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Dame Eileen Rosemary Mayo DBE (1906-1994) "Circular Quay Sydney" (1964) Signed, mixed media, 43cm by 61.5cm (unframed) Provenance: Riverhouse Galleries, Brisbane, Australia Literature: "Shifting Boundries, The Art of Eileen Mayo", thesis, by Margaret Jillian Cassidy, no.154 We are grateful to Peter Vangioni, Curator, Christchurch Art Gallery Te Puna o Waiwhetū, New Zealand for his assistance in catagloguing this piece. Dame Eileen Mayo was a multi-talented artist; a printmaker, painter, illustrator, designer and author whose long career spanned the globe from England to Australasia, yet she never lost the primary focus of her creativity - depicting the natural world.As a young artist, she began establishing herself in London, and after training supplemented her income by modelling for notable British artists such as Duncan Grant, Dod Procter, Vanessa Bell and Laura Knight who helped her secure her first commissions. Indeed, one of Knight’s extraordinary portraits of her, “The Maiden”, sold at Tennants in 2015 for £33,000. With such illustrious friends and mentors, Mayo soon made a name for herself, particularly as a print maker, and became a significant part of the British art scene in the 1930s and 1940s.However, a divorce in 1952 sparked a major change for the artist. Following her father’s death in 1921, Mayo’s mother and sister had emigrated to New Zealand, and by the early 1950s her sister was living in Sydney. After her divorce, Mayo emigrated to Sydney, where she became a key member in Australia’s artistic reinvigoration. With a pressing need for money, Mayo taught at the National Art School and focused on commercial commissions, producing a body of work that included an iconic set of poster designs for the Australian National Travel Association and sets of stamps featuring the country’s flora and fauna.In 1962 Mayo moved to New Zealand. As she settled into her new home, she worked on a painting, "Warehouses, Sydney" (1963), based on drawings she had made of the old sandstone warehouses along the eastern side of Sydney Cove. The painting was later reproduced as a card for the Australian Mutual Provident Society (AMP), whose headquarters were in one of the new modern buildings that sprung up around the quay in the 1960s. According to a record in the National Library, Wellington, Mayo also designed the front cover of the AMP’s 1964 magazine which depicted four warehouses on Circular Quay, which had been demolished to make way for the building of a tower for the British Tobacco Co. (Australia) Ltd.The present work, “Circular Quay, Sydney” (1964) was sold by the Riverhouse Galleries in Brisbane but its whereabouts was lost, and it was listed in Margaret Jillian Cassidy’s thesis "Shifting Boundaries, The Art of Eileen Mayo" as location unknown.Sydney Cove was the site of the landing of the First Fleet in 1788 and was the point from which Sydney grew. The first wharfs were built in 1792, and Circular Quay (originally called Semi-Circular Quay) was constructed between 1837 and 1844 to become the central port for the city. As the city outgrew the cove, it was converted to a passenger ferry hub, and from the 1950s the stone warehouses were replaced with modernist buildings and the first skyscrapers in Sydney.In 1965 Mayo moved to Christchurch, where she would live for the rest of her life. She taught at the University of Canterbury, and served on the Print Council of New Zealand, all the while producing work that combined her sense of colour harmony, eye for design and in-depth research into her subject. Mayo had devoted her life to art, and continued to work until 1985, when arthritis overcame her. She was made a Dame in 1994 for services to art, just days before her death. Today, Mayo’s work is once more coming to prominence, and a major exhibition of her work was held in 2019 at the Christchurch Art Gallery. The work is unframed. Some light surface dirt. Slight surface scratch to the right of the cream arch on the second building from the left, the odd minor superficial surface scratch to the sky. Upper left of top edge to the left of the palm tree, extreme right of top edge between the palm tree and the corner approx 3cm. Some minor losses to the outer edges, perhaps were an old frame has rubbed? Slight crease to lower right corner. Small scratch to the brown centre of left edge. Small brown spot upper right of the sky to the right of the orange building's roof. See images.

Woolf (Virginia) Monday or Tuesday, first edition, woodcuts by Vanessa Bell, browning to endpapers, original cloth-backed boards, corners bumped, light rubbing or scuffing, 8vo, [Kirkpatrick A5a], Hogarth Press, 1921.

Woolf (Virginia) The Waves, first edition, second impression, original cloth, light sunning to foot of spine, dust-jacket designed by Vanessa Bell and priced at 7/6, light toning to spine, spine ends and corners a little chipped, a few short nicks with light creasing to head, some light spotting to upper panel, an excellent example overall, [cf. Kirkpatrick A16a], 8vo, Hogarth Press, 1931.*** Published in the same month as the first impression in a run of 4,940 copies, compared with 7,113 copies for the first impression. 

Woolf (Virginia) To the Lighthouse, first edition, second impression, very light browning and faint ink ownership stamp to endpapers, original cloth, very slight fading to spine, light rubbing to extremities, dust-jacket designed by Vanessa Bell and priced at 7/6, light browning to spine, spine ends and corners chipped, short split to head of upper fore-edge, closed tear to foot of upper panel, the odd short nick or small chip to head and foot with light creasing but a very good example overall, [cf. Kirkpatrick A10a], 8vo, Hogarth Press, 1927.*** Published one month after the first impression, with only 1,000 copies printed, compared to runs of 3,000 for the first impression and 1,500 for the third. 

Kathleen Muriel Scale (Muriel Harding-Newman) (British, 1913-2006). Four Nudes with Two Herons signed and dated 1935 (lower left), oil on board 108 x 93cm (42.5in x 36.5in) Footnote: Born in Jersey in 1913, the daughter of Lieutenant Colonel John Dymoke Scale, she married in Cairo Cathedral Brigadier Rupert Norton Harding-Newman in November 1939, he was awarded an MC in 1942 and served in the Secret Intelligence Service. Scale attended Farnham School of Art where she was taught by Otway Maconnell FRSA RBA, later going onto Goldsmiths College where she was taught under the guidance of James Bateman RA. She studied Early Renaissance painting and was greatly influenced by the work and palette of Michelangelo, Botticelli, Piero della Francesca, as well as El Greco. Rowland Hilder taught her line drawing, but she was much more interested in producing large scale mythological and biblically based subjects, such as the work offered here, which provided Scale with much more scope for adventure and fantasy. Her large-scale compositions were initially worked up in sketchbooks, she would then produce a working watercolour or drawing which would be squared up ready to place onto the gesso prepared board. In 1933 at the age of nineteen she had her first painting exhibited at the Royal Academy and between 1933-38 Scale had seven paintings accepted and hung. Later in 1936 she was invited by the National Gallery of Canada to exhibit at an exhibition of Contemporary British artists such as George Spencer Watson, Duncan Grant, Vanessa Bell and Stanley Spencer amongst others. She also exhibited at the RBA and for many years with the Society of Women Artists. She later settled in Somerset and then Dorset after her husband retired. In 1995 Kathleen Muriel Harding-Newman as she was now known had a retrospective of her work held at the Dorset Museum in Dorchester. 'Artist’s Resale Rights (ARR) may apply to this lot'.

Duncan Grant,  British 1885-1978 -  Nude Seated Figure, 1933;  pastel, crayon and pencil on paper, signed and dated lower right 'D Grant 33', 55.8 x 71 cm (ARR) (VAT charged on the hammer) Provenance:  Aeneas J. L. McDonnell (1904-1964) (according to the label attached to the reverse of the frame);  Magdalene Street Gallery, Cambridge (blank label attached to the reverse of the frame);  with Wolseley Fine Arts, London (according to the label attached to the reverse of the frame);  with Richard Salmon Gallery, London (according to the label attached to the reverse of the frame);  private collection, purchased from the above  Exhibited:  Contemporary Art Society, 'Loan Exhibition', 1950 (according to the label attached to the reverse of the frame)  Note:  Aeneas J. L. McDonnell (1904-1964) was an Australian archivist, art dealer, collector and connoisseur, who spent time in Europe in the mid-20th century. In 1928, he became a partner of Macquarie Galleries in Sydney and was later adviser to the Felton Bequest of The National Gallery of Victoria in Melbourne, Australia. He died in London in 1964. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

§ § Vanessa Bell (English, 1879-1961) 'Man in a hat', Café drawing Paris 1920'spencil on paperEstate stamp18 x 17cm

Still life of Charleston Farmhouse ceramics signed with initials 'CMR' l.l., oil on board60 x 90cmCharleston Farmhouse, East Sussex, is associated with the Bloomsbury Group, and was the country home of Vanessa Bell and Duncan Grant.Condition ReportFramed: 73 x 104cmAppears to be in generally good order. Not examined under UV light.

Duncan Grant (Scottish, 1885-1978) 'Autumn Bunch' a still life of flowers in a vase, another painting in the background, oil on canvas, signed and dated 'D Grant '41' lower right. With exhibition label verso: "Exhibition of works by Artists of Fame & Promise, Held at the Leicester Galleries, July August 1941, 'Autumn Bunch', Duncan Grant, Purchaser Miss Stevenson"; and gallery label for 'Ernest Brown & Phillips Ltd, The Leicester Galleries, Leicester Square, London, WC2'. 49.5 x 39 cmNote: this painting was most likely completed at Grant's home in Charleston, showing another painting of a still life in the background. This technique of featuring a painting in the background of his works is used in a number of paintings including ‘The Coffee Pot (Metropolitan Museum of Art). Duncan Grant was a pivotal figure in the Bloomsbury Group, intimately connected with prominent early 20th-century British cultural icons like Virginia Woolf, Vanessa Bell, E.M. Forster, and Lytton Strachey, as well as the influential art critic Roger Fry, who significantly shaped Grant's artistic style. His works are held in numerous collections across the country, including Tate Britain and the V&A in London, the Ashmolean Museum in Oxford, and the Scottish National Gallery of Modern Art in Edinburgh.Provenance: Estate of the late William Lloyd George, 3rd Viscount Tenby (1927-2023), the grandson of David Lloyd George, 1st Earl of Dwyfor (1863-1945) the British Prime Minister from 1916 to 1922 during WWI.Condition Report: Overall condition is fairly good, there is some paint loss on the upper right side and small dent lower left, images have been added to the listing, together with an image under UV light. UV inspection doesn't show any signs of retouching or strengthening.

Vanessa Bell for Clarice Cliff, a Harrods Exhibition twin handled bowl, 1934, footed ovoid form with inverted rim, painted with interlocking dotted circles and crosshatch band, below green beaded border, printed Bizarre marks and facsimile signature, 19cm wide

Fry (Roger), Vanessa Bell, Duncan Grant, etc.. Original Woodcuts by Various Artists, first and only edition, number 44 of 75 copies, a few spots but generally cleaner than usual, original Omega patterned paper boards, rubbed, discolouring to edges, spine fraying and rubbed, [Greenwood p.63], 8vo, Omega Workshops Ltd, 1918. *** The last of only four books printed at the Omega Workshop.This copy with the rarer pink hand-printed pattern paper known only on "a few copies" - Greenwood. The experimental design studio was founded in 1913 by members of the Bloomsbury group with the intention of providing graphic expression to the essence of the Bloomsbury ethos, with close associations to the Hogarth Press. Roger Fry, the principle figure behind the enterprise, believed that artists could design, produce and sell their own works, and that writers could also be their own printers and publishers. However, after a few short years of poor financial decisions and internal conflicts, the company shut down in 1919. Yet it remains an important moment of the Bloomsbury group’s history and association with the visual arts. The conception of a book of original woodcut illustrations by practising artists began with Virginia Woolf, though she realised quickly that she would have to buy a new press to print the illustration adequately. When it came out, Woolf declared it to be "very magnificent but fearfully expensive" (Greenwood p.16). 

[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910], 8vo, 38-page exhibition catalogue, wrappers. FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE WRAPPER.[BELL, Vanessa (1879-1961)] - [Exhibition Catalogue:] Manet and the Post-Impressionists. Nov. 8th to Jan. 15th 1910-11. 10 a.m. to 6 p.m. (Under Revision). London: Ballantyne & Company Ltd [for Grafton Galleries], [1910]. 8vo (178 x 120mm). 38-page exhibition catalogue, advertisements (some very light mainly marginal spotting and staining, very lightly browned throughout). Original printed wrappers (detached, lacking backstrip, some fraying and short marginal tears not affecting letters, each wrapper lightly stained at one edge). FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE UPPER WRAPPER. The exhibition held at the Grafton Galleries in London was a ground-breaking succès de scandale which first established the term 'Post-Impressionist'. It contained previously unseen works by Manet, Cézanne, Gauguin, Matisse, Picasso, Seurat and Van Gogh, among others, and shocked the British artistic establishment which remained largely Victorian in outlook, as revealed in the vitriol of contemporary reviews with their accusations of 'degeneracy'. On the gallery's "Honorary" and "Executive" committees were Clive Bell - Vanessa Bell's husband - Roger Fry, Lionel Cust, Lady Ottoline Morrell and, its Secretary, Desmond MacCarthy. In the catalogue's 7-page introductory essay, unattributed but probably by Roger Fry, the writer (commenting specifically on Matisse, although his words could apply more generally to the artists on display) states: "... this search for an abstract harmony of line, for rhythm, has been carried to lengths which often deprive the figure of all appearances of nature. The general effect ... is that of a return to primitive, even perhaps of a return to barbaric, art. This is inevitably disconcerting ..." Vanessa Bell (née Stephen), who has signed the upper wrapper of this catalogue in ink, was an English painter and interior designer, a prominent member of the Bloomsbury Group and sister of Virginia Woolf. Provenance: Included in the lot is Sotheby's 'Charleston' catalogue for its sale held on 21st July 1980, containing 130 lots "... donated from various sources to be sold for the benefit of The Charleston Trust ..." and in which the present exhibition catalogue ("Vanessa Bell's copy") is included as lot 225 with the footnote "The celebrated exhibition which introduced Post-Impressionism into this country"; loosely-inserted is an accompanying autograph note from the buyer. RARE.

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) STILL LIFE WITH JUG Oil on panel Signed with initials (upper right) 26.5 x 19cm (10¼ x 7¼ in.)Provenance: Belgrave Gallery, London Painted in Grant's studio at Charleston, the Italian jug is seen on the mantel shelf, viewed from below. The work shows the decorated mantel from the studio of Duncan Grant & Vanessa Bell at Charleston Farmhouse in East Sussex. The ceramic is very similar to the work sold by Dreweatts in October 2023, Vanessa Bell's Still Life of Narcissi which was also perched on the corner of the mantelpiece, from the collection of Robert Kime.  We are grateful to Richard Shone for his kind assistance in cataloguing this lot. Condition Report: There is a fine vertical line of craquelure running through the cream jug and fireplace, approximately 15cm long. There is a crack to the panel running vertically top to bottom through the handle of the jug. Associated retouching is visible in natural light. Some light rubbing to the extreme edges with a small loss to the lower section of the left edge. Inspection under UV reveals a thick layer of varnish and retouching to the aforementioned long vertical crack. Condition Report Disclaimer

[Art] D.H. Lawrence Paintings 2003. David Jones A Fusilier at the Front, his record of the Great War 1995. Joyce Images by Bob Cato & Greg Vitiello with Introduction by Anthony Burgess 1994. Vanessa Bell Sketches in Pen & Ink A Bloomsbury Notebook. Art of Gormanghast. Peake Captain Slaughterboard Drops Anchor 2001 new edition with colour tinting. Cecil Collins The Quest for the Great Happiness 1988 others on Camille Pissaro, Robin Tanner, Ronald Searle, Stanley Spencer etc (20)

▲ Vanessa Bell (1879-1961) French Landscape, 1921signed and dated l.r., watercolour44 x 66cm, 62 x 84cm framedProvenance: Abbott & Holder;the Estate of Max Clendinning and Ralph Adron.Condition ReportWith some minor foxing to the centre of the picture. Not examined out of the frame. With a small pinhole to the upper corners, additional images uploaded.

BELL QUENTIN: (1910-1996) English art historian and author, the son of Clive and Vanessa Bell and a nephew of Virginia Woolf. T.L.S., Quentin Bell, one page, 8vo, Cobbe Place, Beddingham, Lewes, Sussex, 13th October 1976, to Stephen Brook. Bell thanks his correspondent for their letter and apologises for the delay in replying, continuing to state, ´I don´t think that I could write on cosmetics, certainly not a history which could be a fascinating but rather specialised piece of archaeology. It´s possible that Mrs. Langley Moore might be able to help you, or alternatively the Professor of Fashion, whose name escapes me, at the Victoria and Albert Museum´. Bell also adds a postscript in his hand, signed with his initials Q. B., apologising if his salutation is too familiar and impertinent. One staple to the upper left corner. VGStephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.Doris Langley Moore (1902-1989) English author and fashion historian, and a well-respected Lord Byron scholar.

Woolf (Virginia). A Room of One's Own, 1st edition, London: Hogarth Press, 1929, light offsetting from flaps to endpapers, contemporary ink inscription at front "A cure for the fever of Dr Stella Churchill, 8.XI.29", original cloth, spine ends slightly rubbed, dust jacket designed by Vanessa Bell, lacking two-thirds of spine, remainder laid down, tears and marginal losses along folds, tape repairs to flaps and verso, light toning to rear panel, 8vo QTY: (1)NOTE:Kirkpatrick A12b.

Sir Arthur Stockdale Cope RA; A silver Cope and Nichol School of Painting Medallion, by Frank Bowcher, uninscribed, 57mm diameter, The Pelham Street School was established and included Vanessa Bell as a past student, it was known for greatly assisting young painters prepare for The Royal Academy, together with a bronze Rosa Bonheur for the Anna Klumpke Foundation prize medallion awarded by the Society of French Artists, awarded to Cope in 1906, 67mm diameter, and a silver Epée Club prize medallion designed by Elkington & Co., with presentation inscription dated 1912 (3)

Quentin Bell, British 1910–1996 - Firle Beacon, 1933; oil on panel, signed and dated upper right 'Quentin Bell 1933' and titled to board attached to the reverse of the frame, 38 x 45.8 cm (ARR) Note: the son of Clive and Vanessa Bell, Quentin became a vital member of the Bloomsbury community that lived around his mother and Duncan Grants home Charleston in West Sussex. The present work is a view of the countryside surrounding Charleston, the Beacon overlooking the South Downs. His works are in public collections including Newport Museum, the Towner Art Gallery, Eastbourne and Glasgow Museums. He has become particularly celebrated in recent years for his decorative works such as ceramics and painted lampshades.  

Duncan Grant, British 1885-1978 - Landscape near Charleston, c.1924; oil on board, 39.5 x 53.5 cm (ARR) Provenance: Sotheby's, Olympia, 27th November 2002, lot 49 (unsold); private collection Note: the authenticity of this work was confirmed by Richard Shone in 2002. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Vanessa Bell (1879-1961) was a British painter and interior designer known for her contributions to the Bloomsbury Group, a circle of writers, artists, and intellectuals who were influential in the early 20th-century British art and literature scene. Here are some key points about Vanessa Bell:1. **Early Life and Background**: Vanessa Stephen, later known as Vanessa Bell, was born on May 30, 1879, in London, England. She was the elder sister of Virginia Woolf, the famous writer. Her family was part of the intellectual and artistic elite of London.2. **Bloomsbury Group**: Vanessa Bell was a central figure in the Bloomsbury Group, a loosely affiliated collective of writers, artists, and thinkers that included her sister Virginia Woolf, as well as artists Duncan Grant and Roger Fry, among others. The group emphasized artistic and intellectual freedom and often challenged societal norms.3. **Artistic Career**: Bell was primarily known for her painting. Her style evolved from a post-impressionist approach to a more abstract and modernist style influenced by the works of Cézanne and Matisse. She painted landscapes, portraits, and still lifes.4. **Interior Design**: In addition to her painting, Bell was also known for her work as an interior designer. She created innovative and artistic designs for various spaces, including her own homes.5. **Charleston Farmhouse**: Vanessa Bell, along with Duncan Grant, transformed Charleston Farmhouse in Sussex into a vibrant and artistic home. The farmhouse became a hub for the Bloomsbury Group and featured their artistic creations throughout the interior.6. **Personal Life**: Vanessa Bell had a complex personal life. She was married to Clive Bell, an art critic, but their marriage was unconventional and open. She had romantic relationships with other members of the Bloomsbury Group, including Duncan Grant.7. **Portraiture**: Bell created portraits of various members of the Bloomsbury Group and other notable individuals. Her portrait of her sister Virginia Woolf is particularly well-known.8. **Literary Connections**: Bell was closely connected to her sister Virginia Woolf, and their creative endeavors often intersected. Bell designed book covers for Woolf's Hogarth Press.9. **Legacy**: Vanessa Bell's contributions to the visual arts and her role in the Bloomsbury Group have earned her a lasting place in the history of modern British art. Her work continues to be studied and celebrated for its innovative and influential nature.10. **Death and Recognition**: Vanessa Bell passed away on April 7, 1961. Her work has been featured in numerous exhibitions, and her legacy as a pioneering artist and a central figure in the Bloomsbury Group remains significant.Vanessa Bell's artistic career, innovative interior design, and her involvement in the Bloomsbury Group collectively reflect her impact on the cultural and artistic milieu of early 20th-century Britain. Her work continues to be appreciated for its contribution to modernist art and design.Measures 27.8 x 21.5.

St Ives School of Art interest Sixteen publications Marion Whybrow, 'St Ives 1883-1993', signed, 1994; Austin Wormleighton, 'Morning Tide - John Anthony Park and The Painters of Light, St Ives 1900-1950', signed, Stockbridge Books, 1998; Marion Dell and Marion Whybrow, 'Virginia Woolf & Vanessa Bell, Remembering St Ives', Tabb House, 2003; and thirteen other works, including signed works by Peter Davies, Michael Bird and Tom Cross (16) From the estate of author, John Branfield: Introducing The Art Collection of Pep & John Branfield (davidlay.co.uk)

(Bloomsbury Group, Jean Shepeard, Doreen Kern, Francis Bacon.) Martin Harrison: 'In Camera - Francis Bacon: Photography, Film and the Practice of Painting', London, Thames & Hudson, 2005, 1st edition, signed & inscribed by Harrison to Doreen Kern (1931–2021), British Postwar & Contemporary artist, sculptor in bronze, niece of the artist and actress Jean Shepeard (1904-1989), "For Doreen with renewed thanks & kindest regards, Martin. Martin Harrison 2005", plus Typed Letter Signed and Autograph Postcard Signed from Harrison to Kern, both 2005, along with other associated ephemera loosely inserted, original cloth lettered in silver, dust wrapper, the book itself with content on Jean Shepeard pages 23, 26 & 79; Jean Shepeard (1904-1989), charcoal portrait on paper, initialled 'JS', 22.5 x 17.5cm, together with a good quantity of ephemera, photocopies/prints of other artworks by Jean Shepeard, Jonathan Poole Gallery letters, invoices, photocopies of correspondence, invoices and related ephemera, two photographs of Jean Shepeard c.1930's/40's (each 24 x 19cm), photocopies of drawings by Shepeard include portraits of Virginia Woolf, Vanessa Bell, R.O. Dunlop, Edith Sitwell, George Bernard Shaw etc etc, these all having been in the possession of Doreen Kern, who in the 1990's discovered that her reclusive aunt, Jean Shepeard, was a lost member of the Bloomsbury set. After inheriting a large black chest from her late aunt containing various portrait sketches by her and letters and photographs, Doreen Kern set about resurrecting the artistic career of Jean Shepeard posthumously; Peter Cotes: 'Thinking Aloud. Fragments of Autobiography', L, Peter Owen, 1993, 1st edition, signed and inscribed by Cotes to Doreen Kern on title page "To Doreen Kern, for the niece of Jean Shepeard: keeping alive the name of an actress, painter, and above all, her own woman...In memory, from Peter Cotes. August 1996", orig. cloth, dust wrapper; Frances Partridge: 'Good Company. Diaries January 1967-December 1969', 1995, paperback, signed & inscribed to Doreen Kern dated 26th October 1995, orig. wraps; packet containing several letters to Jean Shepeard c.1920's-1950's re her acting career, plays etc, including TLS from Assistant Comptroller, Lord Chamberlain's Office, 4th July 1951, re requesting for omissions to be made in the play "Into Our Charge", plus others including TLS from Anmer Hall, July 19th, 1929, others Holyrood Film Productions, BBC, News Chronicle etc; plus another packet containing a good quantity of colour photographs of artworks by Jean Shepeard etc. Jean Shepeard (1904-1989) was a well known actress and artist. She studied at the Slade School of Fine Art and then trained at the Royal Academy of Dramatic Art in 1925. Sharing a flat with Peggy Ashcroft, in 1928 she bacame a member of the Emotionist Group of painters, musicians, philosophers, poets and actors which had been founded by the artist R.O. Dunlop. In 1929 she exhibited with Francis Bacon and Roy de Maistre in Bacon's Queensbury Mews rooms and in the same year she showed with The Redfern Gallery, London. Her work was admired for the sensitivity, beauty of line, vigour and character of her drawings. Her drawings were then exhibited in 1933 in a one woman show at the Lefevre Gallery in London. Somewhat on the periphery of the Bloomsbury set, Jean Sheapeard went on to exhibit with VAnessa Bell and others at the Modern Picture Library. She also performed in numerous plays at leading theatres along with John Gielgud, Jack Buchanan, Sybil Thorndike and others, and in her later years acting was the main focus of her working life

* Ashton (Frederick, 1904-1988), British ballet dancer and choreographer. A substantial and important archive of approximately 230 personal and sometimes lengthy letters received by Ashton from some of the most influential people of the day, including royalty, artists, actors, dancers, composers, conductors, singers, journalists, writers, philosophers, and socialites, mostly autograph and some typed letters, most using the informal greeting ‘Dear/Dearest Freddie’, containing a mixture of personal and professional work content, including large groups from Ava Alice Muriel Astor (1902-1956) and William Chappell (1907-1994), plus others from Nora Kaye, John Piper, Clarissa Eden, Vanessa [Bell], Jasper Rootham, E. M. Forster, Benjamin Britten, William Walton, Princess Margaret, Tamara Karsavina, John Barbirolli, Margot Fonteyn, John Gielgud, Kathleen Ferrier, Irina Baronova, Sarah Chatto, Colin Graham, Graham Sutherland, John Betjeman, Lincoln Kirstein, Galina Ulanova, Hans Werner Henze, Virgil Thomson, Constant Lambert, Lydia Lopokova, Isiah Berlin, Sacheverell Sitwell, John Maynard Keynes, Bronislava Nijinska and others, various sizes, some with original envelopes QTY: (a small carton)

Manner of Vanessa Bell (1879-1961), oil on canvas, Church interior, bears monogram and date 1911, 34 x 25cm Surface of canvas is dry and granular; unsightly rub, in the form of an arc, from bottom-left corner reaching beyond centre; artwork does appear to have some age; frame re-finished and very ordinary.  Only clue to be gleaned from reverse side is canvas supplier John Smith, … , London.  Provenance local trade.

WOOLF, Virginia. The Years, London: Leonard and Virginia Woolf at The Hogarth Press 1937, 1st edition, green cloth in dustjacket designed by Vanessa Bell, spine darkened with slight lean, 8voProvenance: with Peter Harrington

‡ HELEN BRADLEY MBE (1900-1979) oil on board - 'Oh where, Oh where can Gyp and Barney be!', lady with a lantern and children at play, inscribed on card verso detailing the 1906 occasion when Helen and Aunt Mary returned from a walk without the pet dogs, signed and dated 1972, 28.5 x 24cmsProvenance: private collection CardiffAuctioneers Note: Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties. Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail. It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.Comments: Card reads, 'Oh where Oh where can Gyp and Barney be? We had been on a lovely walk that afternoon with the dogs romping along and enjoying themselves, but when we got near home they were not with us. We had our tea and still they did not come, so Aunt Mary lit the storm lantern and took George and me with her to see if we could find them. She asked some boys playing in Dove Street, if they had seen two little black dogs, "No Missus we haven't" they said, so sadly we had to return home without them and the year was 1906. Helen Layfield Bradley'. Framed, ready to hang.

Virginia WOOLF: The Death of the Moth and Other Essays. Hogarth Press, 1942, 1st. Edn. DW, Tears and loss to dust jacket; A Haunted House and Other Short Stories. Hogarth Press, 1943, 1st. Edn. DW (5s 6d). Dw with tears and small loss; vg; Walter Sickert: A Conversation. Hogarth Press, 1934, 1st. Edn. 28 pages. Sewn card Cover by Vanessa Bell. VG+; Death of the Moth: And other essays. Hogarth Press, 1942, 1st. Edn. Covers faded and blotched; Mrs Dalloway's Party. Hogarth Press, 1973, 1st. Edn. DW (£1.25). Name and date in pencil to front blank, VG+/Fine; The Moment and other Essays. Two copies, no dw, poor; Plus: Daiches, David: Virginia Woolf. Editions Poetry, 1945, 1st. Edn. DW (7s 6d). VG+ (8)

‡ NINA HAMNETT (Welsh 1890-1956) pencil - entitled verso, 'Life Class', signed with initials, dated verso c.1920, 44 x 28cmsProvenance: private collection West MidlandsAuctioneer's Note: born Tenby, studied at the Pelham Art School and the London School of Art between 1906 and 1910. Then launched herself into the London art world on the strength of a fifty pound advance on an inheritance from her uncle and a stipend of two shillings and sixpence a week from her aunts. She socialised with the likes of Augustus John, Walter Sickert, and Henri Gaudier-Brzeska. She became very popular as a result of her high spirits, her devil-may-care attitude, and her sexual promiscuity. Like other women at the time revelling in a newfound independence, she had her hair cut short in a ‘crophead’ style (what we would now call a basin cut) and she wore eccentric clothing: It was said that at this phase in her life Nina Hamnett had the knack of being in the right place at the right time. In 1914 she went to live in Montparnasse, Paris, immediately meeting on her first night there the Italian painter Amedeo Modigliani. He introduced her to Picasso, Serge Dighilev, and Jean Cocteau, and she went to live at the famous artist’s residence of La Ruche which housed many other Bohemian artists and modernist writers. It was there that she met the Norwegian artist Roald Kristian, who became her first husband. Rapidly she established herself as a flamboyant and unconventional figure - bisexual, drank heavily, and had liaisons with many other artists in Bohemian society, often modelling for them as a way of earning a (precarious) living. She established her reputation as ‘The Queen of Bohemia’ by such antics as dancing nude on a cafe table amongst her drinking friends. Her reputation as a Bohemian and an artist eventually filtered back to London, where she returned to join Roger Fry and his circle working on the application of modernist design principles to fabrics, furniture, clothes, and household objects as part of the Omega Workshops. She acted as a model for the clothes along with Mary Hutchinson, Clive Bell‘s mistress, and she mingled with other members of the Bloomsbury Group, such as Vanessa Bell and Duncan Grant. Her paintings were exhibited at the Royal Academy and the Salon d’Automne in Paris. She also taught at the Westminster Technical Institute in London. Around this time she divorced her first husband and lived with the composer and fellow alcoholic E.J. Moeran. During the 1920s (and for the rest of her life) she made the area in central London known as Fitzrovia her home and stomping ground. This new locale for arty-Bohemia was centred on the Fitzroy Tavern in Charlotte Street which she frequented along with fellow Welsh artists Augustus John and Dylan Thomas, making occasional excursions across Oxford Street to the Gargoyle Club in Soho.After the glamorous world of modernism and the artistic avant-garde, there was a no less spectacular descent into poverty, squalor, and alcoholism, living in a bed-sit in Howland Street, infested with lice and littered with rodent droppings. It was said that the flat was furnished only with a broken-down chair, a piece of string for a clothes line, and newspapers instead of proper bedding. In 1932 she published a volume of memoirs entitled 'Laughing Torso', which was a best-seller in both the UK and the USA. Following its publication she was sued by Aleister Crowley, whom she had accused of practising black magic. The ensuing trial caused a sensation which helped sales of the book, and Crowley lost his case.Her success in this instance only fuelled her downward spiral, and she spent the last three decades of her life propping up the bar of the Fitzroy trading anecdotes of her glory years for free drinks. She took little interest in personal hygiene, was incontinent in public, and vomited into her handbag. Her ending was as spectacular as had been her previous life. Drunk one night she either fell or jumped from the window of her flat and was impaled on the railing spikes below. She lingered miserably in hospital for three more days, where her last words were “Why don’t they let me die?”Comments: framed and glazed, ready to hang

ROGER FRY (BRITISH 1866-1934) TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN Red chalk Signed and dated 1923 (lower left), titled (lower right) 32.5 x 44.5cm (12¾ x 17½ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Roger Fry, A Sampler of Castile, Leonard & Virgnina Woolf Hogarth Press, London, 1923, reproduced plate 8 with the caption 'Segovia: S. Nicolas''Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: Unexamined out of glazed frame. Very light undulation to the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) BURNHAM MARSH, SCOLT HEAD, NORFOLK Gouache on card Signed with initials (lower right); signed and titled (to backing board) 25 x 28cm (9¾ x 11 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

ROGER FRY (BRITISH 1866-1934) WOODED LANDSCAPE WITH HILLS BEYOND Oil on board Signed, dedicated and dated Marion Richardson/with best wishes for Christmas/1926 Roger Fry (verso) 20.5 x 26.5cm (8 x 10¼ in.)Provenance: Gifted to Marion Richardson, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: There is some light surface dirt and the work would benefit from a light clean. There are two tiny holes to the surface of the board at the centre and lower left, possibly original to the board before it was painted. Otherwise in good original condition with no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) SELF-PORTRAIT, AGED 17 Pencil 32 x 26cm (12½ x 10 in.)Drawn in 1910.Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Marion Richardson, Art and the Child, London, 1948 (illustrated) Jessica Kilburn, Thomas Hennell: the Land and the Mind, London, 2021 (illustrated) 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Foxing scattered to the sheet throughout, most notable to the sitter's blouse and down the right side of the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912.  Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) FLOWER PIECE Oil on canvas laid on board Signed (lower left) 51 x 41cm (20 x 16 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: The paint surface is dirty and would benefit from a clean. There is a fine surface scratch to the lower centre left. In otherwise good original condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read     Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) HOUSE BY THE WATER'S EDGE Ink Signed and indistinctly dated 15[?] (lower right) 23.5 x 35cm (9¼ x 13¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerExhibited: London, The London Artist's Association 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  Condition Report: Unexamined out of glazed frame. Overall fading throughout the sheet, most notable to the signature and date to the lower right corner. Otherwise no other obvious condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDER Oil on board Signed (lower right) 32.5 x 40.5cm (12¾ x 15¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: The paint surface is dirty and would benefit from a clean. There is some damage and associated paint loss to the edges and corners of the board. There is a surface scratch (approx 1.5cm long) to the lower left quadrant and some other further light surface scratches. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF COFFEE POT, TUREEN AND DISH Oil on canvas 36 x 46cm (14 x 18 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) VILLAGE SCENE, SOUTH OF FRANCE Oil on board 33 x 41.5cm (12 x 16¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) MARION RICHARDSON'S MOTHER, ELLEN RICHARDSON (NÉE DYER) Oil on canvas 40.5 x 35.5cm (15¾ x 13¾ in.) Unframed Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read    

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF APPLES AND PEARS Oil on canvas 41 x 51cm (16 x 20 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

BELL VANESSA: (1879-1961) English painter and interior designer, a member of the Bloomsbury Group and the sister of Virginia Woolf. A.L.S., Vanessa, one page, 8vo, Clareville Grove, London, n.d. ('Tuesday'. c.1958-59), to Tom [Maschler]. Bell apologises for not having sent a reply before and explains that she will 'be off to Paris at the end of this week for a fortnight, so can't come to your party', and concludes by thanking Maschler for having asked her. VGTom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.Bell's letter is written from the home of her friend Rosamond Lehmann (1901-1990), the English novelist who was intimate with members of the Bloomsbury set.

Vanessa Bell, British 1879-1961 - Woman Asleep, study for Woodcut, c.1918; ink and pencil on paper, 16 x 13.4 cm (ARR) Provenance: the Estate of the Artist; with Anthony d'Offay, London (according to the label attached to the reverse of the frame); Ann Chegwidden OBE and Robin Morton Smith, purchased from the above in 1983 (according to the label attached to the reverse of the frame); Bonhams, Knightsbridge, Modern Pictures, 13th May 2008, lot 184, sold on behalf of Friends of the Earth and Christian Aid;private collection Exhibited: Anthony d'Offay, London, 'Vanessa Bell Paintings, Drawings and Watercolours', 1983, no.26 (according to the label attached to the reverse of the frame) 

Nina Hamnett, British 1890–1956 - The Lounge Lizard, 1917; ink on paper, signed with initials and dated lower right 'NH 17', 16.5 x 108 cm (ARR) Provenance: Sandra Lummis Fine Art, London (according to the label attached to the reverse of the frame); Dreweatts, Newbury, Modern and Contemporary Art, 19th October 2022, lot 78; a private collector of Bloomsbury related art Note: Hamnett was notorious for her bohemian lifestyle and powerful portraits, depicting the artistic circle around her that included figures such as Henri Gaudier-Brzeska, Ossip Zadkine and Horace Brodzky. She worked for Roger Fry's Omega Workshop and was dubbed the 'Queen of Bohemia'. Her work was recently the focus of an acclaimed exhibition at Charleston Farmhouse, the home of Vanessa Bell and Duncan Grant, in 2021. Sandra Lummis sold works by Vanessa Bell and John Nash to the British Museum. 

Charles Vilette, French 1885-1946 - Bois-Colombes, before 1912; oil on board, signed lower right 'C. Vilette', 53.9 x 72.9 cm Provenance: Roger Fry (according to the labels attached to the reverse); Pamela Diamond, by descent; private collection, gifted by the above  Exhibited: Grafton Gallery, London, 'Second Post-Impressionist Exhibition', October-December 1912 (according to the annotated label attached to the reverse) Note: the artist exhibited in pivotal exhibitions in the early 20th century, including 'Neue Kunst. Erste Gesamt-Ausstellung' at Hans Goltz, Munich in 1912 (alongside Gabriele Münter, Paul Cezanne and Vincent van Gogh), the 'Second Post-Impressionist Exhibition. British, French and Russian Artists' at the Grafton Galleries, London and 'The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition' at the Galleries of the Alpine Club, London in 1914. 

Robert Medley CBE, RA,British 1905-1994 - Interior with a Cello; oil on panel, 60.5 x 63.5 cm (ARR) Provenance: Pamela Diamond; private collection, gifted by the above Note: there is a typed label with artist's name, address and artwork title, along with another partial label that is handwritten with artist's name and artwork title. The previous owner of this painting, Pamela Diamond, was the daughter of Roger Fry. Medley was heavily influenced by he Bloomsbury Group in his early work and worked with Vanessa Bell and Duncan Grant between 1929 and 1934. This influence can be seen here in the warm palette and choice of a quiet interior scene. A related work is 'The Top Floor, 1929' now in the collection of Newport Museum and Art Gallery. Medley had a varied career and in the 1930s was particularly known for his work in leftist theatre, designing sets and costumes for plays by T. S. Eliot, Christopher Isherwood, Louis MacNeice and his earlier lover W. H. Auden. 

Duncan Grant, British 1885-1978 - Parrot Tulips, c.1957;  oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (according to the label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (according to the label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Vanessa Bell 1879-1961, woodcut Dahlias 67/75, 16cm x 11cm 

(Omega Workshops, Vanessa Bell, Roger Fry.) Jeremy Greenwood: 'Omega Cuts', Woodbridge, The Wood Lea Press, 1998, limited edition, number 1 of 105 copies of the special edition, 145,[2]pp, a collection of woodcuts and linocuts by artists associated with the Omega Workshops and the Hogarth Press forming a comprehensive study of the work of many important artists including Roger Fry, Vanessa Bell, Henri Gaudier-Brzeska, Duncan Grant, E. McKnight Kauffer, Dora Carrington, Edward Wadsworth and others, black and white illustrations and tipped-in colour plates throughout, folio (36 x 26cm), original quarter brown morocco, patterned paper covered boards (based on one of the Omega Workshops papers) with the accompanying separate portfolio of woodcuts 'Original Woodcuts by Three Artists', 10 full page woodcuts by Vanessa Bell, Dora Carrington and Roger Fry, printed from the original blocks owned by the Hogarth Press, also numbered 1 of 105, folio, original patterned wraps, housed together in original buckram solander box

Modern three piece suite upholstered in 1913 design, Bloomsbury Group/Omega Workshop, fabric ‘Pamela’ by Vanessa Bell or Duncan Grant all recovered in 1913 design, produced by Charleston Enterprises under licence, comprising three seater and twin seater sofas and armchairThree seater sofa approximately 235cm long x 90cm deep x 75cm high, two seater approximately 170cm wide x 87cm deep x 80cm high, armchair approximately 108cm wide x 87cm deep x 80cm high, no severe damage but some fading, discoloration and staining to fabric most pronounced on the two seater which also has more wear and seat is less firm (see images), otherwise structurally sound and these are very comfortable

Modern Firsts. Aston (James) [pseud. of White (T.H.)], First Lesson, first edition, first impression, London: Chatto & Windus, 1932, original publisher's yellow cloth only, red-stained-top edge, 8vo, idem., The Witch in the Wood, first edition, London: Collins, 1940, original cloth only, 8vo, Woolf (Virginia) & (Leonard, editor), A Writer's Diary, first edition, second impression, London: The Hogarth Press, January 1954, original pictorial dustjacket designed by Vanessa Bell, slight chips in places and toned, red cloth, 8vo, Waugh (Evelyn), Scott-King's Modern Europe, first edition, London: Chapman & Hall, 1947, original pictorial dustjacket designed by John Piper, chipped, over blue cloth, 8vo, further works and authors, mixed editions, including Edmund Blunden, Richard Hughes & Aubrey Menen, 8vo, (7)

Woolf (Virginia), three association copies from the library of one of her biographers, including Three Guineas, first edition, London: The Hogarth Press, 1938, half-title, original publisher's pictorial dustjacket designed by Vanessa Bell, repaired at the spine and all four flap folds, slightly soiled and chipped, yellow cloth as issued, 8vo, the further two works both Hogarth Press imprints and each with their original dustjackets designed by the author's sister Vanessa Bell, the Bloomsbury Group artist, The Captain's Death Bed, and Other Essays, first edition, 1950, [&] Woolf (Leonard, editor), A Writer's Diary, first edition, seventh impression, 1975, interleaved with loosely-inserted manuscript notes, 8vo, (3)  Provenance: from the library of Roger Poole (1939-2003), literary theorist and man of letters, authority on Virginia Woolf and Kierkegaard, author of 'The Unknown Virginia Woolf ' (first published 1978).

Bell (Clive). The Legend of Monte Della Sibilla or Le Paradis de la Reine Sibille, London: Hogarth Press, 1923, frontispiece and head and tail-piece by Vanessa Bell and Duncan Grant, unopened, a little minor spotting to title, original boards, upper cover illustrated by Vanessa Bell, light dust-soiling to margins and lower cover, large 8voQTY: (1)NOTE:Provenance: from the library of Alan Clutton-Brock (1904-1976), Times art critic and essayist. Presentation copy, inscribed to front endpaper: 'Wishing you an altogether better new year. Clive Bell. Dec, 1923'.Woolmer 27. 400 copies printed.

Woolf (Virginia). The Waves, 1st edition, London: The Hogarth Press, 1931, original purple cloth gilt, head and foot of spine dust-soiled, dust jacket designed by Vanessa Bell, spine toned and chipped with some loss to extremities (touching top of title), panels lightly dust-soiled, 8voQTY: (1)NOTE:Kirkpatrick A16a.

Woolf (Virginia). The Years, 1st edition, London: The Hogarth Press, 1937, original green cloth gilt, dust jacket designed by Vanessa Bell, spine lightly toned, head of spine lightly frayed, 8vo, together with:Three Guineas, 1st edition, London: The Hogarth Press, 1938, 5 black and white illustrations, original yellow cloth gilt, dust jacket designed by Vanessa Bell, spine toned, lightly dust-soiled and rubbed, 8vo, withThe Moment and other Essays, 1st edition, London: The Hogarth Press, 1947, original red cloth gilt, dust jacket, spine faded, lightly frayed and chipped to extremities, 8voQTY: (3)

Woolf (Virginia). Kew Gardens, limited edition, London: Hogarth Press, 1927, woodcut border illustrations and upper cover by Vanessa Bell, some toning to endpapers, original boards, spine toned tear and loss at foot of spine, joints splitting, lower cover rubbed in places with small stains, 4toQTY: (1)NOTE:Provenance: From the library of Alan Clutton-Brock (1904-1976), thence by descent.Limited edition of 500, this copy out-of-series. Kirkpatrick A3c. The third English edition (and the first limited edition), first published in 1919.

Quentin Bell (1910-1996), an early underglaze blue tinglaze pottery bowl, possibly to a Vanessa Bell design, dated 1936, painted to the interior with a flowerhead design, the underside with lappets and a keywork border, inscribed Mark Quentin Bell 1936 with a circular symbol, 27cm diameterProvenance: gifted by the Bell family to a Charleston Farmhouse housekeeper, thence by family descent.***CONDITION REPORT***Structurally good with acceptable crazing; suggestion of a hairline crack inward from rim, approx. 4cm, affecting only the glaze and perhaps a manufacturing characteristic.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden. Please see the full listing below. Sold not subject to return. (c.60)EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden (arranged chronologically) - L. J. TROTTER. Rulers of India. The Earl of Auckland, Oxford, 1893, 8vo, cloth, annotated and underlined in black or red ink throughout [probably not by Eden], bookplate [please see the note regarding bookplates at the end of this lot], J. W. FORTESCUE. The Story of a Red-Deer, London, 1904, 4to, cloth, SIGNED in crayon, "Robert Anthony Eden 1906", and again with initials, bookplate; D. S. MARGOLIOUTH. Mohammed and the Rise of Islam, London, 1905, 8vo, buckram, with some annotation and highlighting by Eden, bookplate; A. F. HORT. The Gospel According to St Mark. The Greek text Edited with Introduction and Notes for the Use of Schools, Cambridge, 1907, 8vo, cloth, SIGNED & INSCRIBED "R. A. Eden, March 1914, Eton College, Windsor" on the front pastedown, with Eden's copious schoolboy annotation to the Greek text; Gustave MERLET (editor). Anthologie Classique des Poètes du XIXéme Siècle, Paris, [n.d.], 8vo, boards, SIGNED "R. A. Eden, [?]E.J.C., Oct. 17th 1914" [the day on which Anthony's older brother, John, was killed in action] and with 2 further dates added in ink, on p.162, "16/6/15" and on p.338 "30th June 1915"; G. E. MITTON. The Lost Cities of Ceylon, London, 1917, 8vo, cloth, with sparse annotation and highlighting, bookplate; Rupert BROOKE. 1914 & other Poems, London, 1918, 8vo, cloth, "Twenty-fourth Impression", bookplate; James BRYCE. Modern Democracies, London, 1921, 2 vols., 8vo, cloth, SIGNED "R. Anthony Eden, Mulberry Walk, Sept, [illegible year]" on front free endpaper, with occasional outspoken annotation by Anthony Eden, for example, on p.135 in vol. one: "!!!Too proud to fight! The worst soldiers ever seen -" and some highlighting to text, bookplate; Anatole FRANCE. Vie de Jeanne d' Arc, Paris, [1921], 2 vols., large 8vo, hessian, wrappers bound in, wrappers signed "R. Anthony Eden, Jan. 18, 1923", with some highlighting mainly to the beginning of vol. one, and an envelope, inscribed by Eden, loosely-inserted, indicating a highlighted quote on p.xxi of the book (the printed passage reading, "Au long d' interminables guerres, la misère et l' ignorance avaient appauvri les esprits et réduit l'homme à une extrême maigreur morale"), with some other notes, bookplate; Maurice PALEOLOGUE. La Russie des Tsars pendant La Grande Guerre, Paris, 1921-23, reprints, 3 vols., 8vo, later buckram, wrappers bound in, wrappers signed "R. Anthony Eden, 1923", and with some highlighting, bookplate; Chateaubriand's Atala [and 2 other works], Vienne, [n.d.], 8vo, boards, SIGNED "R. Anthony Eden, June 5th, [?]1923" on the front pastedown, with emotional printed passages on pp.109-113 highlighted; Lytton STRACHEY. Landmarks in French Literature, London, 1923, 8vo, cloth, with some sparse annotation and highlighting, bookplate; Essays of To-Day and Yesterday. Augustine Birrell, London, 1926, 8vo, original wrappers, the half title with an autograph quotation in ink, possibly in Eden's hand, of the words from "As I Sat Under a Sycamore Tree", inscribed at the foot, "To Goonie [i.e. Lady Gwendeline Spencer-Churchill], Christmas Day, 1926, A. [?]E"; Charles Mauron. The Nature of Beauty in Art and Literature ... Translation and Preface by Roger Fry [upper cover: Hogarth Essays. Second Series], London, The Hogarth Press, 1927, 8vo, original boards decorated by Vanessa Bell, upper board detached, with annotation and highlighting throughout; Henry TAYLOR. The Statesman. An ironical treatise on the art of succeeding, London, 1927, "Reprint Series No. 2", 8vo, cloth, with highlighting throughout, bookplate; Frederick Morton EDEN, 2nd Baronet. The State of the Poor, London, 1928 [but first published in 1797], 8vo, cloth, SIGNED "Anthony Eden 1950"; Langhorne GIBSON & J. E. T. HARPER. The Riddle of Jutland. An Authentic History, London, 1934, large 8vo, folding maps in a pocket at the end, buckram, SIGNED in pencil by Anthony Eden on the front free endpaper, with his annotation on p.335 and some highlighting [Midshipman Nicholas Eden, Anthony Eden's brother, was killed at the Battle of Jutland in 1916], bookplate; Charles HARRINGTON. Plumer of Messines, London, 1935, 8vo, plates and maps, cloth, with some annotation on wartime experiences and highlighting; R. B. MOWAT. Europe in Crisis, London, 1936, 8vo, frontispiece portrait of Anthony Eden, cloth, without annotation, bookplate; Siegfried SASSOON. Sherston's Progress, London, 1936, 8vo, cloth, with Anthony Eden's old armorial bookplate heavily-annotated in pencil indicating colours for "Burke's Peerage, DeBrett" (written in pencil above), and with some sparse annotation and highlighting to the text of the book itself; R. B. MOWAT. The Fight for Peace, London, 1937, 8vo, cloth, with typed compliment slip from the author loosely-inserted, and inscribed by Eden on the front free endpaper, "A friendly book. A. E." but without any further annotation or highlighting; George Macaulay TREVELYAN. Grey of Fallodon, London, 1937, 8vo, cloth, with Eden's annotation and highlighting and a loosely-inserted empty envelope inscribed by Eden on the outside, bookplate; F. Elwyn JONES. The Battle for Peace, London, 1938, 8vo, uncorrected proof copy, wrappers, with Eden's highlighting throughout including, on p.[65] to a printed quotation from a speech made by Hitler in Munich in 1936 in which he (Hitler) stated, "I do not believe there can be peace among the nations until they all have the same law and system of law. That is why I hope that National Socialism will one day extend over the world. This is no fantastic dream, but an achievable object" and again to a printed passage by the author on p.197: "For Hitler's aim is not primarily 'ideological', however much he insists on this in his speeches. Hitler's real aim is a Greater Germany which will dominate Central and South-East Europe"; Johannes STEEL. The Truth About Munich ... A Collection of Broadcasts Given Recently on Station WMCA, New York, 1938, 8vo, stapled (lacks wrappers), with one passage highlighted by Eden; W. MACNEILE DIXON. The Human Situation, London, 1938, 8vo, cloth, reprint, with some annotation by Eden including on p.98 a comment on the German massacre of civilians at Dinant in 1914, "Yes - I saw some of this evidence myself" and highlighting, bookplate; Anthony EDEN. Foreign Affairs, London, 1939, 8vo, cloth, with Eden's sparse annotation and highlighting; Documents concerning German-Polish Relations and the Outbreak of Hostilities Between Great Britain and Germany on September 3, 1939, London, "His Majesty's Stationery Office", 1939, 8vo, wrappers, without annotation; Duff COOPER. The Second World War. First Phase, London, 1939, 8vo, cloth, with Eden's single correction to a year on p.195 (from 1937 to 1938) and one passage of Duff Cooper's printed text quoting his own (Cooper's) article highlighted by Eden on p.207 ("Germany and Italy under their present rulers are determined to dominate by force the whole continent of Europe. If there is a man living who still doubts that fact he should lose no time in consulting a mental specialist"); L. RASKAY. How They Did It. Life Stories. Anthony Eden, London, Pilot Press Ltd., 1939, square 8vo, wrappers, second impression; Thomas MANN. This War, London, 1940, 8vo, cloth, with Eden's annotation and highlighting; Isaiha BERLIN. Karl Marx. His Life and Environment, London, 1939, 8vo, cloth, signed "Clarissa S. Churchill"; Anthony Eden. Address to the Maryland General Assembly, Annapolis, Marsh 26th, 1943, [?Annapolis, 1943], 12mo, wrappers; Your M.P. by Gracchus, London, Victor Gollancz, 1944, 8vo, cloth, dust-jacket, with a printed record of Eden's important votes in...

Two George III Royal silver sauceboatsfull marks only clear on one, Thomas Heming, London 1766 Each of bombé oval form, spirally fluted body capped with a wave design below a reverse fluted and everted rim, cast flying scroll handle with applied acanthus foliage and bell flower with scroll top, on cast spiral fluted and scroll shaped-oval pedestal foot, engraved below the lip with Royal Household garter badges, each of a varying form, one flanked by the engraved cypher GR, also engraved below with a later owners crest, with motto 'LIBERTAS' above, underside of one with engraved scratch weight '20'9', length 19cm, weight 37.9oz.Footnotes:The two badges surmounted with Imperial crowns relate to ownership by the household of King George III (1760 - 1820), of Great Britain and Ireland.It is interesting to note that the service was originally engraved with Royal Arms and King's ciphers and that most pieces were subsequently re-engraved with the new Royal Arms as used after 1801.It is recorded that the cost of the original engraving of the Royal Arms and King's ciphers was charged at an extra £232 19s 6d (PRO Lc5/ 110, f. 356).Thomas Heming was appointed Principal Goldsmith to the King in 1760 and was the first working goldsmith to hold this post since the early seventeenth century.These sauceboats are in a style that was a modified version of the French rococo, still fashionable in the early years of George III's reign and influenced by the designs of Parisian Goldsmith Pierre Germain's 'Eléments d'orfèvrerie devisés' published in Paris in 1748.They are almost identical to a set of sixteen silver-gilt examples in the Royal Collection, also by Thomas Heming, exhibited, The Queen's Gallery, Buckingham Palace, London.The sauceboats held in the Royal Collection form part of the 'Coronation Service'. Despite this title, the commission for the service was not finished in time for use at the King and Queen's coronation banquet on 22 September 1761. The service was used at the 'extremely magnificent banquet' held on 19 September 1768 at the Queen's House in honour of Christian VII of Denmark, who was George III's first cousin in addition to being his brother-in-law, following his marriage to Princess Caroline in 1766.Modest additions were made to the service throughout the 1760s.The second later crest cannot be identified. Notably the motto LIBERTAS is used widely in the United States in the early years of the nineteenth century, possibly to indicate the freedom gained in the earlier War of Independence.LiteratureVanessa Brett, The Sotheby's Directory of Silver, 1600-1940, London, 1986, p. 223, no. 989.Published to coincide with The Queen's Gallery exhibition, George III & Queen Charlotte: Patronage, Collecting and Court Taste, The Queen's Gallery, 2004, no. 339, pages 322, illustrated 324.The Royal Collection Trust, accessed via https://www.rct.uk/collection/51843/sauce-boatThis 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