We found 600 price guide item(s) matching your search

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

Virginia Woolf, Bloomsbury Group, Hogarth Press, a small collection of 5 titles, comprising Virginia Woolf: 'The Moment and Other Essays', London, The Hogarth Press, 1947, 1st edition, original cloth gilt, pictorial dust wrapper by Vanessa Bell; 'Duncan Grant', L, The Fleuron Ltd, 1927, 1st edition, British Artists of Today Number VI, 17 b/w plates as called for, original patterned paper covered boards; plus 'Hogarth Essays Second Series: The Prosepects of Literature', by Logan Pearsall Smith, Hogarth Press, 1927, 1st edition, orig. decorative wraps, E.M. Forster, 2 titles: 'A Letter to Madan Blanchard', Hogarth Press, 1931, 1st edition, original pictorial wraps, 'Viginia Woolf', Cambridge University Press, 1942, 1st edition, orig. printed wraps (5)

Basil de Selincourt: 'The Enjoyment of Music', London, The Hogarth Press, 1928, "The Hogarth Essays", second series, No. 16, 52,[2]pp, original pictorial wraps by Vanessa Bell

Robert Rosen: A Large Group of Vintage Polaroids Taken by Rosen and Signed by Various Film/Music/TV Stars,1980s-00s,approximately 340 colour Polaroids, each signed in various inks by the celebrity featured in the images, notable people include; David Bowie, Bill Wyman, Cliff Richard, Grace Jones, Donovan, Elton John, Sting, Zandra Rhodes, Mary Quant, Sylvester Stallone, Terence Stamp, Vera Lynn, Marianne Faithful, Pete Townsend, Charlie Watts (unsigned), Shirley Bassey, Audrey Hepburn, Stevie Knicks, Andrew Ridgeley, Rudolf Nureyev, Luciano Pavarotti, BB King, Joan Rivers, Jackie Collins, Ronnie Barker, Rowan Atkinson, Whoopie Goldberg, Diana Rigg, Tom Selleck, Mel Gibson, Kylie Minogue, Olivia Newton-John, Nicole Kidman, Ru Paul, Cate Blanchette, Yoko Ono, David Essex, Phil Lynott, Phil Collins, The Village People, David Hockney, Andrew Logan, Karl Lagerfeld, Joe Cocker, John Hurt, Edward Bell, Duggie Fields, Patrick Hughes, Naomi Campbell, Ossie Clark, Malcolm McLaren, Celia Birtwell, Grayson Perry, Peter Blake, Thierry Mugler, David Bailey, Martin Sharp, Paloma Picasso, Jean Shrimpton, Diana Ross, Ella Fitzgerald, Etta James, Issey Miyake, Marcel Marceau, Francis Bacon, Dean Martin, Bob Geldof, Michael York, Helmut Newton, Herb Ritts, Joan Collins, Carrie Fisher, Tom Stoppard, Lewis Morley, Anita Ekberg, Bill Gibb, David Attenborough, Kenny Rogers, Kenny Everett, Christopher Reeve, Jean Paul Gautier, Ronnie Corbett, Diana Dors, Tony Curtis, Joanna Lumley, Geraldine Chaplin, Omar Sharif, Ian McKellen, Michael Caine, Penelope Keith, Muhammad Ali, Les Dawson, Jane Asher, Janet Street-Porter, Bette Midler, Bonnie Tyler, Jerry Hall, Boy George, Quentin Crisp, William Burroughs, Andrew Lloyd-Webber, Deborah Kerr, Nina Simone, Leo Sayer, Lulu, David Hemmings, Barry Lategan, Nico, Vanessa Redgrave, among many others, all signed and dated on the reverse by the photographer, split across two leather-bound albums, sold without copyright or any reproduction rights, each 3 1/2in x 4in (9cm x 10cm), (Qty)Footnotes:Provenance:Offered by Australian photographer Robert Rosen.During 1975-1985 Rosen worked as a freelance photographer in London for Rolling Stone, NME and other music papers. He was also a society, portrait and catwalk photographer for Ritz Newspaper, Avant Garde Magazine, Root, Fashion Weekly & POL and freelanced for daily newspapers during this time. In 1985 Robert returned to Australia and continued his work with Harper's Bazaar, Vogue, Mode & Elle and the Sunday Telegraph, Sydney.Robert Rosen is one of Australia's foremost social photographers and an astute observer of Sydney and London society. He has covered social events for the past 30 years and through his lens brings us tantalizing shots of global celebrities. These are not the stiff poses and uncomfortable smiles captured by most social photographers. It is clear Rosen's subjects are willing participants, resulting in images that exude warmth and wit. This fascinating series of Polaroid photographs records the glamour, the personalities, the drama and the fun of London, Paris and Sydney social events. The images are also important social documents, recording key personalities among the world's social set‚ a mix of actors, rockstars, stage and screen stars and creatives. A visual history of his work appears in his latest book Glitterati. David Bowie Polaroid, London, 1981.'This polaroid was taken at a party at Regine's nightclub on top of a building in Kensington London. I spotted Bowie in the garden and nervously went up to him and asked if I could take his photo and do a Polaroid of him. He agreed but wanted us to go somewhere a little more secluded. I took the Polaroid and all the while I'm thinking, he's going to remember me as the photographer who'd taken his photo at the Blitz Club without his permission about six months before. He was asking me questions about my attire, especially the Andrew Logan mirror bowtie I was wearing. He then said ' Ahh, Robert Rosen with the looking glass bowtie.' I smiled and showed him the Polaroid that by now had fully developed. But it had my fingerprints across the top of it as I'd been nervously holding it too hard whilst talking to David. I suggested we take another one, but he said 'No I like it, it's art' and he signed it.'- Robert RosenThe Charlie Watts Polaroid is the only unsigned photograph in the collection. When Rosen asked Watts to sign it, his excuse for not doing so was because John Lennon had passed away that day.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Vanessa Bell, British 1879-1961 - Henrietta Garnett, c.1950s; oil on paper, 59.5 x 43 cm (ARR) Provenance: with The Bloomsbury Workshop, London (according to a copy of the original invoice); The Harris Collection, USA, purchased from the above on the 3rd March 1994 and thence by descent Note: the writer, Henrietta Garnett, was the artist's granddaughter. 

Vanessa Bell, British 1879-1961 - Family Group, Frances and Nerissa Garnett, c.1957; gouache on paper, with Estate Stamp on the reverse, 40.8 x 20.2 cm (ARR) Provenance: with The Bloomsbury Workshop, London (according to the label attached to the reverse of the frame); The Harris Collection, New York, purchased from the above and thence by descent Exhibited: Palazzo Massari, Ferrara, 'Vanessa Bell and Virginia Woolf "Disegnare la vita" ', May - July 1996, no.36 (illus.pg.80)Note:the matching checkered trousers suggest the sitters are the twins of Angelica and David Garnett. 

Duncan Grant, British 1885-1978 - At the Easel (Janie Bussy), 1956;  oil on paper, signed and dated lower left 'D Grant /56', 62.4 x 44.5 cm (ARR) Provenance:The Bloomsbury Workshop, London, 1993 (according to the label attached the reverse of the frame); The Harris Collection, USA and thence by descent Note:in correspondence from Tony Bradshaw of the Bloomsbury Workshop, the lady depicted painting at an easel is Janie Bussy, daughter of the artist Simon Bussy and his wife Dorothy, Lytton Strachey's elder sister. Janie Bussy was born and brought up in France, but she spent time every year at Charleston and exhibited her still life paintings at the Lefevre Gallery in London. 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, British 1879-1961 - Bridge in Paris, c.1921; watercolour on paper, with Estate Stamp lower right, 18.3 x 13 cm (ARR) Provenance: with The Bloomsbury Workshop, London (according to the label attached to the reverse of the frame and copy of the original invoice); The Harris Collection, USA, purchased from the above on the 11th March 1998 and thence by descent Note: the artist painted a similar scene of a bridge in Paris in 1921, the work 'Le Pont Neuf, Paris' now in the Ashmolean Museum, Oxford and 'On the Seine' at the Fitzwilliam Museum. 

Duncan Grant, British 1885-1978 - Composition, 1966; oil on canvas board, signed with initials, dedicated and dated lower left 'DG for Desry / 66', 25.2 x 24.3 cm (ARR) Provenance: with Jill Newhouse Gallery, New York (according to the label attached to the reverse of the frame); The Harris Collection, USA and thence by descent Note: 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.  

Álvaro Guevara, Chilean 1894-1951 - Maruja, 1943; oil on canvas, 49.5 x 35 cm Provenance: the Estate of the Artist (according to the label attached to the reverse); with P. & D. Colnaghi & Co. Ltd., London (according to the label attached to the reverse); Mark Glazebrook (1936-2009); private collection, gifted by the above Exhibitions: P. & D. Colnaghi & Co. Ltd., London, 'Álvaro Guevara: A Chilean Painter in London and Paris', 3rd December 1974 - 10th January 1975 , cat. no.18b (according to the label attached to the reverse) Note: the artist studied at the Slade in London during the 1910s and soon became involved with Roger Fry's Omega Workshops alongside Duncan Grant and Vanessa Bell. He had exhibitions at the Leicester Galleries in 1926 and his works are in the collections of the Manchester Art Gallery, York Art Gallery and the Tate, including a celebrated portrait of Edith Sitwell. 

Vanessa Bell, British 1879-1961 - Venice, c.1950; watercolour and pencil on paper, signed lower right 'Vanessa Bell', 34.8 x 25.2 cm (ARR) Provenance: with Thos. Agnew & Sons. Ltd., London (according to a copy of the original backing board attached to the reverse of the frame); with The Bloomsbury Workshop, London (according to a copy of the original invoice); The Harris Collection, USA, purchased from the above on the 22nd March 1999 and thence by descent Note: Bell visited Venice in 1926 when her work was included in the British Pavilion at the Venice Biennale. Numerous works made during this visit are now in public collections, including 'A Venetian Window, 1926' (Leamington Spa Art Gallery & Museum) and 'Canal Scene, Venice, 1926' (The Red House, Aldeburgh). Bell exhibited with Thos. Agnew & Sons. Ltd., London in the 1930s and 40s. 

Vanessa Bell, British 1879-1961 - 'A Society' for Virginia Woolf's 'Monday or Tuesday', 1921; woodcut on paper, 13.8 x 10 cm (ARR) Provenance: with The Bloomsbury Workshop, London; The Harris Collection, USA and thence by descent Note: An original woodcut by Vanessa Bell to illustrate the story 'A Society' in Virginia Woolf's 'Monday or Tuesday', 1921.

Lots 58-64 The Harris Collection - Duncan Grant, British 1885-1978 - Abstract composition, 1965; gouache and biro on paper, 26.1 x 11.1 cm (ARR) Provenance: Richard Shone, gifted by the artist;  with The Bloomsbury Workshop, London (according to a copy of the original invoice);  private collection, USA, purchased from the above on the 3rd November 2004 and thence by descent Note: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 (British, 1879-1961)The Turkish Box signed and dated 'V Bell 1934' (lower right)oil on canvas61 x 73.5 cm. (24 x 29 in.)Footnotes:ProvenanceWith The Adams Gallery, LondonSale; Bonhams, London, 16 November 2011, lot 108, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Adams Gallery, Vanessa Bell Memorial Exhibition, 6-27 October 1961 (catalogue untraced)The Turkish box in the present work is still at Charleston and is thought to have been a gift to Duncan Grant from his aunt Daisy McNeil, perhaps before the First World War. Bell had visited Turkey in 1911, traveling with Roger Fry, whose unexpected death in September of 1934 coincides with the execution of the present work. This late summer still life would have been painted at Charleston and shows some of the seasonal fruits grown in the garden. The glass on the left holds three zinnias, a flower Vanessa Bell regularly planted at the house.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Vanessa Bell design blue and white soup dish,’ produced in Bizarre by Clarice Cliff, Wilkinson Ltd England, First Edition’, stamp to base, 23cm in diameter

WOOLF (VIRGINIA)To The Lighthouse, FIRST EDITION, half-title, binder's advertisement slip loosely inserted, light toning and occasional spotting, publisher's blue cloth (head and foot of spine bumped, small bump to right edge of cover), pictorial dust-jacket by Vanessa Bell (toning and small damp-stains mostly to spine, upper edge a little frayed with very minor loss to head of spine, neatly repaired on reverse) [Kirkpatrick A10], 8vo, Hogarth Press, 1927This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

EDWARD LE BAS (1904-1966). Venice, signed, oil on board, 18 x 26 inProvenance: with The Fine Art Society, London , July 1954 Sotheby's, Bond Street, London 11 Nov 1987, lot 97 This work coud be compared with 'The Salute' , Venice', a landscape exhibited at the Royal Academy in 1948 (now in the Collection of Dundee Art Gallery) . See also another view by the artist titled 'The Misericordia, Venice' in the Touchdales Museum, Rochdale. Of Anglo-French descent, Le Bas studied art briefly in Paris and then from 1924 at The Royal College of Art.He was a member of the Royal Academy from 1942 becoming a full member in 1953. A member of the London Group, the artist was a friend of Duncan Grant and Vanessa Bell who both were an influence on his work.

ARMAND GUILLAUMIN (1841-1927)Portrait d'André, fils de l'artiste signed 'Guillaumin' (upper right)pastel and pencil on paper42.5 x 33.9cm (16 3/4 x 13 3/8in).Executed circa 1903Footnotes:The authenticity of this work has been confirmed by the Comité Guillaumin. This work will be included in the forthcoming Vol. II of the Armand Guillaumin catalogue raisonné, currently being prepared by Stéphanie Chardeau-Botteri, Dominique Fabiani and Jacques de la Béraudière.ProvenanceGalerie Kleinmann, Paris, no. 745.Anon. sale, Sotheby & Co., London, 11 April 1962, lot 177.Edward Sackville-West Collection, 5th Baron Sackville, UK, no. 503 (acquired at the above sale).Eardley Knollys Collection, UK (by descent from the above in 1965).Mattei Radev Collection, UK (by descent from the above in 1991).Private collection, London (by descent from the above in 2009).The present work previously formed part of the Radev Collection, a prolific UK collection of more than 800 works of Impressionist & Modern Art. The collection was fostered by individuals associated with the Bloomsbury Group, a loose collective of artists, writers and philosophers who from the beginning of the twentieth century generated progressive and influential discourse on aesthetics, criticism, politics and sexuality. An offshoot of London's intellectual aristocracy, the group's shared ideals were in opposition to the bourgeois habits of Victorian life. Artists such as Duncan Grant and Vanessa Bell and writers such as Virginia Woolfe and E.M. Forster were among this cohort. A social group as well as a movement in thinking, the Bloomsbury Group's participants engaged in varied and complicated relationships which often transgressed British society's expectations of monogamy and heteronormativity. The Radev Collection was begun by the novelist and music critic Edward Sackville-West, 5th Baron Sackville, in the late 1930s. His friend and sometimes lover Eardley Knollys then inherited the collection upon Sackville-West's sudden death from an asthma attack in 1965. Knollys was an artist and art dealer who collected and traded in works by artists such as Amedeo Modigliani, Paul Gauguin, Pablo Picasso and Chaïm Soutine, whilst promoting and supporting his fellow emerging Modern British artists. Knollys was also a lover of Mattei Radev, an émigré who had escaped communist Bulgaria in 1950 by swimming to Turkey and stowing away in a cargo ship travelling from Istanbul to Glasgow. Radev became a fixture of London's artistic milieu, setting up a fashionable picture framing workshop in Fitzrovia with a loan from Knollys and becoming a keen collector of European and British Modern Art. Radev inherited the wider collection upon Knollys' passing in 1991.For further information on this lot please visit Bonhams.com

Vanessa Bell - Clarice Cliff - A Coronet shape jug circa 1934, decorated in the Vanessa Pattern with a band of circles, spots and crosses to the upper rim with spot line border, printed signature, height 15.5cm.  N.B - This was designed by Bloomsbury artist Vanessa Bell for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

BELL, CLIVE: 'THE LEGEND OF MONTE DELLA SIBILLA' one of 400 copies, illustrated by Duncant Grant and Vanessa Bell, printed and published by Leonard and Virginia Woolf at The Hogarth Press, Richmond, 1923, white paper boards with buff paper dustwrapper, contained in custom made folding box

WOOLF, LEONARD AND BELL, VANESSA: 'KEW GARDENS' limited edition number 223/500, illustrated by Vanessa Bell, printed and published by The Hogarth Press, London 1927, parchment backed illustrated boards, contained in custom brown cloth box with printed half title

Julian Bell, British b.1952 - Imber, Salisbury Plain, 2003; gouache on paper, signed with initials lower left 'JB' and signed, titled and dated on the reverse of the sheet, 17.2 x 39.3 cm (ARR) Note: the artist is the son of Quentin Bell and the grandson of Vanessa Bell. His works are in the Museum of London and Brighton & Hove Museum. 

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) A PAINTED TABLE The central roundel painted with stylised flowerheads and leaves within simulated marble and green borders 65 x 49.5 x 49.5cm (25½ x 19¼ x 19¼ in.) The present work most likely dates from the 1940s or 1950s. See next lot for the design for the roundel. Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. Although The Omega Workshops closed in 1919 due to financial troubles, Grant's interest in the decorative arts was now firmly part of his artistic oeuvre. In 1918, along with Edward Wolfe, he was commissioned by John Maynard Keynes to decorate the doors, fireplace and shutters of the first floor sitting room at 46 Gordon Square. Again in 1920, Keynes commissioned Grant, this time alongside Vanessa Bell, to produce eight panels for his residence at Webb Court, King's College, Cambridge. When Vanessa Bell rented Charleston farmhouse in East Sussex in 1916, the house and its interiors become a canvas on which Grant and Bell could express their creativity. Tables, chairs, bookcases, walls, lampshades, headboards - all became covered with the inimitable swirling designs of the two artists. The present table and associated design (lot 103) most probably date from the 1940s or 1950s and demonstrate Grant's continued interest in furniture design into later life. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Please see lot 103 - the design for this table top.There are abrasions, nicks and craquelure across the paint surface on the table top commensurate with age and use. There are isolated areas of paint separation to the surface and general surface dirt. Some of the blocks to the underside of the table.Please see the additional condition report photographs as a visual reference of condition.Condition Report Disclaimer

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) DESIGN FOR ROUNDEL Pencil and watercolour 46.5 x 46.5cm (18¼ x 18¼ in.) Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. The present lot is a pencil and watercolour design for Lot 102, as a preliminary design for the painted table top. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Executed on cream wove paper, not laid down. A repaired tear to the centre of the lower edge, approx 2cm long.. The upper right corner and right hand edge with restored tears and creases. There are creases running through the centre of the work, both horizontally and vertically where the sheet appears to have been folded into quarters in the past. Further creasing to the sheet throughout, notably to the upper right corner. There is staining and smudging throughout, in particular two brown stains to the lower right quadrant and grey smudging, most probably original to the work, to the centre circle. Framed under glass.Condition Report Disclaimer

λ&nbspVANESSA BELL (BRITISH 1879-1961) STILL LIFE OF NARCISSI, CHARLESTON Oil on canvas Indistinctly signed with initials and inscribed (verso) 38 x 25cm (14¾ x 9¾ in.)With thanks to Gavin Kingcome Photography for providing the photograph of Vanessa Bell & Duncan Grant's studio at Charleston Farmhouse in East Sussex which shows the floral decorated teapot still sitting on the mantlepiece today. Provenance: The Adams Gallery, London Sotheby's, London, 6 November 2007, lot 30, where purchased by Robert KimeThe present work was most likely painted in the early 1950s in Grant's studio at Charleston, the vase being on the high mantelshelf (where it can still be seen today in the same position, now with reduced spout). Pheasant-eye narcissi were a favourite of Bell's.We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Not relined. Light horizontal cracking across the surface most notable to the upper left quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) WOODLAND Oil on board 64 x 45cm (25 x 17½ in.)Provenance: Leicester Galleries, London Private Collection, Sir Michael Sadler (acquired from the above in 1930) Christie's, London, 6 June 2003, lot 20, where purchased by Robert Kime Exhibited: London, Leicester Galleries, The Camden Town Group, February 1930, no. 30 The present work was probably painted in September 1912 when Grant was staying with Clive and Vanessa Bell at Virginia Woolf's rented property, Asheham House, in the Sussex Downs. If 1912 is the correct date, then the picture was painted in the year Grant was still a member of the Camden Town Group (he showed one painting in the 2nd of the Group's exhibitions, December 1911). Woodland was the only work by Grant selected for the retrospective of the Group in 1930 at the Leicester Galleries and presumably came from the artist. It certainly has affinities with landscapes of 1912 by Spencer Gore and also by Harold Gilman. The geometrising of the foliage and ovoid forms are characteristic of Grant's painting at this period and were to become a hallmark of his cubist-influenced works of 1913. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Light surface dirt. The board is slightly bowing. Water damage to the board lower edge at left side. Some rubbing to the extreme edges of the board. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

Vanessa Bell (1879-1961) - Pencil drawing - "Amaryllis Garnett" - Portrait, 1949, 12ins x 8.25ins Provenance: The Bloomsbury Workshop, 12 Galen Place, London Note: Gallery label to verso gives title, date and estate stamp

* VICKI GOLDEN (BRITISH b. 1970), UNTITLED oil on board, signed and dated 2018 versoframedimage size 35cm x 37cm, overall size 43cm x 44cm Note: Offered without reserve. Note 2: Vicki was born in East Boldre in the New Forest in 1970. She gained a diploma in Fine Art from Byam Shaw School of Art in 1992, and then studied for a BA Hons at Solent University, Southampton. Her lifelong love of nature is at the heart of her paintings: landscapes, seascapes and imaginative compositions featuring wild and domestic animals, often accompanied by a female figure who is an alter ego. Colour is a very important aspect to the work, heightened and expressive in nature. Vicki is influenced by naïve and surrealist art, with Frida Kahlo, Henri Rousseau, Stanley Spencer and the Swiss artist Balthus among many important figures in the development of her style, described as 'naïve yet sophisticated' by her tutors. Her paintings have a similar style as that of the early Bloomsbury School, Vanessa Bell and Duncan Grant in particular.

* VICKI GOLDEN (BRITISH b. 1970), PATCHWORK FIELDS & CHURCH oil on canvas, initialledframed image size 90cm x 75cm, overall size 95cm x 79cm Note: Offered without reserve. Note: Vicki was born in East Boldre in the New Forest in 1970. She gained a diploma in Fine Art from Byam Shaw School of Art in 1992, and then studied for a BA Hons at Solent University, Southampton. Her lifelong love of nature is at the heart of her paintings: landscapes, seascapes and imaginative compositions featuring wild and domestic animals, often accompanied by a female figure who is an alter ego. Colour is a very important aspect to the work, heightened and expressive in nature. Vicki is influenced by naïve and surrealist art, with Frida Kahlo, Henri Rousseau, Stanley Spencer and the Swiss artist Balthus among many important figures in the development of her style, described as 'naïve yet sophisticated' by her tutors. Her paintings have a similar style as that of the early Bloomsbury School, Vanessa Bell and Duncan Grant in particular.Condition is good overall, with no visual or known issues.

* VICKI GOLDEN (BRITISH b. 1970), UNTITLED oil on canvas, initialled, signed and dated 2017 versoframed image size 60cm x 74cm, overall size 63cm x 77cm Note: Offered without reserve. Note 2: Vicki was born in East Boldre in the New Forest in 1970. She gained a diploma in Fine Art from Byam Shaw School of Art in 1992, and then studied for a BA Hons at Solent University, Southampton. Her lifelong love of nature is at the heart of her paintings: landscapes, seascapes and imaginative compositions featuring wild and domestic animals, often accompanied by a female figure who is an alter ego. Colour is a very important aspect to the work, heightened and expressive in nature. Vicki is influenced by naïve and surrealist art, with Frida Kahlo, Henri Rousseau, Stanley Spencer and the Swiss artist Balthus among many important figures in the development of her style, described as 'naïve yet sophisticated' by her tutors. Her paintings have a similar style as that of the early Bloomsbury School, Vanessa Bell and Duncan Grant in particular.

WOOLF, (VIRGINIA) 'Three Guineas', first edition, 1938, with dust jacket illustration by Vanessa Bell, published by the Hogarth Press.

Vanessa Bell (British, 1879-1961)Street in Asolo, Italy stamped with estate stamp 'VB' (lower right); further stamped with estate stamp 'VB' (on panel verso)oil on canvas laid on panel66 x 52 cm. (26 x 20 1/2 in.)Painted in 1955Footnotes:ProvenanceThe Artist's EstateWith Anthony d'OffayWith The Bloomsbury Workshop, LondonPrivate Collection, U.K.Vanessa Bell painted several Italian towns during visits in the late 1940s and early 1950s and the present lot can be accurately dated to Spring 1955 when Bell and Grant drove through France to Asolo in Italy, where they rented a house belonging to the Marchesa Fossi. The house, called 'La Mura', built partly into the ancient town walls, was solidly constructed and had a room with windows on three sides at the top of the building which lent itself perfectly to the purpose of studio. Soon after they arrived they were joined by Edward le Bas and Eardley Knollys, and from La Mura they made many trips during their stay, including to Villa Maser to see the Veronese frescoes, and to Venice where Bell admired in particular the Tintoretto paintings in the Scuola di San Rocco. Most importantly, the trip provided many subjects for the group to paint, with Bell remarking that: 'of course the light is so amazing, everything is colour and definite and exciting'. (Vanessa Bell, letter to Angelica Garnett, 3 May 1955, as quoted in Frances Spalding, Vanessa Bell, Portrait of the Bloomsbury Artist, 1983, reprinted 2016, Tauris Parke Paperbacks, London and New York, p.353.)We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Vanessa Bell (British, 1879-1961)Near Alfriston stamped with estate stamp (lower right)oil on paper38.1 x 45.3 cm. (15 x 17 3/4 in.)Executed circa 1940Footnotes:ProvenanceWith the Bloomsbury Workshop, LondonPrivate Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Vanessa Bell (British, 1879-1961)Lime Quarry and Cement Works at Lewes oil on canvas board40 x 31.6 cm. (15 3/4 x 12 1/2 in.)Painted circa 1934-36Footnotes:ProvenanceSale; Christie's, London, 14 May 1992, lot 167Private Collection, U.K.Duncan Grant painted the same view of the Lime Quarry near Lewes, only a short distance from Charleston Farmhouse in East Sussex. This painting (Lewes Landscape) is in the collection of Leicester Museum & Art Gallery.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Follower of Vanessa Bell, 'Stop and search', oil on board, 17.75" x 17.75", (45x45cm).

Sir Cecil Beaton CBE, British 1904–1980 - Portrait of Henrietta Garnett; pencil on paper, bears library stamp lower right 'Cecil Beaton from Miss E Hose', 24.3 x 17 cm (ARR) Provenance: Miss Eileen Hose; probably Christie's, London, The Estate of the Late Miss Eileen Hose, Stage and Costume Designs, Fashion Drawings, Landscapes, Portraits and Sketch-Books by Sir Cecil Beaton, C.B.E., 21 June 1988; Phyllis Gorlick King, London (according to the label attached to the reverse of the frame); private collection Note: Henrietta Garnett was a writer and the daughter of David and Angelica Garnett, the daughter of Vanessa Bell and Duncan Grant. The present work is stylistically similar to a portrait made by Duncan Grant of Henrietta c.1960 that most recently sold at Christie's in 2018. Eileen Hose was Beaton's secretary and inherited many of his work upon his death. She bequeathed a large number of items to museums including the V & A, London. 

Omega Workshops; Arthur Clutton-Brock & Roald Kristian (ill.): 'Simpson's Choice: An Essay on the Future Life', London, Omega Workshops Ltd., 1915, 1st edition, limited to 500 copies only, 3 full-page wood-engraved illustrations, numerous head and tail-pieces, and decorative opening initials by Roald Kristian as called for, printed under the direction of J.H. Mason, 4to, original cloth backed pictorial paper covered boards. The Omega Workshops was a design enterprise founded by members of the Bloomsbury Group in July 1913, with the intention of providing graphic expression to the essence of the Bloomsbury ethos. The Workshops was also closely associated with the Hogarth Press, with Roger Fry, Duncan Grant, and Vanessa Bell as its directors. Wyndham Lewis was also initially part of the operation, and whilst Fry was keen to encourage a Post-Impressionist influence in designs produced for Omega, Cubist and Fauvist influences are also apparent, particularly in many of the textile designs. Unfortunately Omega Workshop was short-lived and closed down in 1919, 'Simpson's Choice' was the first work to be published at the Omega Workshop, and was to be one of only four books completed by the Press.