Álvaro Guevara Chilean NEA 1894-1951- "Mrs Lewis of the Cavendish", 1915; oil on canvas, in a gilt oak frame of plain form, 183x122cm. Provenance: Exhibited P & D Colnaghi & Co Ltd, London "Alvaro Guevara, A Chilean Painter in London and Paris", cat no 2, 3rd December 1974-10th January 1975 according to label attached to the stretcher verso, Note: Álvaro Guevara based in London and loosely associated with the Bloomsbury set. He was born 13 July 1894 in Valparaiso Chile. Guevara left Chile in 1909 and arrived in London in 1910. After failing his technical college exams he went on to the Slade School of Fine Art from 1913 to 1916. He married Meraud Guinness (1904-1993), a painter and member of the Guinness Family, and settled in France. He died in Aix-en-Provence 1951. Member of the Friday Club British group of painters, active 1905-22. Vanessa Bell conceived of and created the Friday Club in the summer of 1905. She was inspired by her experience of Parisian café life and the artists introduced to her in Paris by Clive Bell, and she hoped to create in London a similar group in which artists and friends could meet to exchange ideas. The Club met for lectures and held regular exhibitions in rented rooms, one taking place in Clifford`s Inn Hall in 1907, another at the Baillie Gallery in 1908. Its members were oddly assorted: Vanessa Bell drew upon students from the Royal Academy Schools and the Slade School of Fine Art, as well as her own family and family friends. Lecturers included Clive Bell, Basil Creighton, Walter Lamb and Roger Fry. Virginia Woolf remarked that in its early stages the Club was split: `one half of the committee shriek Whistler and French Impressionists, and the other are stalwart British`. In 1913 Essil Elmslie replaced Vanessa Bell as secretary to the Club, and meetings and discussions outside the annual exhibitions ceased. However, between 1910 and 1914 its exhibitions included young artists of talent, among them J. D. Innes, Derwent Lees (1885-1931), John Currie (c. 1890-1914) and Henry Lamb, and drew much comment from the press. Despite this, the history of the Club remains shadowy because no minutes of its meetings exist and not all its exhibition catalogues can be traced. (reference: Michael Parkin Gallery 1996)
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Cameron (Julia Margaret) Victorian Photographs of introductions by Virginia Woolf and Roger Fry first edition number 94 of 450 copies 25 photographic plates with captioned guards browning to free endpapers otherwise internally fine original vellum-backed pink boards a little light darkening towards edges otherwise an unusually fine example [Woolmer 86; Kirkpatrick B5] 4to Hogarth Press 1926.
* European School, early 20th century- Portrait of a young woman, seated in a vivid green dress, possibly Lady Ottoline Morrell; gouache on grey paper, indistinctly signed and dated 1903, 52x38cm: Note: The sitter bears a striking resemblance to that of a young Lady Ottoline Morrell (1873-1938) having a famously distinctive profile most noticeably captured by Augustus John, her desire to support and encourage artistic creativity led her to become a literary hostess and friend to many of the literary and artistic giants of post-World-War-I Britain. Her homes in Bedford Square and Garsington became gathering places for conversation, she became acquainted with T. S. Eliot, E. M. Forster, John Gielgud, D. H. Lawrence, Siegfried Sassoon, John Singer Sargent, and Virginia Woolf. A great supporter for the Bloomsbury Group, as many of the prominent figures came to be known; she welcomed any creative person she thought she could help, often introducing young talent to wealthy patrons and mentors. Lady Ottoline`s lovers included the philosopher Bertrand Russell the painters Augustus John and Henry Lamb, the art historian Roger Fry. (unframed) (LP)
Fry (Roger)" and others. Georgian Art folio 1929 § Ward-Jackson (Peter) English Furniture Designs of the Eighteenth Century ex-library copy 4to 1958 § Wills (Geoffrey) English Looking Glasses 4to 1965 § Joy (Edward T.) English Furniture 1800-1851 4to 1977 § Girouard (Mark) Life in the English Country House 4to New Haven 1978 § Drakard (David) Printed English Pottery: History and Humour in the reign of George III folio1992 plates or illustrations original cloth or boards all but the first two with dust jackets; and 41 others on furniture etc. " various sizes(48)
Tizac (H. d`Ardenne de). Animals in Chinese Art, a Collection of Examples, with a Preface by Roger Fry, 1923, fifty col. and b & w plts., occn. fox spots, t.e.g., remainder untrimmed, orig. maroon cloth gilt, partially faded, extrems. sl. rubbed, folio, (limited edition, 130/250 copies), together with Hyde (J.A. Lloyd), Oriental Lowestoft Chinese Export Porcelain, Porcelaine de la Cie des Indes, with Special Reference to the Trade with China and the Porcelain Decorated for the American Market, 3rd ed., pub. Newport, 1964, numerous col. and b & w plts., ex. lib. with circular ink stamp on verso of title and labels on endpapers, orig. cloth gilt, a few faint adhesive marks, 4to (limited to 1000 copies), plus Sainsbury (Hester, illust.), Eve`s Legend, written in 1824 by Lord Holland, 1928, hand-col. wood eng. plts. and illusts., incl. title-page, untrimmed, orig. patterned boards, extrems. rubbed and some surface wear, printed spine label browned, contained in orig. board slipcase with label on upper side, rubbed, sm. folio, (limited edition 124/300 copies), plus twelve others, Chinese art related and misc. (13)
![FRY, Roger. Henri-Matisse. Paris & London: [n.d. but circa 1930.] Limited edition of 800 copies, this number 75 of 150 copie](http://lot-images.atgmedia.com/SR/10123/2765983/3144-7410123-10123_468x382.jpg)
FRY, Roger. Henri-Matisse. Paris & London: [n.d. but circa 1930.] Limited edition of 800 copies, this number 75 of 150 copies reserved for A. Zwemmer, 4to (282 x 225mm.) Plates and illustrations. Original wrappers, dust-jacket, glassine protector, contained within a cloth-backed folio with cloth ties. – And a 1p. A.L.S. by Fry granting permission to use a quote. (See illustration)
HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) An Alpine Village, St. Jeannet, France, signed 'H. H. LATHANGUE' lower left, oil on canvas, 21" x 24" (see illustration) Provenance: Purchased by Moses Nightingale Esq., (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Paintings by H. H. La Thangue, R.A., April 1914, no. 22 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 27 Literature: Walter Sickert, 'Mr La Thangue's Paintings', The New Age, vol XV, no. 1, 7 May 1914, p.18 Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 121 as An Alpine Village, St. Jeannett (sic), France, 1912 Osbert Sitwell ed., A Free House! Being the Writings of Walter Richard Sickert, 1947 (MacMillan), p. 272 Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, 2002, (Oxford University Press), pp. 364-365 La Thangue was captivated by the picturesque hill villages of Provence and Liguria. St Jeannet, between Vence and Nice was a particular favourite, being painted from a number of vantage points. Nightingale owned at least six works painted in and around the village, two representing rose gardens. In concept, An Alpine Village reiterates La Thangue's earlier December in Provence, (fig 1, unlocated) shown at the Royal Academy in 1901. Both works portray groves lying at the foot of hillside villages. In the later work, he strategically places the tower of the church Saint-Jean-Baptiste, c.1666, as the focal point of the composition. St Jeannet is built on the slope leading to a precipitous coral crag which La Thangue's viewpoint omits. Like Bormes, this ancient village was renowned for its flower and fruit cultivation - particularly its fine local grapes (Guide to the Riviera from Hyères to Viareggio, c. 1930, Ward Lock, p. 82). Edwardian botanists who frequented the area admired its rare flora (Comerfield Casey, Riviera Nature Notes, 1903, pp. 169-73) and for Captain Richardson, writing in 1927, St Jeannet was simply 'a centre of bucolic bliss' (Richardson, 1927, p. 82). A further work, An Aqueduct, (fig 2) probably dating from the 1920s, continues the idea of foreground figure related to background village. The present canvas, is one of a number painted by La Thangue, not all of which have been identified. His painting expeditions along the Riviera into Liguria, Lombardy and across to Venice, cannot be securely documented and landscape locations often remain obscure. In the present instance however, he discovered a beautiful medieval village which had attracted artists since the seventeenth century. The village's name may not have been known to Walter Sickert when he singled out An Alpine Village as one of his selection of favourite works from La Thangue's Leicester Galleries show. In an article written for The New Age journal in May 1914 he wrote, An exhibition is like a library…take down one of the volumes at random, and settle down comfortably to read it, and you may light upon a paradise. Take any one of the following pictures…An Alpine Village (22)…A Sussex Hayfield (41)…Take it home and hang it up in a room where you can see it at breakfast, or while you are dressing. Hang it on a wall at right angles to a window, and more than halfway away from the window. Give it time to convey its message, and you will see how remote that message is from all the din of the aesthetic discussions of the moment. It has taken the whole history of art to produce modern painting, and it has taken the painter more than half a century to develop his skill in self-expression. Such canvases contain a message that will speak to many generations to come, and will certainly last us in pleasure, entertainment, stimulus, for the rest of our short lives. Such pictures were classics. The critics who attacked La Thangue were simply frightened of being despised by Henry Tonks, DS MacColl, Clive Bell or Roger Fry. Yet works like An Alpine Village stood outside the 'din' of 'aesthetic discussions' and were beyond 'the veriest tyro of criticism'. Sickert's eloquent endorsement may well have reinforced Moses Nightingale's confidence in forming his collection.
FRY (ROGER) BELL (VANESSA) GRANT (DUNCAN)-THE ART OF BLOOMSBURY Tate Gallery Publishing 1999, green cloth, dust jacket; Compton (Susan)-Chagall, Weidenfield and Nicolson London 1985, blue cloth, dust jacket, Gentlemen (David)-Britain and London, 2 vols, Weidenfield and Nicholson 1982 & 1985, dust jackets; five further titles on art (9)
Margery Fry (20th century, the sister of Roger Fry), View over a city in winter, thought to be Montreal, watercolour, signed lower left and inscribed 'Montreal (?) Jan 1943' and 'Marion with Margery's dear love', 18 x 22 cm (7 x 8 1/2 in) together with eight other unframed landscape watercolours of similar size or smaller (9)
Wood Lea Press. Greenwood (Jeremy). Omega Cuts. Woodcuts and Linocuts by Artists Associated with the Omega Workshops and the Hogarth Press. With an Introduction by Judith Collins, Wood Lea Press, Woodbridge, 1998,. limited to 450 copies, reprods. of woodcuts and linocuts, fourteen of them mounted, and in colour, other illusts. of wood blocks, orig. art linen, blocked in red, patterned paper endpapers, in the slipcase, folio a catalogue of all 165 woodcuts and linocuts, produced by Vanessa Bell, Roger Fry, Henri Gaudier-Brzeska, Duncan Grant, Edward Wadsworth, and others at the Oemga Workshops. A special edition of 100 copies, with pulls from ten original blocks, was also issued. (1)
Woolf (Virginia). Flush, A Biography, 1933; The Moment and Other Essays, 1947; A Writer's Diary, 1953, all 1st eds., pub. Hogarth, all orig. cloth in sl. rubbed and chipped d.j.s, 8vo, together with Fry (Roger), Cezanne, A Study of His Development, 1st ed., Hogarth, 1927, b&w plts., orig. pict. boards, some wear, 4to, plus nineteen others, Woolf, Hogarth etc. (23)
*Dunoyer de Segonzac (Andre, 1884-1974). Paysage, etching, signed and numbered 14/50 in pencil, plate size approx. 100 x 142 mm (4 x 5.5 ins), with margins sheet size approx. 250 x 325 mm, (10 x 13 ins), one or two minor marks to margins, framed and glazed Provenance: From the collection of Roger Fry; given by S. M. Fry to Mary Fisher, with inscription in ink to verso 'Segonzac Paysage from S. M. Fry, a memory of Roger Fry to whom it belonged, Xmas 1936'. (1)
Edwards (Paul). Wyndham Lewis, Painter and Writer, 1st ed, Yale University Press, 2000, numerous col. and some b&w illusts, orig. cloth in d.j, small 4to, together with Shone (Richard), The Art of Bloomsbury, Roger Fry, Vanessa Bell and Duncan Grant, pub. Tate Gallery, 1999, numerous col. and some b&w illusts, orig. cloth in d.j, 4to, plus Silber (Evelyn), Gaudier-Brzeski, LIght and Art, with a Catalogue Raisonné of the Sculpture, pub. Thames & Hudson, 1996, some col. and numerous b&w plts. and illusts, orig. cloth in d.j, 4to, and Cork (Richard), David Bomberg, pub. Yale University Press, 1987, some col. and numerous b&w illusts, orig. wrappers, a little rubbed, 4to, plus others on 20th c. British art and related, including some catalogues, 4to/8vo (approx.75)
Lamb (Henry). The Works of Thomas Gray in Prose and Verse. Edited by Edmund Gosse, vols. 2 and 3 only (of 4), Macmillan and Co., 1903, inscribed by Henry Lamb "Ottoline Morrell. H. L. 1911" on the front free endpaper of vol. 2, frontispieces, orig. maroon cloth, a trifle soiled, crown 8vo For a time during 1911, Ottoline was mistress to Bertrand Russell, and the artists Henry Lamb, and Roger Fry. Ottoline first met Lamb in October 1909, and was startled by his devasting good-looks "that seemed to come from a vision of Blake". By the spring of the following year, they had become lovers. Miranda Seymour writes that "her love for Lamb was always stronger than her sense of his faults": Ottoline would later write that "no one had such power of tormenting a soul as Henry Lamb had". In 1911 Ottoline informed Lamb "that I was transferring my love to Bertie". This shocked Lamb, who desired to keep her at all costs, rather than lose her to "a dry little stick of a man" like Russell, but Ottoline noted that it was too late, as he had trampled on their friendship. (2)
Cresset Press. Elinor Barley, by Sylvia Townsend Warner, with Illustrations in Drypoint by I.R. Hodgkins, 1930, frontis. & four plts., t.e.g., remainder uncut, orig. qtr. vellum, 8vo, in orig. slipcase, together with Fry (Roger), A Sampler of Castile, pub. Leonard and Virginia Woolf, Hogarth Press, Richmond, 1923, b & w plts., edges rough trimmed, orig. boards, cloth spine strip, 4to (2)
Heath, Arthur H., Sketches of Vanishing China, London, Thornton Butterworth Limited, 1927, large 8vo (285mm x 205mm.), half title, colour frontispiece, and 23 colour plates, original yellow cloth, spine and front cover lettered in red, lightly rubbed, booksellers label of Foyle s of London, First Edition With the Roger Fry, Bernard Rackham, Laurence Binyon (and others) Burlington Magazine Monographs Chinese Art An Introductory Review of Painting, Ceramics, Textiles, Bronzes, Sculpture, Jade, Etc (London, 1925), and Laurence Binyon s Asiatic Art in the British Museum (Sculpture and Painting) (Paris & Brussels, 1925)
Fry (Roger). Duncan Grant, 1st ed., Hogarth Press, 1923, b&w plts. at rear, orig. dec. Japan vellum boards with cloth spine and white paper label lettered in black (label browned at head), in orig. torn and chipped d.j. with some loss, spine of d.j. almost entirely lacking and some loss to corners and edges etc., 4to. Woolmer 31. 1000 copies printed, but only 400 bound in boards. (1)
Fry (Roger). Cezanne, A Study of His Development, 1st ed., Hogarth Press, 1927, b&w plts. at rear, orig. pict. boards with cloth spine, corners sl. bumped, 4to. Woolmer 120. This copy is a signed presentation copy inscribed by the author on front free endpaper: "To Miss P. Preece, a tribute to the promise of her work, Roger Fry, Nov. 1927". (1)
Fry (Roger). Twelve Original Woodcuts, 1st ed., Hograth Press, 1921, twelve full-page woodcuts, occasional light spotting, owner bookplate to inner front cover, orig. hand-decorated paper wrappers with sl. marked printed label to upper cover, spine worn and chipped, 8. Woolmer 13. 150 copies printed. (1)
Hogarth Essays series. Mr Bennett and Mrs Brown by Virginia Woolf, 1924; Homage to John Dryden by T.S. Eliot, 1924; The Artist and Psycho-Analysis by Roger Fry, 1924; Poetry and Criticism by Edith Sitwell, 1925; Histriophone by Bonamy Dobree, 1925; Fear and Politics by Leonard Woolf, 1925; Another Future of Poetry by Robert Graves, 1926, all 1st eds., pub. Hogarth Press, all orig. pict. wrappers, some general wear, slim 8vo, together with four others from the same series, plus Hogarth Essays second series, Composition As Explanation by Gertrude Stein, 1926; Impenetrability or the Proper Habit of English by Robert Graves, 1926; The Apology of Arthur Rimbaud by Edward Sackville West, 1927, all 1st eds., pub. Hogarth Press, all orig. dec. boards, spines a little browned and fragile, 8vo, together with five others from the same series (19)
Twenty-six Masterpieces of Art by A.G. Temple, published London, Blades East & Blades 1894, Three Scottish Colourists, by T J. Honeyman, published Thomas Nelson & Sons Ltd. 1950, inscribed by the author, Cezanne, by Roger Fry, published Hogarth Press, 1927 and John Lavery and his Works by Walter Shaw-Sparrow, published London, Kegan Paul, Trench Trubner & Co. Ltd
Constable (W.G.). Canaletto Giovanni Antonio Canal 1697-1768, 2 vols., Oxford, 1962, num. b & w illusts., orig. cloth in VG d.j's, 4to, together with MacLaughlan (Donald Shaw), A Drescriptive Catalogue of the Etched Work...with an Introduction by Marie Bruette, Chicago, n.d., c.1910, etched plts., orig. printed wrappers bound in to recent cloth, limited edition 8/106, folio, and Fry (Roger), Vision and Design, pub. Chatto & Windue, 1920, b & w photo illusts., orig. qtr. cloth, wear to extrems., 4to, plus others incl. three volumes by Paul Lacroix in orig. dec. cloth (rebacked) (8)
Greenwood (Jeremy). Omega Cuts, Woodcuts and Linocuts by Artists Associated with the Omega Workshops and the Hogarth Press, Wood Lea Press, 1998, numerous illusts., after Vanessa Bell, Roger Fry, Duncan Grant, McKnight Kauffer, Simon Bussy, Edward Wadsworth and others, including seventeen tipped-in col. plts., orig. morocco-backed patterned boards, with slipcase, folio, VG Special edition 77/105. Accompanied by the booklet 'Original Woodcuts by Three Artists' that only comes with this edition. (1).
Gildon (Charles) The Deist's Manual: or, A Rational Enquiry into the Christian Religion, first edition, contemporary calf, worn at decorations, for A.Roper [&c.], 1705 ~ Fry (Roger) A Serious and Affectionate Address to the People called Quakers, contemporary half calf, rubbed, 1758; and 5 others, English Religion, 8vo & 12mo (7).
---. Howitt (William) The Northern Heights of London, contemporary half calf, 1869 ~ Fry (Roger) Cezanne, second edition, original cloth-backed pictorial boards, Hogarth Press, 1932 ~ Hind (C.Lewis) Turner's Golden Visions, 1925 ~ Litchfield (Frederick) Pottery and Porcelain, fourth edition, 1925 ~ Rodier (Paul) The Romance of French Weaving, new edition, New York, 1936, plates and illustrations, all but the first two original cloth or boards, the last with dust-jacket, all rubbed; and 24 others, art, travel & topography, 4to & 8vo (29).
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