 1978 first edition, Oxford Book of English verse, by A T Quiller-Couch, Clarendon Press, 1901, The Dark is Light Enough, by Christopher Fry, Oxford University Press, 1954 second impression, The Marriage of Heaven and Hell and a Song of Liberty, by William Blake, introduced by F Griffin Stokes, Florence Press, 1911, Cambridge Poets 1900-1913, chosen by Aelfrida Tillyard, W Heffer & Sons, 1913, and The Way Things Are, by Roger McGough, Viking, 1999, signed edition

ROGER FRY (BRITISH 1866-1934)ATHENS Oil on board Signed (lower right); titled in blue crayon to backboard (verso)29 x 39cm (11¼ x 15¼ in.)Provenance:Sale, Christie's, London, 1 March 2006, lot 72Sale, Sotheby's, London, 7 September 2006, lot 95Condition Report: Board is very slightly bowing. Inspection under UV reveals no obvious evidence of restoration or repair. No significant condition issues. Condition Report Disclaimer

An Omega Workshops vase by Roger Fry, low, shouldered form, painted with panels of animals in terracotta on a grey tin-glaze, the interior painted with a star motif, painted Omega mark, damages 17cm. diam. Provenance Everard Meynell, by repute, thence by descent. Exhibited A Room of Their Own: Lost Bloomsbury Interiors, Victoria Art Gallery, Bath 11th June-4th September 2016 Mantelpiece Modernism The Omega Workshops, Bloomsbury & Gordine Dorich House Museum, 27th September-17th November 2018. Literature Mantelpiece Modernism The Omega Workshops, Bloomsbury & Gordine Dorich House Museum, page 5 two views illustrated.

RACKHAM (Arthur; illustrator) Rip Van Winkle, Heinemann 1905, 2nd impression, small 4to, 50 tipped in colour plates with captioned guards, original green cloth gilt, base of spine bumped and chipped; NEILL (J R) The Wonder City of Oz, 1940, original cloth; FRY (Roger) Henri-Matisse, Zwemmer 1935, foldout colour plate, stained covers; few others in varying condition (15)

Vanessa Bell (British, 1879-1961)Street Scene in Tuscany oil on panel25.4 x 35.9 cm. (10 x 14 1/8 in.)Painted in 1912Footnotes:ProvenanceThe Artist's EstateWith Anthony d'Offay, London, 1983, where acquired byMrs M. Cohen, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Anthony d'Offay, Vanessa Bell. Paintings and Drawings., 20 November-12 December 1973, cat.no.6Vanessa Bell visited Italy in the spring of 1912 with Clive Bell and Roger Fry, and painted several small oil on panel townscapes in Pisa and elsewhere. Street Scene in Tuscany is a rare, early example painted with impressionistic fluidity and colour hues typical of the period. Bell had seen the ground-breaking exhibtion, Manet and the Post-Impressionists organised by Roger Fry at The Grafton Galleries in 1910 with works by Gauguin, Cézanne, Matisse and Van Gogh. In 1912 her work was included in the Second Post-Impressionist Exhibition where, alongside Duncan Grant, she found herself in the company of Pablo Picasso and Henri Matisse. 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

Gill, Eric (1882-1940) Group of original drawings mixed media, all mounted, framed and glazed, and comprising:1. Nativity with Midwife, St Joseph Seated, [1910], original Christmas card design for Roger Fry, mount aperture 9 x 6cm, in triple aperture mount with the printed wood-engraving [Skelton P10] and a pencil inscription by Gill 'To Ethel from Eric on return from Brussels Exhib[ition]', backboard with printed label reading 'Original drawing by Eric Gill from the Gill family collection', acquisition note 'G. Sims 1985' and other annotations;2. [Blessed Virgin Mary in vesica], mount aperture 10 x 5cm, text along border of vesica reading 'Beata viscera Mariae Virg[ini]s Q[uae] portaver[un]t aeterni Patris Filium' [not found in Skelton], printed label on backboard ('Original drawing by Eric Gill ...');3. Christmas Gifts, [1916], in triple aperture mount with two related wood-engravings, Christmas Gifts: Dawn [Skelton P81] and Christmas Gifts: Daylight [Skelton P80], these identified in label on verso respectively as a 'proof engraving' and 'printed on card', framed and glazed, printed label on backboard ('Original drawing by Eric Gill ...')Note: Provenance: Property of an English collector.

Anthony Baynes (British, 1921-2003), 'Greek Shepherd's Shelter', titled and inscribed and dated 'c1955' on Abbott and Holder gallery labels verso, watercolour and gouache, 22 x 24.5cm, frame 43 x 43cm, with another signed example depicting 4 landscapes in a window-like frame, signed lower right side in pencil, watercolour and gouache, 30 x 24cm, frame 49 x 41.5cm (2)Antony Baynes. Thence by descent.Anthony Baynes studied art at the Slade School of Art. Baynes studied under Professor Randolphe Schwabe, along with fellow students Kyffin Williams and Bernard Dunstan. In 1946 his work 'The Betrayal' won the Mary Richgitz Prize. This painting is in the UCL Art Museum.After the war he taught art at the Badminton School and in 1949 went to Greece. Then in the 1950s he lived in Crete and held an exhbition in Athens in 1955 and later in London in 1958.He was an accomplished artist in both watercolour and oil and a designer of theatrical sets (eg for Sadler's Wells in the 1940s) and decorated furniture. Baynes was a noted dust jacket designer too from the 1950s to the 1970s, working for publishers John Murray, Capes and Eyre and Spottiswoode. He painted murals at the Portsmouth Guildhall and the London Stock Exchange.Anthony Baynes was the cousin of the well known artist Keith Baynes (1877-1977), who studied at the Slade School of Art from1912 to 1914. After the war Keith Baynes became a member of the circle of Roger Fry. He exhibited with the NEAC and with the London Group from 1919 and was friends with Bloomsbury Group members Vanessa Bell and Duncan Grant. He Exhibited at Agnew's amongst other galleries.Ok.

Woolf (Virginia): Roger Fry: A Biography, first edition, London: The Hogarth Press, 1940, pictorial dustjacket over green cloth, 8vo, (1); [&] Orlando: A Biography, first edition, London: Published by Leonard and Virginia Woolf at the Hogarth Press, 1928, original orange cloth only, 8vo, (1); Sackville-West [(Vita)], The Edwardians, first trade edition, third impression, [London]: Published by Leonard & Virginia Woolf/The Hogarth Press, 1930, pictorial dustjacket (chipped, torn), terracotta cloth, 8vo, (1); Trefusis (Violet) & Julian (Philippe, illustrator), Don't Look Round, first edition, London: Hutchinson, 1952, pictorial dustjacket over cloth, 8vo, (1), [4] Provenance: the Chandos-Pole family, removed from the Library of Radbourne Hall, Derbyshire.

The Book of Tobit, Walpole Press, 1945, limited edition no.239, together with Life and Other Punctures, by Eleanor Bron, Andre Deutch 1978 first edition, Oxford Book of English verse, by A T Quiller-Couch, Clarendon Press, 1901, The Dark is Light Enough, by Christopher Fry, Oxford University Press, 1954 second impression, The Marriage of Heaven and Hell and a Song of Liberty, by William Blake, introduced by F Griffin Stokes, Florence Press, 1911, Cambridge Poets 1900-1913, chosen by Aelfrida Tillyard, W Heffer & Sons, 1913, and The Way Things Are, by Roger McGough, Viking, 1999, signed edition

Collection of Autographs / signed items - Film and TV; 2 x Large Folders including Diana Rigg 10 x 8 , John Hurt 10 x 8, Alex Kingston, John Challis 10 x 8, (Trigger) Roger Lloyd Pack 10 x 8, Brian Blessed signed letter, Richard Wilson photo, Dennis Waterman and Rula Lenska, Ian Hislop, Richard Branson, Martin Clunes, Minnie Driver, Michael Burk, Elizabeth Hurley, Kate Beckinsale x 2 and letter. Daniel Radcliffe w/letter, Jim Davidson, Paul Rankin, Neil Morrisey, Wendy Richard, Burt Kwouk x 2 and letter. Bob Hope, Bill Pertwee (Dads Army), Clive Dunn, Zoe Wannamaker, John Holder, David Hasselhoff x 2, June Whitfield, Don Johnson (Miami Vice etc) Kevin Costner, John Craven x 2, Russ Abbott x 2, Liz Smith Royale Family x 2, Clive Anderson, John Cleese, Dale Winton x 2, Tarzan (Boy), Paul Barber (Only Fools and Horses) Robert Downey Jr, Kathleen Turner, Robert Patrick (Terminator), Brookside star, Bob Grant (On the Buses), Mel Gibson 10 x 8 , Craig Parker (Lord of the Rings), Harry Seacombe signed programme, Rutger Hauer 10 x 8 , Gimmley John Rhys-Davies, Matrix 10 x 8, Neil and Adrian Rayment, Dirty Den (Leslie Grantham), Buster Merryfield (Only Fools), John Challis and Sue Holderness - Witchking Lord of the Rings x 2 - Batgirl 10 x 8, Danny Kaye, Diana Rigg on Honour promo card - Susan Hampshire x 4, Robin Williams x 2 and letter, David Bradley (Filch Harry Potter x 2), Jamie Kennedy, Richard Griffiths, Robson Green x 2, John Travolta, Helen Mirren, Norman Wisdom x 2, Tony Curtis, Kenneth Branagh x 2 Harry Potter, Angel - David Boreanaz 10 x 8, Warwick Davis x 2 with letter, Harry Potter, Drew Barrymore, Jim Tavare Harry Potter, Prof Michael Gambon, Ant & Dec, Graham Norton, Frank Carson, Harry Secombe, Michael Bentine, Linda Robeson x 2, Ronnie Corbett x 3, Russ Abbott, Danny De Vito, James Marsters x 2, Stephen Fry, Joanna Lumley, Audrey Squires x 2 The Cast of Mrs Browns Boys, Gemma Atherton, Merlin, Kate Winslet x 2 - Lee Evans x 2 - The X Files DVD insert - Peter Kay, Leslie Joseph and others. Client worked in the music and tv business and many of these autographs were obtained personally and some were sent to him in connection with charity and promotional work.

Roger Fry (1866-1934) Study of a female nude Pencil and charcoal 48 x 35.8cm Provenance: Michael Dickens Fine Art, where purchased by the present private collectors, June 1996 Exhibited: London, Michael Dickens at the Royal National Theatre, Patricia and Dorothy, 1996, no.49

BLOOMSBURY -- SHONE, R. The Art of Bloomsbury. Roger Fry, Vanessa Bell and Duncan Grant. (1999). -- Id. Bloomsbury Portraits. (1976). -- G. NAYLOR, ed. Bloomsbury, its artists, authors and designers. (1990). -- M.A. CAWS & S.B. WRIGHT. Bloomsbury and France. Art and friends. (2000). -- J. ONDAATJE ROLLS. The Bloomsbury Cookbook. (2014). -- 5 vols. Or. binds. w. dust-j. -- And 12 o. (17).

Multi signed Music and Entertainment A4 Sheet. Signatures such as Bob Geldof, Mica Paris, Elaine Page, Kevin Rolands, Lou Reed, Kim Appleton, Tom Jones, Roger Taylor, Trevor Horn, Tony Wilson, Pete Docherty, Stephen Fry, John Taylor and others. Good condition Est.

A set of 3 hardback Bristol Past & Present books. Volumes I, II & III. By J. F. Nicholls F.S.A and John Taylor. Published by J. W. Arrowsmith, II Queen Street. The books owned by Joseph Storrs Fry II, signed to the flyleaf. Joseph Storrs Fry (6 August 1826 - 7 July 1913) was a member of the Bristol Fry family, head of the family chocolate firm of J. S. Fry & Sons and a philanthropist. He assumed control of the company as chairman in 1878[1] and built it up from 56 workers to a factory employing 3,000 people in Union Street, Bristol.[2] He never married and his fortune was mostly inherited by his 37 nephews and nieces including Roger Fry, Joan Mary Fry, Margery Fry, and Ruth Fry (though £42,000 was split amongst employees with more than 5 years of service amongst other legacies). Control of the family firm passed to various relations, not all of whom were on speaking terms with each other, who thereafter merged it with Cadburys in 1919.

BELL (Quentin): 'Virginia Woolf, a biography...', London, Hogarth Press, 1972: volumes 1 & 2: 8vo, publishers cloth with dustjacket, VG: SUTTON (Denys, editor) 'Letters of Roger Fry': 2 vols, London, Chatto & Windus 1972, VG in dustjacket: BELL (Adrian) 'The Budding Morrow', London, John Lane, 1946, dustjacket a little chipped to ends, 8vo: plus 13 others, modern literature. (16)

Autographs / signed items - Film and TV; 2 x Large Folders including Diana Rigg 10 x 8 , John Hurt 10 x 8, Alex Kingston, John Challis 10 x 8, (Trigger) Roger Lloyd Pack 10 x 8, Brian Blessed signed letter, Richard Wilson photo, Dennis Waterman and Rula Lenska, Ian Hislop, Richard Branson, Martin Clunes, Minnie Driver, Michael Burk, Elizabeth Hurley, Kate Beckinsale x 2 and letter. Daniel Radcliffe w/letter, Jim Davidson, Paul Rankin, Neil Morrisey, Wendy Richard, Burt Kwouk x 2 and letter. Bob Hope, Bill Pertwee (Dads Army), Clive Dunn, Zoe Wannamaker, John Holder, David Hasselhoff x 2, June Whitfield, Don Johnson (Miami Vice etc) Kevin Costner, John Craven x 2, Russ Abbott x 2, Liz Smith Royale Family x 2, Clive Anderson, John Cleese, Dale Winton x 2, Tarzan (Boy), Paul Barber (Only Fools and Horses) Robert Downey Jr, Kathleen Turner, Robert Patrick (Terminator), Brookside star, Bob Grant (On the Buses), Mel Gibson 10 x 8 , Craig Parker (Lord of the Rings), Harry Seacombe signed programme, Rutger Hauer 10 x 8 , Gimmley John Rhys-Davies, Matrix 10 x 8, Neil and Adrian Rayment, Dirty Den (Leslie Grantham), Buster Merryfield (Only Fools), John Challis and Sue Holderness - Witchking Lord of the Rings x 2 - Batgirl 10 x 8, Danny Kaye, Diana Rigg on Honour promo card - Susan Hampshire x 4, Robin Williams x 2 and letter, David Bradley (Filch Harry Potter x 2), Jamie Kennedy, Richard Griffiths, Robson Green x 2, John Travolta, Helen Mirren, Norman Wisdom x 2, Tony Curtis, Kenneth Branagh x 2 Harry Potter, Angel - David Boreanaz 10 x 8, Warwick Davis x 2 with letter, Harry Potter, Drew Barrymore, Jim Tavare Harry Potter, Prof Michael Gambon, Ant & Dec, Graham Norton, Frank Carson, Harry Secombe, Michael Bentine, Linda Robeson x 2, Ronnie Corbett x 3, Russ Abbott, Danny De Vito, James Marsters x 2, Stephen Fry, Joanna Lumley, Audrey Squires x 2 The Cast of Mrs Browns Boys, Gemma Atherton, Merlin, Kate Winslet x 2 - Lee Evans x 2 - The X Files DVD insert - Peter Kay, Leslie Joseph and others

[Bloomsbury Group] In the Manner of Roger Fry (1866-1934) "Lakeside and Mountain View," O.O.C., depicting a bright and vibrant image of deep blue lake and colourful mountain scene, approx. 38cms x 45cns (15" x 18"), unsigned, in contemporary painted frame, the stretcher with stamp for British Art Supplies, 95 Jermyn Street, London. (1)

Roger Fry: 'Cézanne a Study of his Development', London, Leonard & Virginia Woolf at The Hogarth Press, 1927, 54 ills. on 50 plates as called for, 4to, original quarter cloth; Ernest Rathenau: 'Kokoschka Drawings', London, Thames & Hudson, 1962, limited edition (308/500), numbered, 146 plates, 4to, original buckram gilt, original acetate wrapper; Franz Meyer: 'Marc Chagall', Thames & Hudson, 1964, 1st edition, profusely illustrated throughout including many tipped in coloured and black & white plates as called for, thick 4to, original pictorial cloth, dust wrapper; 'The Drawings of Mervyn Peake', 1974, 1st edition, 4to, original cloth, dust wrapper (4)

Roger Elliot Fry (1866-1934)'The ravine'inscribed with title on torn label verso, gouache 19.5 x 29.5cmCondition report: Framed and glazed. Knocks to frame.

An Omega Workshops vase by Roger Fry, flaring low conical form, with collar rim, decorated with red lustre dashed bands on a tin-glaze, painted marks, 11.5cm. high Provenance Andrew Harriss

An Omega Pottery vase by Roger Fry, shouldered, cylindrical form, painted with bands of dash and cross-hatching, in red lustre on a tin-glaze unsigned, 8.5cm. high Provenance Andrew Harriss

An Omega Workshops vase by Roger Fry, shouldered, hexagonal section with circular aperture, on six feet, painted with geometric panels in blue and red on a tin-glaze, unsigned, 16.5cm. high Provenance Andrew Harriss

An Omega Workshops side plate by Roger Fry, covered in a tin glaze, impressed Omega mark, broken and re-stuck, 17cm. diam. Provenance Andrew Harriss

A large Omega Workshops plate by Roger Fry, probably on Carter's Poole Pottery blank, painted with a simple outlined blue basket, on tin-glaze, the rim with a geometric swag design in blue, impressed Omega mark, repaired rim, 30.8cm. diam. Provenance Andrew Harriss

An interesting Omega Workshops plate by Roger Fry, painted with two cranes in red lustre on a tin-glaze impressed Omega mark, 17cm. diam. Provenance Andrew Harriss Literature Isabelle Anscombe Omega and After, Bloomsbury and the Decorative Arts, Thames & Hudson, page 117 plate 44 for a printed linen with comparable birds, illustrated. There is also an unattributed design for textile Mantelpiece Modernism, The Omega Workshops, Bloomsbury, Dorich House Museum, page 15 for a comparable plate decorated with figure, attributed to Duncan Grant. Catalogue notes Roger Fry also produced a comparable marquetry table design for an interior, commissioned by Lady Hamilton which featured comparable cranes.

Maxwell Fry CBE, RA - Rokeby Park Teesdale, signed and dated '85, oil on board, 29 x 39cm, Roger Heaton - Hidden Footpath, signed, oil on canvas and Tom Grocock - Southwell Minster, signed, oil on board (3) Exhibited: (M Fry) Royal Academy, Summer Exhibition 1987

Roger Fry (1866-1934) Three men in a cafe, Aix-En-Provencepencil on paperwith Bill of Sale from The Bloomsbury Workshop dated 200411 x 16.5cmVery good condition, looks to have been taken from a sketch book, plain frame, original receipt states Provenance Richard Shoan to whom given by Pamela Diamond, Roger Fry's daughterPLEASE 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. 11 x 16.5cmFry (1866-1934), Roger

Clubs and Societies, A ticket awarded to a pioneer English photographer: FINSBURY CIRCUS, London Institution, 1807, copper, arms of the City, lion crest above, number (510) engraved below, rev. robed female seated right, lamp of wisdom to right, 43mm, 29.81g (W 2671; D & W 157/435). Good very fine £60-£80 --- Provenance: Bt September 2004. The recipient was Peter Wickens Fry, RSA (1795-1860), solicitor, Fry & Loxley, 80 Cheapside, who was also a pioneering English amateur photographer. Born in Compton Bishop, Somerset, Fry moved to London and was experimenting with photogenic drawing before Fox Talbot developed the calotype process in 1841. Fry founded the Calotype Club in 1847, renamed as the Royal Photographic Club in 1848. Fry’s first picture using the collodion process was exhibited at a meeting of the Society of Arts in 1851 and he helped Roger Fenton found the Royal Photographic Society in 1853

An Omega Workshops (possibly Roger Fry) bowl with blue and white striped decoration and Omega mark to base 22 cm in diameter 10.5 cm high CONDITION REPORTS Has area of damage to the rim, various hairline fractures, chip etc. Crazing all over. Firing faults particularly noticeable to the interior and a chip to the foot appears to have been done during firing. In need of a clean - see images for more details. Provenance: from local deceased estate which the majority of the sale has come from. From there unknown

Roger Fry (1866-1934)Winter Morninginscribed to artist's label (on the reverse)oil on board32 x 40cm. 

‡Henry Lamb RA (1883-1960) Portrait study of Helen Anrep (1885-1965) Inscribed Helen Anrep (lower right) Pencil 35.5 x 25.3cm Unframed Provenance: Christie's, London, Modern British & Continental Pictures..., 25 July 1996, lot 17 Helen Anrep (née Maitland) met Henry Lamb in 1908 whilst studying music in Paris. They had a brief affair, but subsequently she married Lamb's friend, the mosaic artist Boris Anrep (1883-1869). She later lived with Roger Fry until his death in 1934. This drawing was probably a study for Lamb's portrait of the Anrep family. A similar study was sold at Christie's, London, 17 December 2008, lot 15.

Roger Fry (1866-1934) The blue pool Signed and dated Roger Fry 23 (lower right) Oil on canvas 73.1 x 60.5cm Unframed Provenance: Phillips, London, Modern British and Irish Paintings and Sculpture, 14 January 1992, lot 9; Christie's, London, 20th Century British Art, 11 March 2004, lot 84

Wood Lea Press.- Greenwood (Jeremy) The Graphic Work of Edward Wadsworth, number 47 of 50 specially-bound copies with an additional woodcut, from an edition limited to 500, additional woodcut 'A Black Country village' printed by the Fleece Press bound in at end, 2002; Omega Cuts, number 40 of 105 special copies with additional booklet of woodcuts by Vanessa Bell, Carrington & Roger Fry, from an edition limited to 555, booklet in original wrappers, 1998, illustrations, some colour, some tipped in, original morocco-backed boards, original cloth drop-back boxes, folio, Woodbridge, Wood Lea Press (2)

Roger Fry (British, 1866-1934)Gypsy signed and dated 'Roger Fry 1918' (lower right)oil on canvas52 x 44.5cm (20 1/2 x 17 1/2in).Footnotes:ProvenancePamela Diamand, from whom acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.ExhibitedLuton, Luton Museum and Art Gallery, Paintings and Drawings by Roger Fry (1866-1934), 4 June-3 July 1960, no. 20London, Arts Council Gallery, Vision and Design: The Life, Work and Influence of Roger Fry - 1866-1934, 17 March-16 April 1966, no. 80We are grateful to Richard Shone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Farmyard With Ducks at Charleston signed and dated 'Roger Fry. 1919.' (lower left)oil on canvas47.5 x 46.5cm (18 11/16 x 18 5/16in).Footnotes:The present lot was painted on a visit to Charleston in the summer of 1919, when Roger Fry camped nearby with his two children. The standing figure here is thought to be his daughter Pamela.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

Roger Fry (British 1866-1934) Le Baou des Noir, Vence signed and dated ‘Roger Fry / 1920’ (lower left) oil on canvas 63.5 x 80cmFootnote: Set in the rugged hills of the Alpes Maritimes department and incised throughout with a labyrinth of medieval cobbled streets, Vence, formerly the Roman settlement of Vintium, attracted a flock of artists and writers including, D.H. Lawrence, Marc Chagall, Henri Matisse, Christopher Wood, and Gwen Raverat. The present lot was executed on one of several trips Fry made to Vence. On this particular trip, taken in the spring of 1920, Fry was accompanied by the French artist, Jean Marchand. In his 1920 publication of the influential work, Vision and Design, which comprised a collection of twenty-five essays he had written between 1900 and 1920, Fry dedicated a chapter to Marchand, whom he credited for discarding the 'scaffolding of cubism'.Condition report: The painting is lined using glue paste, the tension in the canvas is good. There is some minor cracking to the paint layer and some losses in the paint layer along the top, this is likely to have happened when the painting was cut from the stretcher to line. There are several small lumps/holes in the paint layer. These could be holes in the original canvas (?) The lumps appear to be a build up of glue. The picture is varnished using a natural resin which has now yellowed. There is a small area of overpaint in the sky which has recently been retouched. The painting has been recently cleaned and restored to a high standard.

Roger Fry (1866-1934)/Reclining Female Figure/numbered 4/5/etching, 41cm x 58.5cm/and two other pictures [3]

A collection of twenty nine titles relating to Sigmund Freud, psychoanalysis, Bloomsbury Group, Hogarth Press etc., including Ernest Jones: 'Sigmund Freud Life and Work', 3 volumes, Irving Stone: 'The Passions of the Mind A Novel of Sigmund Freud', NY, Doubleday, 1971, limited edition, signed by author & numbered (33/500), original cloth, slipcase, Roger Fry: 'The Artist and Psycho-Analysis', Hogarth Press, 1924, 1st edition, Hogarth Essays No.2, original pictorial wraps, four others published by 'The Hogarth Press and the Institute for Psycho-Analysis', in green cloth gilt, Ralph Steadman: 'Sigmund Freud', London, Paddington Press, 1979, 1st edition, signed & inscribed by Steadman, etc etc (29)

Nina Hamnett (British, 1890-1956)Rooftops signed 'Hamnett' (lower left)oil on canvas53.4 x 36.8 cm. (21 x 14 1/2 in.)Footnotes:ProvenanceThe Artist, from whom acquired byFrank Griffith, thence by descentPrivate Collection, U.K.Nina Hamnett was born in Wales and studied at the London School of Art and also in Paris. During, and following, her studies she forged friendships with a wide circle of the most respected creatives of the time including Henri Gaudier-Brzeska (for whom she posed nude), Ezra Pound, Pablo Picasso and Jean Cocteau, in addition to sexual relationships with Amadeo Modigliani and Roger Fry to name but two. She gained notoriety for a wildly unconventional attitude (having once danced naked on a café table in Montparnasse 'just for the hell of it'), was a heavy drinker and openly bisexual and promiscuous, all of which earned her the informal title of 'The Queen of Bohemia'. Yet in spite of her flamboyant reputation, she was a serious artist in her own right and greatly admired by Walter Sickert, who attempted (and failed) to guide her professional development. Her work was exhibited widely during the First World War at both the Royal Academy in London and the Salon d'Automne in Paris and in 1932, she published Laughing Torso (an auto-biographical account of her controversial life) which became a bestseller in the U.K. and U.S. Sadly, however, in the years that followed she was consumed by alcoholism and met an untimely end in 1956 having fallen out of her apartment window and become impaled on the railings below. One of the more interesting characters of the period, Hamnett's work is rarely seen on the open market with the present example having previously been in the collection of her artist friend Frank Griffith (1889-1979) whom she met in Paris.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

Bayes, Jessie, illuminator. The Kaleidoscope of Life... by Frank Swettenham, an elaborate illuminated manuscript of 17 leaves, decorated recto-verso, title illuminated in gold, 4 full-page decorations with detailed floral borders, 6 large decorative initials and 18 smaller decorated initials, contemporary limp vellum, silk ties, 20mm x 187mm, 1907 Jessie Bayes (1876-1970) was a British Arts and Crafts artist who specialised in miniature paintings, illuminated manuscripts, stained glass, iconography and more. Her father and brother were also artists, the latter being the art critic for the Athenaeum, succeeding Roger Fry in 1906. Jessie exhibited at the Royal Academy on 1908 and her work received a dedicated article in The Studio in 1914 (May 15).

Attributed to ROGER FRY (1866-1934) for Omega Workshops; a shallow tin glazed buff bodied earthenware dish with painted indigo decoration on cream ground, diameter 17.5cm.Provenance: William Staite Murray collection.PR – The dish is unmarked so I have shown it to a number of specialists on this period. It remains a mystery with a strong suspicion it came from Omega Workshops. I bought it with a group of pieces which had been owned by William Staite Murray.Additional InformationChip to footring and glaze chips to rim, otherwise appears good with no further signs of faults, damage or restorations. 

Roger Fry (British, 1866-1934)Wooded Landscape, Provence oil on canvasboard40 x 32cm (15 3/4 x 12 5/8in).Painted circa 1926-7Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaWe are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Cagnes signed and dated 'Roger Fry. 1930.' (lower right)oil on board33 x 40.5cm (13 x 15 15/16in).Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaExhibitedLondon, The London Artist's Association, Cooling Galleries, A Retrospective Exhibition of Paintings by Roger Fry, 11 February-7 March 1931We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Woman in a Doorway oil on board36.5 x 28cm (14 3/8 x 11in).Painted circa 1930 with a further unfinished landscape painting on the reverse, by the same handFootnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaThe present lot was painted in St Rémy, France.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Suffolk Landscape signed and dated 'Roger Fry. 31' (lower left)oil on board33 x 40.5cm (13 x 15 15/16in).Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, Canada The present lot is thought to have been painted at Rodwell House, Ipswich, Suffolk, the home of Helen Anrep. We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Figures Beneath Trees, Vence oil on board27 x 36.5cm (10 5/8 x 14 3/8in).Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaWe are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Cypresses, Broussa oil on board35.5 x 25.5cm (14 x 10 1/16in).Painted in 1911with a further unfinished landscape sketch on the reverse, by the same handFootnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, no. 23 The present lot was painted on a visit to Turkey accompanied by Clive and Vanessa Bell.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Ravine with Houses, Broussa oil on board35 x 25cm (13 3/4 x 9 13/16in).Painted in 1911Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, no. 22The present lot was painted on a visit to Turkey accompanied by Clive and Vanessa Bell.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Roger Fry (British, 1866-1934)Carpentras oil on board31 x 39.5cm (12 3/16 x 15 9/16in).Painted circa 1930Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, no. 13The present lot was painted in Carpentras in Provence where Fry stayed in Spring 1930.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Forster (E.M.) The Celestial Omnibus, first edition, signed by the author on title with two strikes through the printed name with Autograph Letter signed from the author to Frederic Prokosch loosely inserted, 3pp. advertisements, some light foxing, pictorial endpapers, original cloth with rich gilt pattern to upper cover, slight shelf-lean, extremities rubbed, light marking to lower cover, [Kirkpatrick A5a], 8vo, Sidgwick & Jackson, 1911.⁂ Forster's first short story collection, rare signed. In the letter, addressed from the Reform Club and dated 14.6.33, Forster states that he "will autograph the books with pleasure" and adds "You may be interested to know that the cover and end papers of the Celestial Omnibus were designed by Roger Fry."

Stein (Gertrude) Three Lives, first edition [one of 700 copies], signed presentation inscription from the author to Roger Fry to endpaper, pp.67-8 with lower corner torn away affecting a few letters of text, minor worming to foot of inner margin, heavier to first few ff. and front pastedown, occasional light finger-soiling, edges lightly foxed, original cloth, spine dulled, spine ends and corners a little rubbed and bumped, some marking and soiling to covers, [Wilson A1a], 8vo, New York, Grafton Press, 1909.⁂ An excellent association copy inscribed to the painter and critic Roger Fry. Fry and Stein were friends who first met through the important art collection owned by her brother Leo. Stein would stay with the Frys when in Britain and Fry would exhibit paintings from Stein's collection. "Roger Fry was always charming, charming as a guest and charming as a host" - Gertrude Stein, The Autobiography of Alice B. Toklas.

Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Mrs Barrett signed 'Sickert.' (lower left)oil on canvas50.8 x 40.3 cm. (20 x 15 7/8 in.)Painted in 1906Footnotes:ProvenanceThe Artist, 3 January 1907, from whom purchased byBernheim-Jeune, ParisRt Hon Frederick Leverton Harris, thence by descent toMrs Gertrude HarrisSale; Sotheby's, London, 19 June 1974, lot 66aJ. Moore PollockSir Denis Rickett, thence by family descentPrivate Collection, U.K.ExhibitedParis, Bernheim-Jeune, Exposition Sickert, 10-19 January 1907, cat.no.30 (as Le Canapé rayé)London, Stafford Gallery, 27 June-July 1911, An Exhibition of Pictures by Walter Sickert, cat.no.30 (as The Striped Sofa)LiteratureJames Bolivar Manson, 'Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p.5 (ill.) (as Portrait)Wendy Baron, Sickert, Phaidon, London, 1973, cat.no.228Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.320, cat.no.266.1 (ill.b&w) In April 1906 Sickert sent his intimate friend, the society beauty and talented amateur singer Elsie Swinton (Mrs George Swinton), a series of 14 postcards, each containing a cameo sketch in pen and ink, illustrating the paintings on which he had been working in his studio at 8 Fitzroy Street between Good Friday (13 April) and the following Thursday. All were figure subjects set within a room which featured a striped green sofa, a bentwood chair, and a few heavily-framed pictures on the walls. He inscribed each card, some with the timing of his sittings, some with the identities of his four models and several with both. His models were the Belgian Daurment sisters, Hélène and Jeanne, whom he had recently met in Soho; Agnes Beerbohm – elder sister of Max, a talented dress designer, and some ten years earlier one of Sickert's lovers; and a woman identified in three sketches as 'new model'. The new model sat for two head and shoulders strict profile portraits, one on Saturday morning and one on Sunday (New Head of New Model); on Thursday afternoon she sat for a near frontal head wearing a shy smile and a large straw hat which shadowed her eyes. At no other time in Sickert's long career has his precise production over a one week period been so accurately disclosed.The paintings of Aggie Beerbohm in fancy dress and of the racy Daurment sisters are all in character. Not so the three portraits of the 'new model'. Her face and personality seem to have offered Sickert a blank canvas on which he could experiment with old master prototypes. The Thursday afternoon painting (Private Collection) is a free reworking of Rubens's Chapeau de Paille (London, National Gallery); the two profile portraits adapt the well-known Renaissance formula which Sickert regularly returned to from the 1890s to the 1930s. One of the profile heads is on offer here. The other was bequeathed by Roger Fry to the Courtauld Institute of Art. Fry probably bought it from the Savile Gallery where it had been exhibited in February 1928 (31) under the title Portrait of Mrs Barrett. But who was Mrs Barrett? Lillian Browse, in her monograph on Sickert published in 1960 (p.21) had defined her as 'charwoman', a statement which prompted Mrs Barrett's daughter-in-law to inform Miss Browse that her mother-in-law had been a dressmaker, not a charwoman', and that she had died in 1925. This raises the intriguing possibility that Agnes Beerbohm, the dress designer, may have introduced the dressmaker to Sickert. The portrait on offer here is certainly the profile begun on Sunday. The sitter's jacket or blouse on the Sunday sketch is repeatedly annotated 'RED' denoting vertical stripes, consistent with the colour used in this painting, whereas in the Fry version Mrs Barrett wears an olive green blouse, similar in tone and colour to the background wallpaper. The Sunday version is also much enlivened by the introduction of the striped sofa, the title under which it was exhibited at the Galerie Bernheim-Jeune in Paris in January 1907 and at the Stafford Gallery, London in 1911. The red and pink striped jacket worn by Mrs Barrett reappears (together with a pearl necklace) in two more, near full-face, head and shoulders portraits: The Red Blouse (The Carrick Hill Trust, Adelaide) and Le Collier de Perles (Private Collection), the latter identified in the archives of Bernheim-Jeune as La Belle Sicilienne or La Siciliana.Sickert's model, wearing different clothes, also seems to feature in two interiors executed in pastel: Blackmail: Mrs Barrett (National Gallery of Canada, Ottawa); and Mrs Barrett (Tate). Confusion struck when the Ottawa pastel was taken from its frame. Old backing labels and inscriptions were discovered which revealed it had been exhibited at the Salon d'Automne in Paris in 1905 under the title Popolana Veneziana. How can a 'new model' of Easter 1906 have sat for a picture exhibited in autumn 1905? Did Sickert deliberately mislead Mrs Swinton? And why? I have no answers. The confusing plethora of titles is typical of Sickert. He used invented titles to manipulate the characterisation of his Camden Town period models. In the case of the portraits discussed here, fashion may have misled future scholars and collectors. Heavy, upswept, rolled wings of hair are common to Mrs Barrett at Easter 1906, to an extant photograph of Mrs Barrett given by her daughter-in-law to Miss Browse, and to Sickert's 1905 model – whether Sicilian, Venetian or possibly neither. However, it is indisputable that the models for all these pictures are strikingly alike. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.For further information on this lot please visit Bonhams.com