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Roger Fry (British, 1866-1934)Garden at Cassis signed 'Roger Fry.' (lower right)oil on canvas79.8 x 65 cm. (31 3/8 x 25 1/2 in.)Painted in 1925Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaExhibitedCanada, Regina, Norman Mackenzie Art Gallery, Regina Collects, 7 September-21 October 1984, cat.no.33The present work is thought to have been painted in the garden of the Hotel Cendrillon, Cassis. Roger Fry 'discovered' Cassis, the small port east of Toulon on the Mediterranean coast, in 1925 and painted there on several occasions. He stayed at the Hôtel Cendrillon, a modest, comfortable establishment in the town where, in a visit in spring 1925, Virginia Woolf found 'complete happiness'. Another Cassis painting from this year is in the Musée d'Orsay, Paris.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)A London Garden signed and dated 'Roger Fry.1924.' (lower right)oil on canvas laid on panel50.8 x 68.6 cm. (20 x 27 in.)Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaExhibitedLondon, The Independent Gallery, Paintings and Drawings by Contemporary Artists and Fine Examples of Earlier PeriodsThe present work depicts Fry's garden at no 7. Dalmeny Avenue, north London. The same setting is depicted in a woodcut by the artist dating from circa 1919.We are grateful to Richard Shone for compiling this catalogue entry.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)The walled garden, Charleston oil on canvas46.6 x 54.5 cm. (18 3/8 x 21 1/2 in.)Painted in 1919-20Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaPainted from a top-floor window at Charleston, Vanessa Bell's house in Sussex. Years later when Bell's studio had replaced the attic bedroom, she depicted the same view on frequent occasions. There is a fragment of a painting on the verso which might well be by Bell, cut from a larger work of about 1911 but discarded by the artist. She may well have given this to Fry while he was visiting Charleston, to enable him to paint on the back.We are grateful to Richard Shone for compiling this catalogue entry.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)Tea in the garden, Royat oil on board32.5 x 40.6 cm. (12 3/4 x 16 in.)Painted in 1933Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaRoger Fry visited various places in France (such as Vichy) which he thought might be beneficial for his precarious health. Royat is a famous spa town in the Puy-de-Dôme in Central France. Fry spent June of 1933 there when this work was painted in his hotel garden.We are grateful to Richard Shone for compiling this catalogue entry.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)Vanessa Bell in a deckchair oil on board33.6 x 56 cm. (13 1/4 x 22 in.)Painted in 1911Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, (as Model Resting)In early summer 1911 Vanessa Bell spent a considerable time staying at Roger Fry's house Durbins near Guildford and at a nearby rented house called Millmead Cottage. She was recovering her health after a bout of illness while in Turkey with Fry, Clive Bell and Harry Norton earlier in the year. It was about this time that Fry and Bell began their affair and there are several portraits by him of Bell, painted and drawn, from the next year or two. On the verso there is another painting depicting Bell lying on the grass.We are grateful to Richard Shone for compiling this catalogue entry.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

WOOLF (VIRGINIA)Roger Fry, UNCORRECTED PROOF COPY, WITH PENCIL CORRECTIONS in an unidentified hand on approximately 24 pages including the title-page, plain brown wrappers, lettered in ink on the spine, frayed at extremities, 8vo, The Hogarth Press, 1940Footnotes:Rare proof copy of the last book Virginia Woolf saw into print before her death. The pencil corrections mostly relate to punctuation, spelling misprints (such as the addition of the accent to 'Cézanne', the artist Fry championed and introduced to England in his celebrated Post-Impressionist exhibition of 1910), but also the important introduction of the words 'A Biography' on the title-page.Provenance: Julian Fry (Roger Fry's son), and thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

GOLDEN COCKEREL PRESSWALPOLE (HUGH) The Apple Trees, number 361 of 500 copies, signed by the author on the dedication, and with his Brackenbury label, wood-engravings by Lynton Lamb, 1932--DUNSANY (Lord) Lord Adrian, number 17 of 325 copies, wood-engravings by Robert Gibbings, 1933--Sermons by Artists. Paul Nash, David Low, Robert Gibbings, Eric Kennington, Leon Underwood, Stanley Spencer, Edmund Sullivan, Roger Fry, Will Dyson, Percy Smith, number 41 of 300 copies, frontispiece, Golden Cockerel Press bookplate, 1934--CALDER-MARSHALL (ARTHUR) A Crime Against Cania, number 159 of 250 copies, signed by the author, wood-engraved illustrations by Blair Hughes-Stanton, 1935, all untrimmed in morocco-backed decorative boards--MILLER (PATRICK) Ana the Runner, number 90 of 150 copies signed by the author, wood-engravings by Clifford Webb, original morocco-backed cloth, 1937--CALDERON (V.G.) The Lottery Ticket, number 100 of 100 copies, wood-engravings by Dorothea Braby, original sheepskin-backed cloth gilt, stain to spine, [1945]--HERIZ (DE PATRICK) La Belle O'Morphi. A Brief Biography... with Illustrations by Francois Boucher, number 27 of 100 specially bound copies, original blue morocco and red cloth, upper cover with large gilt cockerel design, slim 8vo, slipcase, [1947]--GRAY (THOMAS) Elegy Written in a Country Church-yard, wood-engravings by Gwenda Morgan, number 47 of 80 specially bound copies, original green morocco with gilt stamped design on covers, 1946; and 14 others, all Golden Cockerel Press (22)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Fry (Roger). Twelve Original Woodcuts, 1st edition, Hogarth Press, 1921, 12 full-page woodcuts to alternate rectos, titles printed in red, advertisement leaf, light spotting to plate VII title leaf, light marginal toning to title and advertisement versos, original hand-decorated marbled wrappers, paper label to upper wrapper, some wear to spine and edges, 8voQty: (1)NOTESWoolmer 13. 150 copies printed. "Virginia Woolf in her diary entry for 25 November 1921... states, "Roger's woodcuts, 150 copies, have been gulped down in 2 days. I have just finished stitching the last copies - all but six." This suggests that the first impression may have been distributed by the end of November. In a letter to Vanessa Bell dated 13 November 1921... Virginia states, "By the way, Rogers [sic] cover paper was not designed by Carrington, I get it from a little man in Holborn; it is clearly an imitation of the Kew Gardens cover." " (Woolmer).

[FURNITURE & DECORATIVE ARTS]. TATLOCK, R. R. and Roger FRY, R. L. HOBSON, and Percy MACQUOID.A Record of the Collections in the Lady Lever Art Gallery Port Sunlight, Cheshire Formed by the First Viscount Leverhulme. London: B.T. Batsford, 1928.3 volumes, 4to. Numerous plates, some tipped in and some in color. Original publisher's blue cloth stamped in gilt, top edge gilt; original printed dust jacket (some soiling and toning, spines slightly darkened, light chipping and tears to extremities). Provenance: M. Phifer Williamson (blind stamps to dust jackets).FIRST EDITION, LIMITED ISSUE, one of 350 unnumbered copies. A catalogue of English paintings, English furniture, and Chinese porcelain and Wedgwood pottery in the Lady Lever Art Gallery collections.Property from a Private Collection, Chicago, IllinoisFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Various Artists: Two Multi-Signed Promotional posters for Masters Of Music, MasterCard and The Prince's Trust,29th June 1996,a UK concert poster for Masters Of Music at Hyde Park, acts on the day include: Eric Clapton, members of The Who, Bob Dylan and Alanis Morrissette, signed in black pen by various artists; John Entwistle, Roger Daltrey, Stephen Fry, Alanis Morrissette, Pete Townshend, Eric Clapton and others; accompanied by corresponding Mastercard advertising poster with various signatures including; Ronnie Wood, Eric Clapton, David Gilmour, John Entwistle, Roger Daltrey, Pete Townshend and others, both framed, accompanied by a certificate, largest overall 20in x 26in (51cm x 66cm), (2)Footnotes:Provenance:From the private collection of Harvey GoldsmithFor further information on this lot please visit Bonhams.com

Duncan Grant (1885-1978) St. Ives - Huntingdon lithographic poster, 1932, condition A; not backed, framed (Dimensions: 76cm x 114cm (30in x 45in))(76cm x 114cm (30in x 45in))Footnote: Literature: Hewitt, The Shell Poster Book, 50.Duncan Grant studied at Westminster School of Art and at the Slade. He was one of the first English artists to be influenced by Fauvism, particularly by Cezanne, and he exhibited at the second Post-Impressionist exhibition in 1912. He joined Roger Fry in 1913 as director of the Omega Workshops. He was part of the Bloomsbury Group and lived with the painter Vanessa Bell with whom he collaborated on projects, including designs for textiles, pottery, stage sets and costumes and a series of designs for the Queen Mary in 1935 which Cunard rejected. In his typical style, Grant here portrays the 15th Century bridge in the picturesque market town of St.Ives, in Cambridgeshire, 12 miles north-west of Cambridge.

Jan Van Huysum (1682-1749), pen, ink and watercolour study of classical vase with flowers, birds nest with eggs with Cupid in background, in glazed frame with old catalogue description and other labels verso. The image 15.5 x 10cmProvenance: Ex collection of the granddaughter of Roger Fry Condition report: The work has not been inspected out of the frame so is impossible to say if it has been stuck down or not. There is some discolouration to the paper and a stain in the top left corner. The mount is heavily foxed and needs replacing.

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

A group of assorted paintings including a watercolour of Falaise, attributed to Roger Fry, 28 x 36cm

λ Edward Wolfe (British 1897-1981)Portrait of Barclay DonneOil on canvas92 x 61cm (36 x 24 in.)Painted in 1918/19.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.  Condition Report: The canvas has not been lined and is a little slack. Small, scattered areas of flaking throughout but most noticeably to the upper right quadrant. Some craquelure, surface abrasions and light surface dirt throughout. Stretcher marks visible, especially to the vertical edges. Inspection under UV light revels some very light, scattered retouching which is largely confined to the darker background.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Jet Fairley in Swiss CostumeOil on canvas166 x 100cm (65¼ x 39¼ in.)Painted in 1936.Provenance:Odette Gilbert Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.   Condition Report: The canvas has not been relined. There is a very small split in the weave of the canvas to the lower right at the edge of the apron, only visible upon very close inspection. The canvas is slightly loose on the stretcher and there are some small areas of craquelure upper left and some further areas where craquelure is beginning to develop. The painting may benefit from a reline. Otherwise, colours fresh and in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Gypsy LangOil on boardSigned (lower right)99 x 79cm (38¾ x 31 in.)Painted in 1926.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.  Condition Report: A few surface scuffs and scratches and some associated minor losses. Also some surface dirt. Otherwise in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Portrait of David Cleghorn ThomsonOil on canvasSigned (lower left)63 x 48cm (24¾ x 18¾ in.)Painted in 1949. Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonLiterature:John Russell Taylor, Edward Wolfe, 1986, plate 143 (illustrated)Born in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell.Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.Condition Report: The canvas is not relined. Some scattered flaking to the paint surface notably to the left hand edge. Otherwise, in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Portrait of Ivan SmodlakaOil on boardSigned (lower left)82 x 65.5cm (32¼ x 25¾ in.)Painted in 1960.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonExhibited:London, Royal Academy, 1960, no. 1Literature:John Russell Taylor, Edward Wolfe, 1986, plate 142 (illustrated)Born in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections. 

λ Edward Wolfe (British 1897-1981)Portrait of Sir John Clements for the film 'Quartette'Oil on canvasSigned (lower left)127 x 101.5cm (50 x 39¾ in.)Provenance:The Augustine Gallery, HoltThe David Paul Gallery, ChichesterCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.   

Early 20th Century oil on panel, half length portrait of a lady with a coral necklace, attributed on frame plaque to Roger E. Fry, 11ins x 8.5ins

Fry (Roger). Transformations, Critical and Speculative Essays on Art, 1st edition, Chatto & Windus, 1926, monochrome plates, rebound in modern blue cloth, 4to, together with: Ades (Dawn). Dada and Surrealism Reviewed, Arts Council of Great Britain, 1978, colour plates, numerous monochrome illustrations, original grey printed wrappers, a little rubbed, 4to, plus: Cross (Tom). Artists and Bohemians, 100 Years with the Chelsea Arts Club, London, Quiller Press, 1992, a few colour and numerous monochrome illustrations, original yellow cloth in dust wrapper, 4to, VG, and others mostly on modern art, various, including John Rewald, The History of Impressionism, 4th revised edition, 1973, Myfanwy Evans, The Painter's Object, 1st edition, Gerald Howe, 1937, colour frontispiece after Picasso, monochrome illustrations, original dark blue cloth, some marks and light soiling, large 8vo, various exhibition catalogues, etc., mainly 4to/8vo (approximately 200 volumes)Qty: (5 shelves)

Williamson (George C.). Andrew & Nathaniel Plimer, Miniature Painters, Their Lives and Their Works, 1st edition, George Bell & Sons, 1903, monochrome plates, top edge gilt, remainder untrimmed, original cloth gilt, rubbed and some marks and minor stains, 4to, together with: Medallic Illustrations of the History of Great Britain and Ireland, The British Museum, Department of Coins and Medals, reprinted, Seaby Publications Limited, 1979, numerous monochrome illustrations, original dark blue cloth, in dust wrapper, a little frayed, and minor abrasion to upper right corner of upper cover, large folio, plus: Tanner (Robin), The Etcher's Craft, Friends of Bristol Art Gallery, 1980, monochrome illustrations, original quarter black cloth gilt, small 4to, and other art reference, various, including Nikolaus Pevsner, Some Architectural Writers of the 19th Century, Oxford University Press, 1972, Julia Margaret Cameron, Victorian Photographs of Famous Men & Fair Women, with introductions by Virginia Woolf & Roger Fry, expanded and revised edition, edited by Tristram Powell, Hogarth Press, 1973, Sir Alfred East, Brush and Pencil Notes in Landscape, 1914, Sidney David Markman, Colonial Architecture of Antigua Guatemala, American Philosophical Society, 1980, etc., mainly 20th century publications, mainly 4to/folioQty: (5 shelves)

Roger Fry (British, 1866-1934)Fishing Boats at St Tropez signed 'Roger Fry.' (lower left)oil on board32.5 x 41cm (12 13/16 x 16 1/8in).Painted circa 1921-4Footnotes:ProvenanceSale; Christie's, 2 December 1938, lot 144Sale; Christie's, South Kensington, 15 September 1962, lot 191, where acquired by the present ownerPrivate Collection, U.K.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)Girls on a Balcony signed 'D. Grant.' (lower right)oil on canvas83 x 61.5cm (32 11/16 x 24 3/16in).Painted circa 1923Footnotes:ProvenanceKeith William SleemanThe subject of the present lot was inspired by a trip to Spain, which Duncan Grant visited in 1923 with Vanessa Bell and Roger Fry. There is a lithograph based on the same subject titled Window in Toledo (published by Millers Press, Lewes, 1945).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

A quantity of Art and Architecture books including Regency Style, Roger Fry, J.S.Cotman, Augustus John etc. (10)

Roger Fry (1866-1934), Farm buildings, lithograph from The Portfolio "Scenes of the French Countryside, 1928", 29 x 40cm, mounted but unframed

1st Edition Christine Gorgensen - A personal Audio biography Fitz Henry and Whiteside "The First Transgender" 1965 with signed autographed note, The Fly 1st Edition by Richard Chopping 1965, Renoir by Germain Bazin London 1939, Evelina FineFront Binding Cover by Fanny Burney 1903, Three vintage adult reading "Peeping Tom" , Encyclopaedia of Spanking, Erotic Sex and the Teenager" with illustrations, Transformations by Roger Fry 1926, Enid Blyton's Breer Rabbit, Das Flume System 1955, A Manual of Watch Parts for the Flume System in German, Early Bibles along with others

§ Edward Wolfe R.A. (South African/British 1897-1982) Moroccan Poet, c.1930 Oil on canvas(67cm x 57cm (26.4in x 22.4in))Footnote: Wolfe went to Morocco on a Roger Fry sponsored visit. In 1926 at Fry’s insistence Wolfe joined the London Artist’s Association, a sponsored co-operative, and their support assisted him in travelling to Spain and Morocco in 1928. In Morocco he met the Poet. Morocco would be a joint French and Spanish protectorate at the time and the Poet was anti the occupation.

NO RESERVE Dutch & Northern European Art.- Fry (Roger) Flemish Art: A Critical Survey, first edition, original cloth-backed pictorial boards ?by Vanessa Bell, a little rubbed and browned, small tear to spine, 1927 § Leeflang (H.) & others. Hercules Segers. Catalogue, 2 vol., Amsterdam, 2017 § Ainsworth (M.W.) & others. Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance. The Complete Works, New York, New Haven & London, 2010 § Campbell (L.) & Jan Van der Stock. Rogier van der Weyden 1400-1464: Master of Passions, Zwolle & Leuven, 2009 § Oberthaler (Elke) Bruegel the Master, Vienna, 2018 § de Boer (J. van Asperen) & others. Jan van Eyck: Two Paintings of Saint Francis Receiving the Stigmata, Philadelphia, 1997 § Vogelaar (C.) & others. Lucan van Leyden en de Renaissance, original wrappers, Leiden, 2011, plates and illustrations, many colour, all but the first two and last original cloth or boards with dust-jackets; and c.10 others on early Netherlandish art, 4to & 8vo (c.15)

Five volumes on art including two volumes ' A Catalogue of the Drawings of Leonardo Da Vinci in the Collection of the King at Windsor Castle ' by Kenneth Clarke 1935, one volume ' Vision and Design ' by Roger Fry, 1920, one volume ' Memoirs of Sir Edwin Landseer ' by F.G. Stephens, 1874 and one volume ' Life and Letters of Frederick Walker A.R.A. ' by John George Marks, 1896

Album pages of autographs incl. Donald Sindon, Edward Fox, George Sewell, Roger Moore (2), Christopher Lee, Ronnie Barker (2), Ronnie Corbett (2), Stephen Fry, Hugh Laurie, etc.

FRY, Roger, (1866-1934) English Painter and Critic, Vision and Design, Chatto & Windus, London, 1920. And Transformations, Critical and Speculative Essays on Art, Chatto & Windus, London 1926. 4to. (290x235) in original uniform grey and white boards. Stains and bumped, some foxing. Lib. b/ps & stamps

Follower of Roger Fry, 19th century, oil on canvas - portrait of a boy, in gilt frame, 75cm x 50cm

Woolf (Virginia). Flush. A Biography, 1st edition, London: Hogarth Press, 1933, half-tone frontispiece, illustrations, a little light spotting to fore margins, original cloth, some darkening to spine, dust jacket, spine toned with a few small stains, 8vo, together with Three Guineas, 1st edition, London: Hogarth Press, 1938, half-tone illustrations, partial offsetting to endpapers, original cloth, some fading to spine, dust jacket by Vanessa Bell, spine toned with lettering and decoration faded, some light spotting, 8vo Roger Fry. A Biography, 1st edition, 1940, frontispiece and illustrations, a few leaves with some toning front and rear, original green cloth (spine faded to blue), dust jacket, a few tiny nicks and stains, 8vo, with four other 1st editions by or on the author: The Death of the Moth and Other Essays, 1942, A Haunted House and Other Short Stories, 1943, A Writer's Diary, 1953 and Virginia Woolf & Lytton Strachey. Letters, edited by Leonard Woolf & James Strachey, 1956Qty: (7)

VICTOR LOREIN 1894-1954, reclining nude studies, signed lower right and dated 1918, provenance the collection of Roger Fry, acquired from the Fry family

FRY ROGER.  Transformations, Critical & Speculative Essays on Art. Illus. Quarto. Worn bdgs. 1926; also 4 others, art reference, incl. The Artists of Northumbria, 1973.  (5).

Attributed to Sir John Lavery, unsigned, oil on canvas, Portrait of a seated lady in an interior, 20ins x 18ins, Provenance - Sassoon Family, Heytsbury House, WiltshireCondition Report: Good condition  unframed with one small chip of painting missing. Sold at Phillips in Bath from the Sassoon Collection Heytsbury House Wiltshire together with other Modern British Paintings including other paintings by Roger Fry and other members of the Bloomsbury Group. It was bought in a large pile of paintings from Phillips in Bath in 1994, being the remaining contents of Heytesbury House, Warminster, Wiltshire. and every picture in the pile of 20 odd boxed and distressed pictures, was either from the Bloomsbury Group or associated members and many were painted at Garsington Manor. The pile was estimated at £30/50 but cost over £7000 and all originated from the deceased estate of Siegfried Sassoon of Heytesbury House.

Vanessa Bell (British, 1879-1961)Self Portrait signed with initials, inscribed and dated 'VB/Self Portrait/50?' (in Duncan Grant's hand, verso)oil on canvas42 x 31 cm. (16 1/2 x 12 1/4 in.)Painted circa 1952Footnotes:ProvenancePossibly Adams Gallery, London, 1961, where purchased byCyril ConnollySale; Christie's, London, 1 July 1993, lot 22Sale; Christie's, London, 11 March 1994, lot 117Private Collection, U.K.ExhibitedLondon, Adams Gallery, Exhibition of Paintings by Vanessa Bell, October 1961, cat.no.39London, Belgrave Gallery, British Post-Impressionist and Moderns, February-March 1985, cat.no.1London, National Portrait Gallery, Mirror, Mirror: Self Portraits by Women Artists, 12 September 2001-20 January 2002; this exhibition travelled to Leeds, Leeds City Art Gallery, 18 April-9 June, Bath, Victoria Art Gallery, 22 June-1 August and Canterbury, Royal Museum & Art Gallery, 7 September-2 November 2002London, Dulwich Picture Gallery, Vanessa Bell, 8 February-4 June 2017LiteratureSarah Milroy & Ian A.C. Dejardin, Vanessa Bell, Philip Wilson Publishers, London, 2017, pp.178-9 (col.ill)Richard Shone, The Art of Bloomsbury, Roger Fry, Vanessa Bell and Duncan Grant, Tate Gallery Publishing, London, 1999, p.236, fig.133 (ill.b&w.)There are five extant self-portraits by Vanessa Bell dating from her last decade. All in their ways are revealing of her gradual withdrawal from the world as she confronts herself in her attic studio at Charleston. To anyone who knows something of Bell's character and art they can be mined for their biographical and aesthetic disclosures on several levels. For anyone knowing nothing of her, they might strike a chord of detachment, painted in a modest, even tentative style, the brushwork behaving itself in front of her watchful presence. The tonal range is quite low; it is warm but not effusive; the drawing is soft-edged, following but not emphasising the contours. Here she is, in her studio beneath the eves in the near silence of Charleston's second floor, among the few sounds, those barely audible ones of the painter's activity – the unscrewing of a paint tube , the exchange of brushes, the mixing of oil and turpentine. It was up here that, as her daughter Angelica said, 'she was in heaven'.The present Self-portrait contains paintbrushes, a plate for a palette and a framed painting by the artist, probably an Italian townscape, leaning against shelving behind her. The chair is covered in the fabric Bell had designed for Alan Walton's company in the early 1930s. A beam at top left shows the sharp slope of the studio ceiling; the room is lit from a long window overlooking Charleston's walled garden. Bell wears a broad sunhat to temper the distraction of light above her: when one is seated in her studio, there is only sky to be seen through the window. The hat shades her face whose features are indicated rather than spelt out, much as she had done forty years before in several portraits and figures . She looks extraordinarily like Virginia Woolf in her well-known painting of her sister in a deckchair of c. 1912. Some commentators have read this near-blankness as deliberate self-effacement but this goes against what we know of her personality and aesthetic. She was never a 'symbolic' painter; she did not aim to convey states of mind or make the viewer alert to some psychological undertow (though this is not absent from some her works). It is from her manner of painting, her choice of subject and colour scheme, her refusal to be drawn away from what she sees in front of her that we can deduce, especially in this painting, those elements of reticence, modesty and watchfulness that characterise her work, 'steeped in emotion deep but contained' as her friend and admirer Dunoyer de Segonzac wrote of her .We are grateful to Richard Shone for compiling this catalogue entry.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)Portrait of E.M. Forster oil on canvas73 x 60 cm. (28 1/4 x 23 5/8 in.)Painted in 1911Footnotes:ProvenanceThe ArtistEdward Morgan Forster (1879-1970)Florence Barger, thence by family descentWith Anthony d'Offay Gallery, London, 1984Private Collection, U.S.A.ExhibitedLondon, Alpine Club Gallery, Paintings and Drawings by Roger Fry, January 1912, cat.no.2 (as A Novelist)London, Arts Council, The Arts Council Gallery, Vision and Design: The Life, Work and Influence of Roger Fry, 17 March-16 April 1966, cat.no.10; this exhibition travelled to Nottingham, University Art Gallery, 27 April-22 May, Leeds, City Art Gallery, 28 May-18 June, Newcastle upon Tyne, Laing Art Gallery, 25 June-16 July, Manchester, City Art Gallery, 23 July-13 August 1966London, Courtauld Institute Gallery, Portraits by Roger Fry, 18 September-14 October 1976, cat.no.6, pl.3; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October-21 November 1976London, Anthony d'Offay Gallery, The Omega Workshops: Alliance and Enmity in English Art 1911-1920, 18 January-6 March 1984, cat.no.23LiteratureQuentin Bell, Bloomsbury, Futura Publications Ltd., London, 1974, pp.48-9 (ill.b&w.)S.P. Rosenbaum, The Bloomsbury Group: A Collection of Memoirs and Commentary, Croom Helm, 1975Philip Nicholas Furbank, E.M. Forster: A Life, Volume One, The Growth of the Novelist 1879-1914, Secker & Warburg, London, 1977, pp.205-7 (front cover illustration)Frances Spalding, Roger Fry, Art and Life, University of California Press, California, 1980, pl.51Richard Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, Tate Gallery Publishing Ltd., London, 1999, p.93, fig.80 (ill.b&w.)Wendy Moffat, E.M. Forster. A New Life, Bloomsbury, London, 2010, p.106The sitter in this arresting portrait needs little introduction. In 1911 Edward Morgan Forster (1879-1970) had recently reached a new audience and a breadth of critical acclaim with his fourth novel Howards End, published in 1910. He was not, however, a well-known figure in the London literary world. He lived comfortably with his widowed mother in Weybridge, invariably stayed in a club if he visited London for a night and kept to a relatively small circle of friends. Several of these he had met through the Cambridge University society known as The Apostles. Friends from an earlier generation at King's College included the writer Goldsworthy Lowes Dickinson (1862-1932) and Roger Fry (1866-1934). Dickinson and Fry were close friends and both followed with great interest Forster's career, beginning with his first novel Where Angels Fear to Tread (1905). Over the years, Fry seems to have read everything Forster published. There was great praise for A Passage to India (1924) – 'a marvelous texture – really beautiful writing,' he wrote to Virginia Woolf, although he had reservations about the intrusive mysticism towards the end of the novel (as well as in other writings by Fortser). The novel was translated into French by Fry's friend Charles Mauron whom Forster came to know well and whom he appointed as his French translator. (He also translated Woolf's Orlando). And a few months before his death, Fry read Forster's biography of Dickinson:'it's beautifully done, I think', he wrote to Gerald Brenan, 'and it was a desperately difficult thing to do' (implying that the British public were not yet ready for male foot fetishism).Very early on, before Fry and Forster came to know one another, Forster admired a series of Adult Education lectures on art that Fry gave in Cambridge, in his pre-Post-Impressionist years. Later, in an early draft of A Room with a View, Forster included a character called Rankin (later dropped from the novel), an art historian attending tea-parties in Florence at which Florentine attributions were a leading topic and 'pictures were snatched from one great name and thrust upon another, or slighted and left as doubtful [. . . ] or utterly damned as the work of a clever forger who flourished in the middle of the nineteenth century at Hamburg'. In her recent book Roger Fry and Italian Art (London 2019), Caroline Elam gives an excellent, detailed account of Fry and Forster and the influence of the former's aesthetics on the latter (although Forster was never entirely converted to Fry's full-on formalism). Fry drew curious endpapers and a non-figurative cover for Forster's book of short stories The Celestial Omnibus, published in the same year as the present portrait was painted. Just as Fry was completing the picture (painted in his house at Guildford), Forster wrote to a friend, that he appeared to be 'a bright healthy young man, without one hand, it is true, and very queer legs, perhaps the result of an aeroplane accident, as he seems to have fallen from an immense height on to a sofa' (letter to Florence Barger, 24 December 1911). Actually Forster liked the picture and bought it but, after it was shown in Fry's one-artist exhibition in 1912, he gave it to his great friend Florence Barger and it was not seen again in public for well over fifty years. This is an important work in Fry's development as a painter and is certainly among his most accomplished portraits. Forster is depicted as both alert and yet slightly ironic in expression, finding himself plopped down among Post-Impressionist-seeming fabrics. Earlier in the year Fry had been in Turkey with Clive and Vanessa Bell and had sent a mass of textiles, mostly from Brusa, the historic centre for Turkish textile production, back to England. Some may well feature among the variety shown here and would have influenced Fry's own designs; the patterned cushion by Forster's left shoulder pre-figures textiles he designed for the Omega Workshops a year or so later. Frances Spalding has rightly drawn attention to the faceting and angularities of Forster's head (which Lytton Strachey called 'triangular'), almost certainly derived from Picasso's 1909 portrait of Clovis Sagot, which Fry had included in his momentous exhibition Manet and the Post-Impressionists held in London in 1910-11. In the same exhibition was Matisse's 1908 Girl with Green Eyes which also appears to have guided aspects of Fry's work here – the simple frontality of a figure seen against a busy but essentially flat background. The green modeling on Forster's face is further indebted to Matisse's recent portraits of his wife and himself.A number of painted and sculpted images of the men and women associated with Bloomsbury have become canonical and are frequently reproduced. Among them are, of course, several works by Grant and Bell (such as portraits of Virginia Woolf of 1911-12); Strachey by Henry Lamb; Maynard and Lydia Keynes by William Roberts. Forster was often photographed but not much painted – two portraits of him by Carrington and Vanessa Bell, and drawings by Grant, William Rothenstein and Paul Cadmus. The present portrait deserves to be better known, commemorating as it does, not only a warm personal friendship but also the association of two highly influential figures from the early twentieth century whose reputations have not dimmed.We are grateful to Richard Shone for compiling this catalogue entry.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, Ten Architectural Lithographs, London: Arcitectural Press Ltd. Limited edition number 31 of 40, in folder with mounts, signed in pen by Fry

Album pages of autographs incl. Donald Sindon, Edward Fox, George Sewell, Roger Moore (2), Christopher Lee, Ronnie Barker (2), Ronnie Corbett (2), Stephen Fry, Hugh Laurie, etc.

* Morrell (Ottoline, 1873-1938). A group of approximately 40 letters and cards to Lady Ottoline and Philip Morrell, c. 1912-1937, correspondents include Gertrude Stein (1874-1946), autograph letter unsigned, Bilignin par Balley, Ain, envelope postmarked 7 October 1933, to Lady Ottoline, apologising for being unable to be in Paris in time for the exhibition, corner tears with loss to left margin touching lettering of one word in final sentence; Leonard Woolf, ALS, 1912, soliciting a contribution of £5 to help Desmond MacCarthy who 'has just lost £40 owing to someone on the Eye Witness absconding with, it is said, £1500'; Roger Fry (1866-1934); André Mauroys, ALS, 8 May 1936, in French, thanking Lady Ottoline for the Aldous Huxley pamphlet; Romola Nijinsky, ALS, Mayfair Court, London, no date, to Lady Morrell, 'I am dreadfully sorry if there is anything in my book [a biography of her husband Nijinsky, first published 1934] what might displease you... and don't want to do anything you might not like - I at once asked the publisher to cut out the paragraph you mentioned - as the book was allready in print this was not possible, but your name connected with the incident will be omited - I had a terrible time with the editor, who cut the poetical and historical parts of the book mercilessly - everything I considered artistic... '; and other correspondents including Patrick Caulfield, Benedetto Croce, Mark Gertler, Maria Huxley, Dorelia John, T. Sturge Moore, Jean Paul Richter, James Stevens, L.A.G. Strong, Signe Toksvig, Walter J. Turner and Mary Webb, mostly autograph letters signed but including some typed letters and postcards, many with original postmarked envelopes (Qty: approx. 40)Provenance: By descent from the family of Philip and Lady Ottoline Morrell.

Fry (Roger E.) A Sample of Castile, limited edition, plates, browning to endpapers, original cloth-backed boards, spine browned, spine ends and corners a little bumped, Richmond, Hogarth Press, 1923; Transformations, plates, woodcut illustrations, ink ownership inscription of Frances Partridge, original cloth-backed boards, spine ends and corners bumped, 1926; and 13 others, art and design, 4to & folio (15)

Fry, Roger – Binyon, Laurence – Kendrick, A. F. – Rackham, Bernard – Perceval Yetts, W. – Siren, Osvald – Winkworth, W. W. CHINESE ART – AN INTRODUCTORY REVIEW OF PAINTING, CERAMICS, TEXTILES, BRONZES, SCULPTURE, JADE, ETC. London: B.T. Batsford Ltd, 1925 Ex-Library, First Edition, 8to, 62pp+xviii, index and appendix. Hardcover, bound in black cloth boards. Gilt design on the front board and gilt titles to the spine. With numerous black and white, and colour illustrations throughout, also has a colour frontispiece. Head/heel and corners are a bit bumped and rubbed; some rubbing also can be seen on the front/back boards. Pictorial front/back paste-down and end-papers.

Roger Fry (1866-1934) STUDY OF BEATRICE GREEN, c.1918 Pen and ink 10.5 x 15cm

ROGER FRY (1866-1934) THE DORSET COAST Oil on canvas 39.5 x 60cm. * Prior to the Great War, Fry spent time with friends in Dorset, staying in the village of Chaldon Herring near Lulworth. A typed label on the stretcher states that Frances Spalding has dated this picture to 1912. Provenance: A gift from Fry to a member of the Warre family, where it formed part of the Warres' large collection of Bloomsbury art. Bought at Christies, March 6th 1992, lot 66.Exhibited: London, The Leicester Galleries (in its exhibition frame) ++ Good condition

§ Nina Hamnett (Welsh, 1890-1956) Study of a boy signed and inscribed 'To Bob / Feb 14th 1954 / N Hamnett (upper right) red pastel on buff paper 24 x 34cm (9.5 x 13.5in); An autographed letter addressed 'Bob' to the reverse; 43 Windmill St, W1 Dear Bob Most peculiar things have happened. Why I am not yet in Brighton is for two reasons, the first is that the bastard who bought my drawing only paid me half what I asked and then gave me a post dated cheque for April 5th ! & secondly Issy Fana late [****] club has taken premises opposite and asked me to paint mural decorations on the walls, which I have done & how ! Bill dancing with two single ladies each girl apaches & boxers over life size and really they are damned good. When I get paid I am coming at once to you. Issy seems to imagine that I am going to remain permanently on the premises .. to tout for members but I ain't considerin' 'as ow my brain is capable of etc etc however you understand by the way what is a lesbian ? a pansy without a stalk! & thus there was an old widow of Filey, who valued her husband so highly, that when he was dead, she'd an umbrella head made out of his membrum virile. Well I'll wire you when I start, love from Nina. Other Notes: Bob most probably refers to Bob Pocock, writer and friend of Nina Hamnett. Hamnett was a remarkable character whose unconventional life earned her the title, 'Queen of Bohemia'. She posed for Henri Guardier Brzeska with whom she had a love affair, as well as Modigliani and Roger Fry. She made and decorated fabrics, clothes and furniture for the Omega Workshops and as a painter, was much admired by Walter Sickert. She exhibited during World War I, and in the 1920s with the London Group and the New English Art Club. Although Bob and Nina were close friends, she was displeased after he used her for the inspiration for his character, Cynthia, in the play, 'It's Long Past Time'. It aired on the 5th December 1956 and was based on life in Charlotte Street during the 1930s. Nina felt that she had been portrayed as a pathetic and broken figure.

Approximately sixteen volumes relating to Vanessa Bell, Virginia Woolf, Roger Fry etc

NO RESERVE Artist's Library.- Fry (Roger E.) Giovanni Bellini, at the sign of the Unicorn, 1899 § Moore (T. Sturge) Altdorfer, 1900 § Rothenstein (W.) Goya, 1900 § Cust (Lionel) Van Dyck. Part II only (of 2)., 1903 § Weale (Frances C.) Hubert and John Van Eyck, 1903 § Horne (Herbert P.) Leonardo Da Vinci, lacking title, ex-library with usual stamps, 1903, plates, occasional spotting, original cloth-backed boards, rubbed and worn, at the sign of the Unicorn, sm. 4to (6)

Olivia, by Olivia, London: Hogarth Press, 1950. Together with Cezanne: A Study of His Development, by Roger Fry, second edition, and A Checklist of The Hogarth Press 1917-1946, by J. Howard Woolmer 1986 (3)

A good collection of 8 books to include 'Jacobs room' by Virginia Woolf, 'third girl' and '13 for luck' by Agatha Christie, 'the confidential clerk' by T.S Eliot, 'pharaohs & pharillion' and 'Goldsworthy Lowes dickinson' by E.M Forster and 'Cezanne: A Study of His Development' by Roger Fry

Roger Fry (1866-1934)A flooded river landscape, near GuildfordSigned and dated 1910Oil on canvas46 x 76cm

Roger Fry, lithograph designed for a book cover, circa 1930s, 15" x 10", framed

ROGER FRY (1866-1934) FOR OMEGA WORKSHOPS PAIR OF PAINTED DINING CHAIRS, CIRCA 1913 painted in pale grey, the arched toprail pierced with nine roundels above caned seat, back and arms on square legs, bears maker's marks (2) 45cm wide, 109cm high, 41cm deep Provenance: Lady Dorothy Wellesley, Penns-in-the-Rocks Literature: The Studio, August 1930, pp. 142/3 Anscombe, Isabelle 'Omega and After: Bloomsbury and the Decorative Arts', London, 1981, pp. 134/5, fig. 39 Note: Duncan Grant and Vanessa Bell carried on their decorative work through the twenties, developing and in many ways drawing on their earlier Omega experience. The Omega Workshops, which had been set up to execute the group's designs had been closed in 1919 but the Omega spirit continued to flourish. The chairs in the current lot were part of a 1929 project by the Omega Interior Design Company for the dining room at Penns-in-the-Rocks, home of Lady Dorothy Wellesley. Grant later recalled it as 'the best thing we did' and the commission was well-received and featured in the Studio magazine of 1930. It was there described to be an 'effect...of iridescence', with six large painted panels alternating with rectangles of colour amidst tones of pale grey and green.

A unique collection of autographs and artwork by celebrities and notable figures including pop stars, artists, sports personalities, actors, authors, comedians, designers. The collection was put together by the late Karen Gammon and began life as her contribution to a Millennium Art Exhibition designed to raise money for a number of different charities (nominated by the celebrities). Karen sent a button to each celebrity and asked them to design a piece of art around it. Many of the designs are appropriate for the figure in question and represent the very thing they are famous for. The collection includes: J. K. Rowling (who has sketched three silhouettes flying around her button on broomsticks, one clearly being Harry Potter wearing a scarf); Mary Fedden RA (who has sketched a cat holding her button in a flower); Sir Paul McCartney (who has produced a humorous cartoon with the button as a nose); Dame Elizabeth Blackadder RA (who has used her buttons in a vibrant watercolour drawing of a lizard); Sir Stirling Moss (who has turned his button into a steering wheel); Grayson Perry RA (who has turned his buttons into figures being hanged); Mary Quant (who has incorporated her button into a sketch of a dress); Antony Gormley RA (who has drawn a tiny figure holding up his button); Lord Lichfield (self-portrait taking a photograph with the button as his camera); Nick Park (who has drawn a cartoon of Gromit with the button as his nose); Ronnie Barker (who has used his padlock button in a gag about his wife's handbag); Anthony Green RA (who has incorporated his button into a self-portrait); Phil Collins (who has turned his button into a drum kit); Sir Nicholas Serota (who has depicted his button on a Tate Modern plinth); Dick Francis (who has drawn a horse & jockey jumping over his button); Sir David Jason (who has doodled a wall with 'Del Boy woz 'ere'). The collection, which has been framed, comes with separate paperwork and consent forms relating to the acquisition of the autographs (often signed again), and even press/publicity photographs (many of which are again signed), together with numerous copies of a book that was produced to illustrate and explain the collection, 'Celebrity Button Art - An A to Z of Celebrity Mini Masterpieces', 2010 (with foreword by Bonnie Tyler). In her introduction, Karen states, 'Why art around a button you may ask? I needed a common starting point yet something that would inspire the creation of a mini masterpiece without directing or inhibiting the artist too much. I needed something that was seemingly insignificant by itself but would become an integral part of an imaginative spark of inspiration.' The collection is arranged alphabetically in 41 frames, each frame housing six cards bearing autograph/button, each card measuring 10.5cm by 7cm (the entire frame measuring 41cm by 31cm); the paperwork/consent forms are housed in six box files; the Celebrity Button Art books/catalogues are housed in three card boxesOther artwork/autographs include: Joss Ackland; Jenny Agutter; Peter Amory; Lord Archer; Colin Baker; Jeff Banks; Linda Barker; Sue Barker; Roy Barraclough; Keith Barron; Michael Barrymore; Dame Shirley Bassey; Marquess of Bath; Jeremy Beadle; David Begbie; Sir Tim Berners-Lee; Stephen Beveridge; Maeve Binchy; Roger Black; Honor Blackman; Raymond Blanc; Brenda Blethyn; Patti Boulaye; Peter Bowles; Norman Bowman; Michael Brandon; Sir Richard Branson; Richard Briers; Fern Britton; Pierce Brosnan; Amanda Burton; Jeb Bush; Darcey Bussell; Max Bygraves; Simon Callow; Dame Barbara Cartland; Emma Chambers; Linford Christie; Petula Clark; Granville 'Danny' Clark; Sacha Baron Cohen; Graham Cole; Jackie Collins; Joan Collins; Sir Henry Cooper; Jonathan Cope; David Copperfield; Sir Patrick Cormack; John Craven; Michael Crawford; Bernard Cribbins; Wendy Dagworthy; Jim Dale; Paul Daniels; Alan Davies; Graham Davis; Steve Davis; Dame Judi Dench; Charlie Dimmock; Anita Dobson; Ken Dodd; Deborah Drew; Noel Edmonds; David Essex; Trevor Eve; Mohamed Al Fayed; Sarah (Ferguson), Duchess of York; Anna Ford; Frederick Forsyth; Edward Fox; Paul Franks; Chris Ferdiani; Ben Freeman; Dawn French; Ant Fry; Stephen Fry; Lesley Garrett; William Gaunt; Uri Geller; Susan Georeg; John Glenn; Hannah Gordon; David Gower; Robson Green; Bob Grose; Lloyd Grossman; Gareth Hale; Christine Hamilton; Neil Hamilton; Susan Hampshire; Nick Hancock; John Hannah; Ainsley Harriott; Tony Hart; Nigel Havers; Sir Nigel Hawthorne; Sir Jack Hayward; Tim Healy; David Hedison; Lenny Henry; Jack Higgins; Harry Hill; Katy Hill; Ian Hislop; Peter Howson; Roy Hudd; Patrick Hughes; Gareth Hunt; Konnie Huq; John Inman; Glenda Jackson; Sir Derek Jacobi; Sue Johnston; Lesley Joseph; Handy Andy Kane; Sam Kane; Kevin Keegan; Penelope Keith; Matthew Kelly; Ian Kelsey; Felicity Kendal; Alex Kingston; Michael Kitchen; Jack Klugman; Nick Knowles; Twiggy Lawson; John Le Carre; Jay Leno; Gary Lineker; Desmond Llewelyn;Laurence Llewelyn Bowen; Andrew Logan; Joanna Lumley; Cherie Lunghi; Linda Lusardi; Simon MacCorkindale; Aggie Mackenzie; Mary Elizaebth Mastrantonio; Ally McCoist; Martine McCutcheon; Debbie McGee, Ewan McGregor; Anne McKevitt; Ian McShane; George Melly; Alessandro Mendini; Sarah Miles; Stuart Miles; Albert II, Sovereign Prince of Monaco; Sir Patrick Moore; Desmond Morris; Dame Peggy Mount; Bill Mundy; Nina Nannar; Paul Nicholas; Bill Nighy; John Noakes; Graham Norton; Daniel O'Donnell; Paul O'Grady; Jamie Oliver; Tamzin Outhwaite; Nick Owen; Norman Pace; Jane Packer; Cesar Pelli; Marti Pellow; Gervase Phinn; Jonathan Pryce; Suzi Quatro; Gary Rhodes; Anneka Rice; Sir Cliff Richard; Fay Ripley; William Roache; Anne Robinson; Tamara Rojo; Michel Roux; Phillip Schofield; Jenny Seagrove; Martin Shaw; Tessa Shaw; Jeremy Sheffield; Frank Skinner; Carol Smilie; Nicholas Smith; Jeremy Spake; Tommy Steele; Clive Swift; Chris Tarrant; Gwen Taylor; Simon Thomas; Emma Thompson; Linda Thorson; Alan Titchmarsh; Oliver Tobias; Richard Todd; Philip Treacy; Bonnie Tyler; Rory Underwood; Phil Vickery; Carol Vorderman; Rick Wakeman; Karen Walker; Tommy Walsh; Julie Walters; Zoe Wanamaker; John Wardley; Paul Warriner; Pete Waterman; Ruby Wax; Denise Welch; Anthony Whishaw RA; Richard Whiteley; Quentin Wilson; Gary WIlmot; Sir Norman Wisdom; Sir Terry Wogan; Victoria Wood; Kim Woodburn; Michael York; Susannah York; Paul Zenon; Patti Boulaye; Emma Chambers; Jackie Collins; Steve Davies; Trevor Eve; John Glenn; Paul Merton; Hilary Neiland; Dame Diana Rigg

§ Keith Stuart Baynes (British, 1887-1997) Trapeze Artists signed 'K. S. Baynes' (lower left) oil on canvas 39 x 32cm (15 x 12in) Other Notes: Baynes studied briefly at Cambridge University before enrolling at the Slade School of Fine Art in 1912. Throughout the 1920s he travelled widely and regularly exhibited his work in London galleries, particularly Agnews. After World War I he became a member of the circle around the critic and painter Roger Fry and was strongly influenced by French Post Impressionist artists. His work now forms part of public collections across the UK and was featured in a major retrospective at the Minories Gallery, Colchester in 1969. Although the date of the present work remains unknown, it most likely dates from the period of Baynes's career when he was most closely associated, and influenced by, Walter Sickert. Baynes had established relationships with both Sickert and Harold Gilman during the war and exhibited with the London Group from 1919. Many members of the former Camden Town Group were included in these shows, and key members, including Sickert and Spencer Gore, had often depicted similar theatrical scenes. Quite extensive cracking. The image has been cleaned and varnished at some point.  

*Hatt (Doris Brabham, 1890-1969). Saint Paul de Vence, circa 1930, watercolour and pencil on paper, 23 x 23 cm (9 x 9 ins), framed and glazed, with Court Gallery label to verso 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 L‚ger, 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. (1)

Roger Fry, two lithographs, Wooded landscape, signed in the plate, 38 x 56cm. unframed.

Roger Fry (1866-1934)'A LOUIS XVI CLOCK'Signed and dated '27 l.r., indistinctly inscribed on exhibition label verso, oil on panel32.5 x 41cmExhibited: The London Artists' Association.