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Roger Eliot Fry (English 1866-1934) Landscape with mature trees red chalk, signed lower right 23 x 35.5 Adams Gallery label verso

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

4x Various Cricket Prints to include 'Tom Emmett & Dr. Grace' Signed by the artist Roger Marsh, 23/250, measures 42x40cm approx. together with 'Leg Volley', 'Home Block' both reproduction prints measuring 28x36cm approx. and a print of C.B. Fry in batting stance, measures 32x40cm approx. - all ready to frame (4)

ARTIST ILLUSTRATORS. Six publications featuring Walter Crane, Roger Fry, W. Heath Robinson, John Hassell, H.M. Bateman & R. Caldecott.

Roger Fry, lithograph, landscape, signed in the plate, image size 9" x 14", framed

Greenwood (Jeremy). Omega Cuts, Woodcuts and Linocuts by Artists Associated with the Omega Workshops and the Hogarth Press, Wood Lea Press, 1998, tipped-in colour illustrations, and monochrome illustrations after Vanessa Bell, Roger Fry, Duncan Grant, McKnight Kauffer, Simon Bussy, Edward Wadsworth and others, original cloth with slipcase (450 copies printed), together with The Graphic Work of Edward Wadsworth, Wood Lea Press, 2002, colour and monochrome illustrations, original patterned boards, with slipcase (450 copies printed), plus Margaret Bruce Wells, The Complete Wood-engravings and Linocuts, Wood Lea Press, 2000, colour and monochrome illustrations, original quarter cloth gilt over patterned boards, with slipcase (300 copies printed), all folio, VG (3)

Roger Eliot Fry (English 1866-1934) The Well oil on board, signed and dated 1922 lower right 31.5 x 40cm Adams Gallery label verso

*Fry (Roger, 1866-1934). St. Jacques, Dieppe, 1927, lithograph on paper, small puncture to upper left corner, sheet size 64 x 42 cm (25.25 x 16.5 ins), together with Interior of Cluny, lithograph on paper, minor discolouration to top margin, sheet size 61 x 42.5 cm (24 x 16.75 ins), plus two other lithographs by Roger Fry of French architecture, including one of medieval dwellings titled 'La Charit‚', the other a study of an old farmhouse with geese in the foreground, all framed and glazed (4)

Roger Fry (1866-1934) ''View from Rodwell House'' Inscribed with title on stretcher verso, oil on canvas, 37cm by 45cm Provenance: The Estate of Helen Anrep Helen Anrep and Roger Fry purchased Rodwell House near Baylham, Suffolk together in 1928. This work was reputedly painted in 1933, the year before his death. Apparently Fry spent that year painting on the Anrep estate and touring around the South of England in a motor car (despite his reputation as a terrible driver). See illustration

§ Keith Baynes (British, 1887-1977) Chateau, Ladouys, France signed lower left "Keith Baynes" oil on canvas 49 x 59cm (19 x 23in) Keith Baynes studied at the Slade School of Art from 1912-1914. He met Walter Sickert during the First World War. After the war he became friends with the artists Roger Fry, Vanessa Bell and Duncan Grant; he showed with the London Artists' Association, the New English Art Club and with the London Group from 1919. He travelled extensively in the 1920s and exhibited at Agnew's, Adams Gallery and widely overseas. A retrospective exhibition in 1969 was held at The Minories, Colchester.CONDITION:Minor surface dirt visible in the sky and centre left along the edge.   

Coburn (Alvin Langdon, 1882-1966). Men of Mark, 1st edition, Duckworth & Co., [1913], 33 tipped-in photogravure plates, facsimile signatures of the sitters to mounts beneath, signed presentation inscription from the photographer to front free endpaper, 'To Dr Malcolm Campbell, in grateful appreciation from Mr & Mrs Alvin Langdon Coburn, September 30th 1944', original cloth, minor marks and lower corners slightly bumped, 4to The photogravures in this volume were produced under the personal supervision of Alvin Langdon Coburn. The sitters include George Bernard Shaw, H.G. Wells, Auguste Rodin, Henry James, W.B. Yeats, Mark Twain, J.M. Barrie, Roger Fry and Henri Matisse. (1)

Roger Fry, lithograph, landscape, early 20th century, image size 10" x 13.5", signed in the plate, framed.

Kennington (Eric, 1888-1960). Sermons by Artists, Paul Nash, David Low, Robert Gibbings, Eric Kennington, Leon Underwood, Stanley Spencer, Edmund Sullivan, Roger Fry, Will Dyson, Percy Smith, Golden Cockerel Press, 1934, illustrations by Elizabeth Corsellis, top edge gilt, remainder untrimmed, original calf-backed pattern boards, a few minor marks, 8vo, limited edition 236/300, together with Drawing the R.A.F., a book of portraits, introduced by Sir Ronald Storrs, 1st edition, Oxford University Press, 1942, 4 tipped-in colour plates, numerous monochrome plates, signed in blue ink to front endpaper by Christopher Kennington, and dated August 1942, original blue cloth gilt, very slightly rubbed, 8vo, plus Pilots Workers Machines, printed for Frigidaire Ltd by Harrison & Sons, 1941, & Tanks and Tank-Folk, Country Life, [1942], 2 copies, monochrome plates to each, original printed wrappers, slim small 4to, VG Provenance: From the collection of Christopher Kennington, the artist's son. (5)

Collection of Early Penguin & Pelican paperbacks, Leonard Woolf, Bernard Shaw, H.G. Wells, Roger Fry, Arnold Haskell, Arnold Bennett, H.E. Bates, Somerset Maugham in original printed wrappers

Roger Fry (1866 - 1934), oil on board - Winter Morning, labels verso including handwritten period label, James Bourlet & Sons, Theo J. Gidden and The Haste Gallery, in gilt frame, 32cm x 39.5cm

Roger Fry (1866-1934) ''Erechtheion'' Signed, inscribed in pencil verso, oil on board, 25cm by 34cm See illustration Fry visited Greece April - May 1932 with Virginia Wolf, Leonard Wolf and Margery Fry (the artist's sister). It is possible that the figure depicted holding a parasol is either Virginia or Margery.

Billy West Futurama 10x8 signed animated photo. William Richard Werstine (born April 16, 1952), known professionally as Billy West, is an American voice actor, singer, comedian, musician, songwriter and former radio personality who is known for his voice-over work in a number of television series, films, video games and commercials. He has done hundreds of voice-overs in his career such as Ren (season 3 to season 5) and Stimpy on The Ren & Stimpy Show; Doug Funnie and Roger Klotz on Doug; and Philip J. Fry, Professor Farnsworth, Dr. Zoidberg, Zapp Brannigan and a number of others on Futurama. He does voices for commercials and is the current voice of the red M&M and was also the voice of Buzz, the Honey Nut Cheerios Bee until 2004. In addition to his original voices, he has voiced Bugs Bunny, Elmer Fudd, Shaggy Rogers, Popeye and Woody Woodpecker during later renditions of the respective characters. He was a cast member on The Howard Stern Show, noted for his impersonation of The Three Stooges' Larry Fine. Comes from an in person collector from theatres, awards shows etc. Comes from an in person collector from theatres, awards shows etc. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95

Roger Fry (British, 1866-1934), The Harbour at Woodbridge, Suffolk, signed 'Roger Fry' (lower right), inscribed with artist's name, dated '1933', bears remnants of Bristol Museum label and bears The Fine Art Society label with title and dated 1964 (verso), oil on board, 27 x 40cm.Illustrated

Roger Elliot Fry (1866-1934) Chateau de Brecy, Normandy Signed and dated 1906, oil on canvas, 91cm by 71cm Provenance: Exhibited Thomas Agnew and Sons, Manchester, 1907 See illustration

FRY, Roger - A Sampler of Castile : org. cloth backed decorative boards, 4to, Hogarth Press, first UK ed, 1923. With 10 others mainly private presses.(11)

AUTOGRAPH ALBUM: An autograph album containing over 120 signatures, on multiple signed pages, by various county cricket teams of the 1930's, including Sussex C.C.C. (including C.B. Fry, Arthur & Alfred Gilligan, Francis Browne, John Langridge, Robert Scott, Lance Knowles, Jim Hammond (also played professional football at Fulham F.C.), Joe Vine, Albert Relf, Bill Greenwood, Harry Parks, Ernest Killick, Fanny Walden, Billy Newham etc.), Kent C.C.C. (including Gerry Chalk (scarce, tragically killed at the age of 33 whilst serving with the R.A.F. during WWII), Aidan Crawley, Frank Woolley, Charlie Peach, Tich Freeman, Charles Marriott, Bryan Valentine, Charles Knott, Charlie Wright, Percy Chapman etc.), Hampshire C.C.C. (including Giles Baring, Phil Mead, James Bailey, George Boyes, Alec Kennedy, William Creese, Thomas Oates (also serving as a Test Match umpire), Oswald Herman etc.), Northamptonshire C.C.C. (including John Edwards, William Brown, Alexander Snowden, Reg Partridge, Mark Cox, Benjamin Bellamy, Bill Coverdale etc.), Surrey C.C.C. (including Jack Hobbs, Maurice Allom, Percy Fender, Edward Brooks, Tom Barling, Roger Winlaw (scarce, tragically killed at the age of 30 whilst serving with the R.A.F. during WWII), Andrew Sandham, Stan Squires, Bob Gregory, Spencer Block etc.), Hampshire C.C.C. (including Richard Moore, Walter Lancashire, John Arnold, Gerald Hill, Arthur Holt (also played professional football at Southampton F.C.), Neil McCorkell, William Budd (also serving as a Test Match umpire), Arthur Pothecary etc.), Sussex C.C.C. (including Jack Holmes, Walter Cornford, James Parks, Kenneth Scott (scarce, tragically killed at the age of 28 whilst serving with the Army during WWII), Maurice Tate (first Sussex cricketer to take a wicket with his first ball in Test cricket), Thomas Cook, Vivian Eaton etc.) etc. With minor age wear. G

Roger Fry (British 1886-1934) Garsington 19 (Garsington Manor 1919?) oil on canvas, signed lower right 63.5 x 79cm Fine Art Society label verso

Morris, William"The Poetical Works of William Morris", Longmans Green & Co 1903, 1904, 1907, 1908, 1911, 1912, black cloth, gilt Shrewsbury School crest, titles pastedown to backstrip, many vols uncutBound vols of poetry Wordsworth, Herrick, etc with the Shrewsbury School crest on three of the six volumes (6) Proust, Marcel (Scott Moncrieff, C K trans) Six volumes of "Remembrance of Things Past" including "Swann's Way" two vols, Chatto & Windus 1922, "Within a Budding Grove", two vols, Chatto & Windus 1924, "The Sweet Cheat Gone", Alfred Knopf 1930 and "The Guermantes Way", Chatto & Windus 1925, uniform in blue cloth with gilt titles to backstrip (6)"The Hogarth Essays", four vols to include T S Elliot, Roger Fry, E M Forster and Bonamy DobreePasternak, Boris "Dr Zhivago", Collins & Harvill Press, 9th impression November 1958, red cloth, dj not price clipped, inscription on ffep Blake, William "Songs of Innocence", coloured ills by Honor C Appleton, Herbert & Daniel, London, colour plates, decorated pages, inscription on ffep, pictorial pastedown to front board, gilt titles, fine binding Tennyson Works, full-leather and two other volumes (27)

§ Nan Youngman, OBE (British, 1906-1995) Sleeping Cat 2 signed lower right "Nan Youngman 1970" and signed on the reverse "Sleeping Cat 2, 1970, Nan Youngman" charcoal and conte 38 x 40cm (15 x 16in) Other Notes: Nancy Mayhew Youngman OBE, (28 June 1906 – 17 April 1995), was an English painter and educationalist. Youngman is remembered primarily as a painter, but from before the war to the mid-1960s she was an influential figure in art education, as a teacher, an author and an impressively efficient organiser of exhibitions. She was born in Maidstone in 1906 and trained at the Slade School of Art (1924–27). Needing to finance her career as an artist by teaching, she went on to the London Day Training College. There she was taught by Marion Richardson, who introduced her to Roger Fry and awakened her interest in children's art. From 1929 until 1944, she divided her time between painting and teaching; she lectured for the London County Council, gave practical art classes for schoolteachers and taught part-time. The organisation of exhibitions became an important part of her strategy for increasing children's awareness of art. Under glass which is a little dirty.

Omega Workshops tin glazed plate by Roger Fry with impressed symbol to base, 7.5ins diameter (restored)

TV/film signed book collection. 4 books Richard Whiteley signed Him off The Memoirs of a TV Matinee Idle hard back book signed on title page by Richard Whiteley with Gyles Bradreth, Carol Vorderman and Stephen Fry on inside pages, Max Bygraves signed In His Own Words hard back book signed on title page by Max Bygraves, Richard Attenborough signed Entirely Up To You, Darling hard back book signed on inside page by Richard Attenborough and Roger McGough signed Said and Done the autobiography signed on title page by Roger McGough.

FRY ROGER: (1866-1934) English Painter & Critic, a member of the Bloomsbury Group. A.L.S., Roger Fry, two pages, 8vo, Durbins, Guildford, 14th February 1912, to 'Dear Madam'. Fry states that he has been handed his correspondent's letter by his sister Margery ('I won't deny that you are wise to have sent it that way as she is a person who gets obeyed') and adds that he would like to come and lecture in Cardiff, explaining 'I fear my usual lecture fees might seem to you too high £10.10….what would you be able without undue strain to offer me', further remarking 'Forgive this mercenary question? But there will be considerable expenses outside travelling in the matter of slides, since I think it would be foolish not to have a demonstration with magic lantern, otherwise many people will not know at all what I am talking about'. An attractive, boldly penned letter. About EX Fry's correspondent was apparently a Miss. M. E. Howell, associated with the Suffragette movement.

A large collection of signed index cards from film and television. Autographs include Christian Slater, Robert Vaughn, Roger Moore, Matt Lucas & David Walliams, Elliot Gould, Hugh Laurie & Stephen Fry, David Tennent, Matt Smith, David Jason and signed photos of Michael Caine and John Mills.

ROGER FRY (1860-1934); oil on board, portrait of a gentleman (possibly Quentin Bell), signed lower-right, 60 x 44.5cm, framed and glazed.

•ROGER HALL (British 1914 - after 2005) ORIGINAL ARTWORK FOR ELIZABETH FRY BY L. DU GARDE PEACH Gouache with watercolour, each signed verso, each board 26 x 18cm (10 1/4 x 7") (23) Elizabeth Fry by L. Du Garde Peach published by Ladybird Books 1973

Binyon (Laurence). Catalogue of the Chinese Frescoes (The George Eumorfopoulos Collection), 1st edition, Ernest Benn, 1928, tipped-in colour plates, library blindstamp and inkstamp to title, some plates with library blindstamp to lower outer corner, partly untrimmed, original two-tone cloth gilt, a little rubbed and some marks, folio, limited edition 19/560, together with D'Ardenne de Tizac (H.), Animals in Chinese Art, a collection of examples selected & described, with a preface by Roger Fry, 1st edition, Benn Brothers, 1923, photogravure plates, waterstain to lower edges throughout, original maroon cloth gilt, rubbed and some marks and minor staining, folio, limited edition 95/250, plus Kokka Publishing Company. Masterpieces of Thirty Great Painters of Japan, 2nd edition, Tokyo, circa 1907, colour and monochrome tipped-in plates, all edges gilt, original decorative cloth, a little rubbed to extremities, folio, and other oriental art interest, including Rainer Behrends, Das Meissener Musterbuch fr Horoldt-Chinoiserien, 3 volumes, Edition Leipzig, 1978, William Anderson, The Pictorial Arts of Japan, 1886 (soiled and marked), occasional library stamps, folio (8)

Roger Fry (1866-1934) The Clocktower, Roquebrune, c.1913 Watercolour over pencil 35 x 25cm Provenance Mrs Pamela Diamand Blond Fine Art, London, 14th March, 1980, No. 16 Sandford Gallery, London, April 1981 Lots 273-323 The Collection of the late Betty Sutton (Betty Middleton-Sandford) Exhibited: The Arts Council of Great Britain, Vision and Design, A/137, No. 101

William Scott CBE RA (1913-1989) BLUE STILL LIFE, 1969-1970 oil on canvas signed, titled and dated on reverse with Hanover Gallery, London; Where purchased by Richard Davis, New York, 8 September 1970; Thence by descent to the previous owner; Christie's, 16 November 2007, lot 72; with Richard Green, London, 2008; Collection of George and Maura McClelland 'William Scott: Paintings, Drawings and Gouaches 1938-71', Tate Gallery, London, 19 April to 29 May 1972, catalogue no. 101; 'William Scott', Martha Jackson Gallery, New York, January to February 1973; 'William Scott', Gallery Moos, Toronto, October to November 1973; Art |39| Basel, 4-8 June, 2008, with Richard Green In a review of the major one-man show in New York in 1973, that included Blue Still Life, Hilton Kramer - the influential and provocative critic of the New York Times - described William Scott as "an artist of uncommon distinction - not only the best painter of his generation in England, but one of the best anywhere."(1) The show was to mark Scott's sixtieth birthday, but recognition for his particular contribution to Modernism had been growing over the years, leading to his inclusion to represent Britain at the Venice Biennale in 1958, a major retrospective at the Tate Gallery in London in 1972, and the reproduction of his Berlin Blues 1 painting on an Irish postage stamp in 1973. Scott was, however, continuing to innovate, and the New York show comprised recent works taking his interests to a new level of resolution, including those like Blue Still Life eloquently employing the "rich Mediterranean blues" that had become a signature dimension of his work. Kramer perceptively summarized the paintings in the exhibition as "abstractions based mainly on still-life motifs." While Scott had addressed other subjects from time to time over the years, including landscape, portraiture and the nude, still life was the enduring thematic interest for the artist from an early stage and throughout his career. He asserted his preference for man-made objects over nature, and the contours of still life were interesting in themselves as well as providing a significant basis for his evolving propensity towards abstraction. They were reminiscent also of the domestic environment of his working class origins; as he explained "the objects I painted were the symbols of the life I knew best."(2) Born in Greenock, Scotland in 1913, Scott moved with his family to his father's native Enniskillen in 1924. Initially he learned the skills of sign-writing from his father and attended art classes with Kathleen Bridle who introduced him to Modernist art and to the writings of Roger Fry that would resonate with Scott, not least in highlighting the importance of representing familiar objects over more narrative-based subject matter. Later, Scott went to the Belfast School of Art and then the Royal Academy Schools in London. Following his marriage, he and his wife, artist Mary Lucas, spent time on the Continent - including to Mediterranean towns in the south of France - travelling, seeing art and teaching, before returning to Britain where he later took up a role at the Bath Academy of Art. Scott became a regular visitor to St Ives, and knew many of the artists there. In 1953, a visit to New York brought him into contact with Mark Rothko, Jackson Pollock and Willem de Kooning. While in Paris with his wife, Scott saw his first Matisse painting, a still life with drapery that entranced him reflecting a burgeoning interest and the direction his own work was to take.(3) On a later visit to Paris, in 1946, Scott was captivated by the exhibition A Thousand Years of Still Life Painting, where he "was overwhelmed by the fact that the subject had hardly changed for a thousand years, and yet each generation in turn expressed its own period and feelings and time within this terribly limited narrow range of the still life."(4) While his earliest still life paintings are the most naturalistic, Scott's interest in stylization and in abstracting are evident throughout his career as a painter; his focus on the structure and contours of composition and forms predominate over illusionism and mimesis, demonstrating his interest in primitivist forms and an austere aesthetic. The clustered still life objects of the late 1950s increasingly gave way to abstraction evolving to the celebrated Berlin Blues series in the mid 1960s. In the words of Clive Bell, Scott evinced a "truly remarkable gift of placing",(5) a capacity that became especially evident as Scott pioneered the representation of ordinary subjects on large canvases, with an almost classical presence, as in the commanding scale of Blue Still Life. The late still lifes, as this work demonstrates, comprise emblems on the cusp of abstraction; the familiar contours of utensils are distilled to pure flat forms dispersed on the canvas in a finely tuned arrangement, remote from the practical groupings of the kitchen from which they once derived. Mitigating their potential asceticism, however, Scott had expressed a desire "to animate a still life in the sense that one could animate a figure. I chose my objects … objects without much glamour"(6) indicating their humble origins and enduring personal relevance. His achievement is reflected in Kramer's comments in his New York Times review that Scott "invests this radically delimited imagery with a distinct mode of feeling" explaining that while highly simplified, the works evoke a "remarkable poetic resonance … and suggest a very personal emotional atmosphere." In Blue Still Life, the soft blurring of the familiar contours and the 'haloes' around selected objects balance the cool austerity of uncluttered space, the sparsely populated kitchen repertoire of the working class household in interwar cities. But there is no sense of deprivation, and the image 'breathes' with the space of sufficiency rather than indulgence. Close inspection shows too the flecks and drizzles of paint that, far from the machine aesthetic of Minimalism, reveal the handcraft of construction, abstraction animated by reality. Kramer appropriately summarized the 1973 show that included this painting. (7) "This is a beautiful exhibition, full of wonderful painterly subtleties and the kind of pictorial eloquence we would expect only from a mature artist in complete control of his medium." Dr Yvonne Scott, May 2017 (1) Hilton Kramer, 'Painterly Subtleties Fill Work of Scott', New York Times, 6 January, 1973, p.25. The show was at the Martha Jackson Gallery, New York early in 1973 to mark the artist's sixtieth birthday. (2) Lawrence Alloway, Nine Abstract Artists, their work and theory, London 1954, p.37, quoted in Norbert Lynton, William Scott, London 2007, p.30. (3) Norbert Lynton, William Scott (year), p.23. (4) Alan Bowness, 1964, quoted in Lynton, p.61. (5) Clive Bell, quoted in Lynton, p.42. (6) William Scott, quoted by Theo Crosby, 1957, reproduced in Lynton, p.76. (7) Kramer, op.cit. 48 by 72in. (121.9 by 182.9cm)

Follower of Roger Fry (1866-1934) Portrait of a lady seated, half length wearing a brown suit, a green shirt and her hands clasped Oil on canvas, 75cm by 49cm

Ivon Hitchens (1893-1979) Orange and Yellow Lilies signed (lower right) oils on canvas 55cm x 83.5cm. Provenance: Sothebys, London, 9 July 1958, lot 126; Private Collection. 'I paint life as I see it, hear it, feel it, smell it, and think it - but above all see it', wrote Hitchens in a letter to Alan Bowness (26 January 1960) (quoted in Peter Khoroche, Ivon Hitchens, Lund Humphries, 2007, p.86.) Orange and Yellow Lillies represents a grand piano - under the radiant umbrella of vibrant flowers - with a chair to the side. This painting evokes a homely image and Hitchens conveys the flowers without shading, strikingly in contrast to the flattened series of rich browns, blues and purples planes that create the background. This allows the picture to be considered aside from its subject-matter, for its formal abstract qualities. It shows the influence of artist's such as Bonnard, Matisse and Roger Fry, in the subject matter, handling of paint, use of colour and construction of forms and out of the tensions between representation and arrangement, producing a formal essence from its perceived reality. Orange and Yellow Lilies is also a demonstration of Hitchens' passion for flower paintings. 'I love flowers…I love flowers for painting…One can read into a good flower picture the same problems that one faces with a landscape, near and far, meanings and movements of shapes and brush strokes. You keep playing with the object' (quoted in T.G. Rosenthal, Ivon Hitchens, pp. 7-19, in A. Bowness, (ed.), Ivon Hitchens, London, 1973, p. 13).represents

Roger Fry for The Omega Workshops,a white glazed pottery flagon, impressed studio mark under base, height 12"

Roger Elliot Fry (1866-1934) British. Figures by Ruins, Pencil, Signed, 20" x 14.5".

Strong (Roy). Tudor & Jacobean Portraits, volumes 1 & 2, HMSO, 1969, uniform original gilt decorated green cloth, spines slightly rubbed, together with The English Icon: Elizabethan & Jacobean Portraiture, 1969, original red cloth, all have numerous colour and monochrome illustrations, all are ex library coies with associated marks, all 4to, plus Gibson (Frank), Charles Conder, His Life and Work, 1914, numerous colour and monochrome illustrations, original decorated white cloth, boards and spine slightly toned and rubbed, 4to, and Fry (Roger), Vision and Design, 1920, Last Lectures, CUP, 1939, numerous monochrome illustrations, both publisher's original cloth, 4to, and other modern British and French art reference, including Ben Nicholson, by Norbert Lynton, 1993, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

BUCHAN (John) et al. First Over Everest, The Houston-Mount Everest Expedition 1933, London: John Lane, 1934, reprint edition, 8vo, 2 folding maps, plates and diagrams, stereoscopic plate printed in red and blue, stereoscopic viewer in pocket at end. Original blue cloth with embossed bi-plane on upper board, chipped dust wrapper, fading to head of spine, gift inscription to David Low from Lucy Houston to first leaf 'A Happy New Year to you Low.... You make me Laugh, a Joy I cannot Forego. New Year 1935'. Lady Houston largely financed the Houston-Mount Everest Flight Expedition, in which aircraft flew over the summit of Everest for the first time. Also - Golden Cockerel Press. Sermons by Artists (Paul Nash, Stanley Spencer, Roger Fry et al), limited edition 214/300, frontispiece and decorations by Elizabeth Corsellis, original morocco-backed patterned boards; MARTIN (K), Low's Russian Sketchbook, 1932, dustwrapper; MELBA (Nellie) Melba's Gift Book, David Low's copy, signed by Melba, cloth; 2 others illustrated by Low (6) The Modern "Rake's Progress" by Rebecca West has now been withdrawn. Martin's Low's Russian Sketchbook lacks the drawing by Low and is unsigned.

FRENCH ANTI-SEMITIC LITERATUREGood group of six late-nineteenth and early-twentieth century French anti-Semitic publications, includes: "La Presse et la Juiverie" ("The Press and the Jewry"), (Fribourg: Ph. Haeser & Comp.), 1877, 23pp. 8vo.; "Napoleon Antisemite", by A. de Boisandre (Paris: Librarie Antisemite), 1900, 131pp. 8vo.; "Le Juif, Notre Maitre" ("The Jew, Our Master"), by L. Fry (Paris: Editions R.I.S.S.), 1931, 266pp. 8vo.; "En Israel" ("In Israel"), by Amedee Jubert (Paris: L. Sauvaitre), 1888, 221pp. 8vo.; "Le Peril Juif: Le Regne D'Israel Chez Les Anglo-Saxons" ("The Jewish Peril: The Reign of Israel Over the Anglo-Saxons"),by Roger Lambelin (Paris: Bernard Grasset), 1921, 270pp. 8vo., signed by the author in black ink on the half-title, adding a partial inscription, with the top of the page bearing the identity of the recipient removed; and "Le Peril Juif: Les Victoires d'Israel" ("The Jewish Peril: The Victories of Israel"), by Roger Lambelin (Paris: Bernard Grasset), 1928, 239pp. 8vo. Each volume is soft-bound, and each bears some wear and bumping to the covers and spine, with one spine split in several places, else very good. Six pieces.

Roger Fry (1866-1934)'ROCK-CUT CHURCH, SAINT EMILION'Lithograph, 193039 x 29cmProvenance: A gift to the present owner from the artist's daughter Pamela.

Morrell Family Visitors' Books. A pair of visitors' books kept by Frederic and Harriette Anne Morrell at Black Hall, Oxford, 1889-1925, a total of over 150 leaves and 1500 signatures, mostly written in single or double columns to rectos only, including members of the Morrell, Wynter, Peel, Bentinck, Vidal, Feilding, Thesiger, Dodgson and Sandys families, plus autographs of Walter Pater, H.D. Rawnsley, Claude G. Montefiore [see lot above], Margaret L. Woods, Henry James (4 February 1894, 24 August 1896 & 25 June 1912), J.W. Mackail, Friedrich Max Muller, Logan Pearsall Smith, Ottoline (and Philip) Morrell (20-26 January 1904), Roger E. Fry (March 1904), Bertrand and Alys Russell (23 December 1905), William Rothenstein (pen and ink vignette sketch of a mother and infant, signed and dated 3rd March [1906]), Julian S. Huxley, Desmond Macarthy, A. Lamb (Xmas 1911), Paul Vinogradoff, Robert Bridges (11 November 1912 & 9 December 1913), Charles Holroyd, Maurice Baring, Duncan Grant (x 2), Robert Anning Bell, Aldous L. Huxley (7 November 1915), D.H. Lawrence (10 November 1915, same page), Ananda K. Coomaraswamy, George Santayana, Lord Berners, Siegfried Sassoon (31 March 1923) and others, numerous blanks at rear of second volume, first volume with monogrammed bookplate of Harriette Anne Morrell to front pastedown, second volume with inscription by Harriette's grandchild to front free endpaper, contemporary vellum, the first volume inscribed 'Black Hall, Oxford, 1889' to upper cover, a photograph of Frederic Parker Morrell when mayor of Oxford, with his wife and daughter Frederica Peel, loosely inserted Provenance: From the library of Lady Ottoline and Philip Morrell, thence by descent. Philip was the son of Frederic Morrell, solicitor, of Black Hall, Oxford, and Harriette Anne, daughter of the Rev. Philip Wynter. (2)

Circle of Roger Fry (British, 1866-1934) Portrait of a lady beside a sculpture of putti with a dolphin signed lower right "Fry" oil on board, unframed 43 x 43cm (17 x 17in) Unframed and fine.

Cameron (Julia Margaret). Victorian Photographs of Famous Men & Fair Women, with introductions by Virginia Woolf and Roger Fry, 1st edition, Hogarth Press, 1926, 25 photographic plates, each with captioned tissue-guard, front and rear free endpaper browned (as usual), original vellum-backed pale pink boards, spine lettered in gilt, with soiled and frayed dust wrapper, several closed tears and chipped with a little loss to edges, limited edition of 450 copies, this copy unnumbered, 4to Kirkpatrick B5. Woolmer 86. (1)

A rare Omega Workshops tin-glaze earthenware bowl probably thrown by Roger Fry at Poole Pottery, covered in a speckled and crazed oatmeal glaze impressed Omega symbol, handwritten label, chips to rim, 22cm. diam. Exhibited The handwritten label states this bowl was exhibited at the Victoria & Albert Omega Workshops exhibition in 1960. It is similar to several examples held in the V&A collection also attributed to Roger Fry (circ 248-1958), and thrown at Poole circa 1916.

Golden Cockerel Press. Sermons by Artists (Paul Nash, Stanley Spencer, Roger Fry et al), limited edition 214/300, frontispiece and decorations by Elizabeth Corsellis, original morocco-backed patterned boards; MARTIN (K), Low's Russian Sketchbook, 1932, dustwrapper; MELBA (Nellie) Melba's Gift Book, David Low's copy, signed by Melba, cloth; 2 others illustrated by Low (5) Note: The Modern "Rake's Progress" by Rebecca West has now been withdrawn. Martin's Low's Russian Sketchbook lacks the drawing by Low and is unsigned.

§ Frank Dobson, CBE, RA (British, 1886-1963) Standing Nude signed and dated lower right "F Dobson '31" pencil and watercolour 51 x 35cm (20 x 14in) Exhibited: Arts Council Memorial Exhibition, 1966. Other Notes: Frank Dobson (1886-1963) was one of the most important British artists and sculptors of the 20th Century. Throughout the 1920s and 1930s he built a reputation as an outstanding sculptor and he was an important member of the British avant-garde. In 1925 Roger Fry described his work as "true sculpture and pure sculpture ... almost the first time that such a thing has been attempted in England" whilst the critic Raymond Mortimer wrote that Dobson was " ... probably the best sculptor this country has produced for about six hundred years". Duncan Grant wrote of Dobson that he: " ...( had) a feeling for the female form that seemed to wrest it out of the earth and make its very earthiness not only monumental but sublime". From 1946 to 1953 Dobson was Professor of Sculpture at the Royal College of Art. He was elected to the Royal Academy in 1953. A little browning around the mount but fine.

Roger Fry ( 1866-1934) by and after, ten architectural lithographic prints, presented in a portfolio, limited edition number 31/40.

TOLKIEN (J. R. R.), Sir Gawain and The Green Knight, first edition, 8vo, edited by Tolkien and E. V. Gordon, Oxford: Clarendon Press, 1925, original green cloth gilt (worn), spine faded, some markings in pencil, frontispiece and plate present as required, errata slip, some pages untrimmed; together with SASSOON (Siegried), Selected Poems, London: Heinemann Ltd, 1925, light foxing, cloth; SHAW (Bernard), In Good King Charles's Golden Days, illustrations in colour by Feliks Topolski, London: Constable & Co, no date; BEERBOHM (Max), Fifty Caricatures, 4to, first edition, London: William Heineman, 1913, original green cloth gilt, fifty plates, caricatures of Churchill, Bernard Shaw, Thomas Hardy, Lloyd George, Roger Fry and others (4)

*Anrep (Boris, 1883-1969). Design for an embroidery, pen, black ink and watercolour on wove paper, unsigned, sheet size 360 x 255 mm (14.2 x 10 ins) Provenance: From the collection of Lady Ottoline Morrell by descent. Boris Anrep (1883-1969), Russian artist and mosaicist who established his mosaic studio in London in 1911. An important member of the Bloomsbury Group, Anrep assisted Roger Fry with the Russian section of the famous Second Post-Impressionist exhibition in 1912. He was a friend of the Morrells and a frequent visitor to Garsington Manor. With a letter from Annabel Anrep dated October 16th 1998, confirming the attribution of this work by the artist's son Igor Anrep. (1)

§ Eliot Hodgkin (British, 1905-1987) La Plage, Ascona, Switzerland signed lower right "E Hodgkin '49" oil on board 19 x 48cm (7 x 19in) Other Notes: Eliot Hodgkin was born on 19 June 1905 into a Quaker family, the only son of Charles Ernest Hodgkin and of his wife Alice Jane (née Brooke), who were related to Roger Fry - Eliot was a cousin of the abstract painter Howard Hodgkin (b. 1932). Hodgkin was educated at Harrow School from 1919 to 1923, later studying at Byam Shaw School of Art and at the Royal Academy Schools under Francis Ernest Jackson. He held his first one-man exhibition in the Picture Hire Gallery 1936 and later exhibited work at the R.A., the Leicester Galleries, Wildenstein & Company and at Durlacher Bros., New York in 1958. Hodgkin was also a writer, with publications including 'She Closed the Door', 1931; 'Fashion Drawing', 1932; '55 Views of London', 1948, and 'A Pictorial Gospel', 1949. Condition appears fine - in original canvas border frame. Old label in the artist's hand to the reverse giving artist's address and title.

*Keith Baynes (1887-1977)VIEW FROM A RIVERBOAT SALONSigned l.l., oil on canvas61 x 90cmKeith Stuart Baynes attended the Slade School of Fine Art, 1912-15, where he won several painting and drawing prizes. Following World War I, he became a member of the circle around the critic and painter, Roger Fry, and was deeply influenced by the Post-Impressionist Movement. From 1926 until the depression of 1931, he showed with the London Artists’ Association, encouraged and financed by Maynard Keynes and Samuel Courtauld. Baynes went on to hold successful exhibitions at Agnew’s, Adams Gallery and overseas. His works are held in many public collections, both here and abroad.*Artist's Resale Right may apply to this lot.

Fry (Roger) Twelve Original Woodcuts, small 4to, original marbled paper wrappers, 12 woodcuts, publisher's advertisement leaf at end, Richmond, Hogarth Press, 1921. See illustration

ROGER FRY (1866-1934) Still life - a wine glass and tazza with fruit, woodcut, 14 x 10cm A typed label verso inscribed 'One of a set of twelve woodcuts printed by Leonard & Virginia Woolf at the Hogarth Press, Richmond 1921'

Roger Eliot Fry (1866-1934) Winter Morning, unsigned oil on canvas, labelled to the reverse of the painting 'Roger Fry, 48 Bernard Street, WSI, Winter Morning, £20' another label from Theo J. Gidden, 18 London Street, Southport' the third label from 'James Bourlet & Sons fine art packers Ltd A66580, the painting was a gift from a wealthy family who lived in Nettlestead High Hall to the late Mrs Dora Harvey (nee Smith) 1904-1985 who was in service to the family, for her service over time the family would give her gifts, the painting was one of those gifts, 40cm x 32cm excluding frame

ROGER FRY Two nudes From a set of twelve original woodcuts published by Virginia Woolf Hogarth Press 1921 Sight size 15.4 x 11.2cm Condition Report: slight foxing in two small areas of black

Ribeiro, Susan/The Oriental Ceramic Society of Hong Kong, Arts from the Scholar's Studio, Hong Kong, 1986. 287pp; Fry, Roger & Binyon, Laurence, Rackham, Bernard et al, Chinese art: an introductory handbook to painting, sculpture, ceramics, textiles, bronzes & minor arts, Lonodn, Batsford, 1935/1949. 86pp; Lin Yutang, Imperial Peking: Seven Centuries of China, London, Elek Books, 1974. 227 pp. (3)

§ Frank Dobson (British, 1888-1963) Nude signed and dated lower left "Frank Dobson '37" red chalk 45 x 34cm (18 x 13in) Provenance: The Mayor Gallery Ltd., 14 South Molton Street, London, W1. Frank Dobson was an English sculptor, painter and designer. In 1920 Wyndham Lewis used Dobson as the only sculptor in the ‘Group X’ exhibition at the Mansard Gallery, one of the many accolades given to Dobson in his time. From the mid 1920s onwards, after his war-inspired pieces, Dobson focused on the female nude, working in a stripped down, simplistic style. English painter and critic Roger Fry called his works “true and pure”. A little dirt and flies on the glass but fine.

§ Duncan Grant (British, 1885-1978) The White Coffee Pot signed lower right "D Grant", inscribed with title on the reverse, and with a sketch of a girl on the reverse oil on board, in a green and gold painted frame 81 x 60cm (32 x 23in) Provenance: The Bloomsbury Workshop, 12 Galen Place, London, WC1. Born in 1885, Duncan Grant spent his early life in India, returning to Britain in 1893. Grant was encouraged by the French painter Simon Bussy, who later introduced Grant to Matisse in 1909. Grant, along with Maynard Keynes, Roger Fry and Vanessa Bell (whom Grant had a daughter with, Angelica Garnett), was a central figure of the organisation of artists and writers called Bloomsbury. Perhaps a little dirty but fine.

§ Nan Youngman, OBE (British, 1906-1995) The Pear Tree signed lower right "Nan Youngman 1967" oil on board 46 x 60cm (18 x 23in) Provenance: By descent from the vendor's grandfather Nan Youngman was born in Maidstone in 1906 and trained at the Slade School of Art (1924–27). Needing to finance her career as an artist by teaching, she went on to the London Day Training College. There she was taught by Marion Richardson, who introduced her to Roger Fry and awakened her interest in children's art. From 1929 until 1944 she divided her time between painting and teaching; she lectured for the London County Council, gave practical art classes for schoolteachers and taught part-time. The organisation of exhibitions became an important part of her strategy for increasing children's awareness of art. At the outbreak of war, she was evacuated with the children of Highbury Hill School where she was teaching to Huntingdon. With Betty Rea, the sculptor, Rea's two boys, and three children of an enlisted friend, she set up house, first in Godmanchester and later at 'Papermills' in Cambridge. In 1944 she became art adviser to Cambridgeshire under Henry Morris. Nan Youngman became chairman of the Society for Education through Art in 1945 and published her ideas in articles for Athene (the Society for Education in Art journal), the New Era in Home and School and the Education Journal. Through the SEA she initiated a remarkable series of exhibitions of contemporary art for sale to education authorities called "Pictures for Schools". The first took place in 1947 at the Victoria and Albert Museum and these continued annually at the Whitechapel Gallery and elsewhere until 1969. In the 1950s Youngman travelled as lecturer in art education for the British Council to the West Indies, Malta and Ghana, but now devoted more time to painting. Through setting up a Welsh series of Pictures for Schools exhibitions Youngman discovered the landscape of south Wales, which provided the subject of much of her strongest work. During the mid-1960s she moved to Waterbeach in the Fens whence her landscapes grew in subtlety. Nan Youngman was awarded the OBE in 1987. Condition is fine.