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Click here to subscribeBell (Vanessa).- Buchan (Susan) The Funeral March of a Marionette, jacket spine faded, 1935 § Upward (Edward) Journey to the Border, review copy with small stamp to endpapers, jacket spine ends creased and slightly bumped, 1938 § The Hogarth Essays, 1928, original boards or cloth, dust-jackets by Vanessa Bell, [Woolmer 360; 439; 321], 8vo, Hogarth Press, 8vo (3)
Bell (Vanessa).- Recent Paintings by Vanessa Bell with a Foreword by Virginia Woolf, first edition, one of 500 copies, 8pp., original wrappers, lightly toned, Favil Press, 1930.⁂ With Virginia Woolf's foreword, a charming essay about her sister's paintings: "One defies a novelist to keep his life through twenty seven volumes of fiction safe from our scrutiny. But Mrs. Bell says nothing. Mrs. Bell is as silent as the grave. Her pictures do not betray her. Their reticence is inviolable. That is why they intrigue and draw us on; that is why, if it be true that they yield their full meaning only to those who can tunnel their way behind the canvas into masses and passages and relations and values of which we know nothing - if it be true that she is a painter's painter - still her pictures claim us and make us stop. They give us an emotion. They offer a puzzle."
Hogarth Press.- White (T.H.) & Julian Bell, contributors. Cambridge Poetry 1929, Basil Wright's copy with his ownership inscription to endpapers, signed by various contributors, including Ronald Bottrall, William Empson, K. A. Mathews etc., and with inscription from J. D. Cullen, all after their respective poems, light toning to endpapers, spine repaired, 1929 § Cornford (Frances) Different Days, signed presentation inscription from the author on front free endpaper, 1928; and 2 others, all from the Hogarth Living Poets series, original boards, some light rubbing and toning to extremities, the Hogarth press, 8vo (4)⁂ The first is a good Hogarth Press association item, being one of the editor's copies, signed by 14 of its contributors. It is also the final volume with a Vanessa Bell cover design. The title also precedes Julian Bell's first book of poems Winter Movement, which was published the following year.
Woolf (Leonard) Fear and Politics, Leon Edel's copy with his ownership signature in pencil on front free endpapers, original cream wrappers designed by Vanessa Bell, [Woolmer 79], 1925 § Forster (E.M.) Anonymity: An Enquiry, variant binding with cream wrappers without drawing by Bell, possibly a proof copy, chipping to spine ends, light surface toning, splitting along joints, [Woolmer 61], 1925, first editions, 8vo, Hogarth Press (2)
* VICKI GOLDEN (BRITISH b. 1970), UNTITLED oil on board, signed and dated 2018 versoframedimage size 35cm x 37cm, overall size 43cm x 44cm 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.
* 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: 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: 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), UNTITLED oil on board, initialled, signed and dated 2018framedimage size 36cm x 35cm, overall size 44cm x 42cm 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.
* Prinsep (Valentine Cameron, 1838-1904). Portrait of the Artist's Sister, circa 1860, oil on canvas, half-length portrait of a young girl, profile turned to the right, seated in a buttoned yellow chair and looking down with pensive gaze, wearing a flowing black gown with white collar, a beaded necklace, a jewelled ring, and a pink camellia in her auburn hair, holding a feather fan in her right hand, seated against the backdrop of a partly open door and potted lily on a window ledge beyond, re-lined, 41 x 37 cm (16 1/8 x 14 5/8 ins), gilt moulded frame (56 x 49 cm), with printed exhibition label on verso QTY: (1)NOTE:Provenance: Given to David Clayton-Stamm on his 12th birthday in 1923; thence by descent.Exhibited: Val Prinsep RA (1838-1904): A Jubilee Painter, South London Art Gallery, 21 October-10 November 1977, catalogue number 3.A strikingly beautiful portrait of the artist's only sister, Alice Marie Prinsep (1844-1919). The siblings and their two brothers were the offspring of colonial government official and politician Henry Thoby Prinsep and his wife, Sarah Monckton Pattle, one of the celebrated Pattle sisters, of which there were seven. Of this exuberant band, one was the pioneer photographer Julia Margaret Cameron, and another the grandmother of Virginia Woolf and her sister Vanessa Bell. Beautiful and bohemian, Sarah settled with her husband at Little Holland House in Kensington, where they were visited by many of the prominent artistic and literary figures of the day, including Burne-Jones, Leighton, Millais, Rossetti, Dickens, Tennyson, and Thackeray. Val, as he was known, was born in Calcutta, India, but brought up in London. He was taught to draw and paint by George Frederic Watts who was such a close friend of the family that he became a permanent house guest: as Sarah said of the painter, "he came to stay three days, he stayed thirty years". In 1857 Val Prinsep assisted in the painting of the doomed mural at the Oxford Union, with fellow-students Rossetti, William Morris, Arthur Hughes, and John Roddam Spencer Stanhope, amongst others. Afterwards he studied in Paris with Whistler, Edward John Poynter, and George du Maurier, going on to visit Italy with Burne-Jones, where he befriended Robert Browning in the years 1859-60. Prinsep first exhibited at the Royal Academy in 1862, and it is likely around this time that this portrait of Alice was executed. The artist became an Associate of the Royal Academy in 1878, and a full Royal Academician in 1894. He was Professor of Painting at the Royal Academy from 1901 until his death.Art collector and bibliophile Maxwell David Eugene Clayton-Stamm was an authority on the work of William de Morgan and Pre-Raphaelite ceramics. He also facilitated the facsimile publication of the 1819 Blake-Varley sketchbook.
HOGARTH PRESS - John MAYNARD KEYNES (1883-1946). The End of Laissez-Faire, London, Hogarth Press, 1926, 8vo, original cloth-backed paper boards. FIRST EDITION. With 3 other books from the same press. (4)HOGARTH PRESS - John MAYNARD KEYNES (1883-1946). The End of Laissez-Faire. London: "Published by Leonard and Virginia Woolf at The Hogarth Press," 1926. 8vo (185 x 120mm). Half title, woodcut printer's device on title. Original cloth-backed paper boards, printed spine label (boards lightly stained, without the dust-jacket). FIRST EDITION. Woolmer Hogarth Press 97. With 3 other books from the same press, namely E. M. Forster's Pharos and Pharillon (Richmond [London], The Hogarth Press, 1923, 8vo, original blue cloth-backed decorated paper boards, spine label, FIRST EDITION, Woolmer 29), Clive Bell's The Legend of Monte Della Sibilla (Richmond, The Hogarth Press, 1923, 4to, illustrated by Duncan Grant and Vanessa Bell, original pictorial paper boards by Vanessa Bell (without the dust-jacket), FIRST EDITION, Woolmer 27) and [Dorothy Bussy's] Olivia by Olivia (London [Tavistock Square], The Hogarth Press, November 1949, 8vo, original mauve cloth gilt, fifth impression, with a printed dedication "To the Beloved Memory of V. W."). Provenance: Anthony Eden (modern armorial bookplates loosely-inserted in each book). (4)
Vanessa Bell (British, 1879-1961)Villa at Iseo signed with initials, dated and inscribed 'VB Iseo 1952' (lower right)watercolour on paper37.5 x 27cm (14 3/4 x 10 5/8in).Footnotes:ProvenanceThe Bloomsbury Workshop, London, where acquired by the family of the present owner, and thence by descentPrivate 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)Montepulciano titled 'Montepulciano' (lower right)pen and ink and ink on paper29.5 x 34.5cm (11 5/8 x 13 9/16in).Executed circa 1950Footnotes:ProvenanceThe Bloomsbury Workshop, London, where acquired by the family of the present owner, and thence by descentPrivate 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)Angelica stamped with estate stamp (lower right)pencil on paper22.5 x 18.5cm (8 7/8 x 7 5/16in).Executed circa 1930Footnotes:ProvenanceThe Estate of the ArtistWith The Bloomsbury Workshop, London, where acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.The present lot depicts a young Angelica Garnett, daughter of Vanessa Bell and Duncan Grant. 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
* 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: 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, initialled, signed, titled and dated 2015 versoframedimage size 61cm x 51cm, overall size 67cm x 57cm 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.
* VICKI GOLDEN (BRITISH b. 1970), UNTITLED oil on board, signed and dated 2018 versoframedimage size 35cm x 37cm, overall size 43cm x 44cm 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.
* VICKI GOLDEN (BRITISH b. 1970), UNTITLED oil on board, initialled, signed and dated 2018framedimage size 36cm x 35cm, overall size 44cm x 42cm 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.
Woolf (Virginia) A Writer's Diary, second impression, edited by Leonard Woolf, signed by Leonard Woolf on front free endpaper, portion of light offsetting to endpapers and half-title, original cloth, light rubbing to spine ends and corners, dust-jacket designed by Vanessa Bell, a few light stains, edges rubbed with a few short tears, spine browned with portions of loss to head and foot (affecting some letters), upper joint split, 8vo, 1954.
AUTOGRAPHED UNIQUE PHOTOS, taken by the vendor (Female musicians): approximately one hundred and forty-five, including: TORI AMOS (2); 'ATOMIC KITTEN' Signed by all three; JOAN BAEZ; 'BEVERLEY SISTERS' Signed by all three; 'BLONDIE' DEBBIE HARRY; 'BLUE MINK' Signed by MADELEINE BELL (4); SARAH BRIGHTMAN; 'BUCKS FIZZ' CHERYL BAKER; MARIAH CAREY; BELINDA CARLISLE; DINA CARROLL (2); PETULA CLARK (2); 'THE CORRS' Signed by all four; GLORIA ESTEFAN; MARIANNE FAITHFULL (3); JULIE FELIX; CHAKA KHAN; CLEO LAINE (2); LULU (2); DAME VERA LYNN; VANESSA MAE (6) (qty.)
KEYNES (JOHN MAYNARD)The Economic Consequences of the Peace, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO VANESSA BELL, inscribed 'To Vanessa Bell from the author in memory of Charleston where he wrote the book' on front paste-down, half-title, publisher's blue cloth, worn, 8vo, Macmillan and Co., 1919Footnotes:'VANESSA BELL FROM THE AUTHOR IN MEMORY OF CHARLESTON WHERE HE WROTE THE BOOK' - A HIGHLY EVOCATIVE BLOOMSBURY PRESENTATION COPY. Having acted over a six month period as an adviser to the government on financial matters at the Paris Peace Conference, Keynes resigned from his Treasury post on 19 May 1919, dismayed at the early drafts for the The Treaty of Paris. On his return to England 'Economic Consequences was written at high speed and with passionate conviction and often in extravagant terms. Begun on 23 June 1919, it was written in just over three months... much of it was written in August and September at Charleston, Vanessa Bell's farmhouse on the Sussex downs... Although normally a late riser who got to the Treasury a little before noon, he spent his mornings at Charleston writing from 8 a.m. to 1 p.m. and averaged 1000 words a day fit for the printer' (ODNB). An instant best-seller, the book established Keynes's position as probably the most influential economist of the twentieth century.Keynes had his own bedroom at Charleston from 1916 when the artists Vanessa Bell and Duncan Grant first moved there, establishing it as the country hub of the Bloomsbury set. A friend of Lytton Strachey and Leonard Woolf from his Cambridge days, Keynes was an integral part of the group, becoming Grant's lover before the war, a regular at literary and intellectual meetings held at 46 Gordon Square (the lease of which he took over from Clive Bell in 1917), and a very close friend of Bell. Provenance: Vanessa Bell; by descent to the previous owner; private UK collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Woolf, Virginia 10 works The Years. London: The Hogarth Press, 1937. First edition, 8vo, original green cloth gilt, dust-jacket by Vanessa Bell, some chipping and slight loss to jacket, hinges split;Flush. New York: Harcourt, Brace and Company, 1933. First American edition, 8vo, original brown cloth, without dust-jacket;Roger Fry, a biography. London: The Hogarth press, 1940. First edition, 8vo, original green cloth gilt, a little loss and tearing to dust-jacket;Between the Acts. New York: Harcourt, Brace and Company, 1941. First American edition, 8vo, original blue cloth gilt, without dust-jacket;The Death of the Moth. London: The Hogarth Press, 1942. Second edition, 8vo, some chipping and slight loss to dust-jacket;The Moment, and other essays. London: The Hogarth Press, 1947. First edition, 8vo, original red cloth gilt, some slight loss to dust-jacket spine;The Captain's Death Bed. London: The Hogarth Press, 1950. 'Uniform edition', 8vo, original green cloth gilt, dust-jacket price-clipped;A Writer's Diary. London: The Hogarth Press, 1953. First edition, 8vo, original orange cloth, dust-jacket only very slightly chipped;The Waves. London: The Hogarth Press, 1955. Eighth impression, 8vo, original green cloth gilt, some minor chipping to dust-jacket;Granite & Rainbow. London: The Hogarth Press, 1958. First edition, 8vo, original blue cloth gilt, torn dust-jacket with some loss
Woolf (Virginia). Three Guineas, 1st edition, London: Hogarth Press, 1938, half-tone illustrations, some offsetting to endpapers, original cloth (spine a little faded), dust jacket designed by Vanessa Bell, spine faded with tears and small losses at ends, small chips at folds, 8vo, together with A Haunted House and other Short Stories, 1st edition, London: Hogarth Press, 1943, textblock a little toned, small contemporary ownership inscription at head of title, original cloth, dust jacket, spine slightly toned, folds neatly reinforced to verso, 8vo QTY: (2)
Woolf (Virginia). The Common Reader, 1st edition, London: The Hogarth Press, 1925, endpapers toned, original cloth-backed pictorial boards, faint damp-stain to rear cover upper margin, lightly rubbed, 8vo, together withThe Common Reader: Second Series, 1st edition, London: The Hogarth Press, 1932, original green cloth gilt, dust jacket designed by Vanessa Bell, spotted, spine toned, chipped to extremities with some loss to top of spine and front panel lower margin, 8voQTY: (2)
Enslin du Plessis (1894-1978), lithograph in colours on handmade paper, Hospital at Tossa, signed in the plate, 28cm x 40cm, mounted, glazed and framed. From EightLithographs, a suite of lithographs in a limited edition of 250 published by Millers of Lewes in 1945, in which Vanessa Bell, Duncan Grant and Caroline Lucas also hadtwo lithographs. Ed.18/250. Copy original contents sheet attached
VANESSA BELL (BRITISH, 1879-1961)On the Yonne, near Cezy (c. 1950) signed with initials 'V B' (lower left) oil on canvas 45 x 35cm ARR Provenance Modern British and Irish Paintings, Sotheby's, London, 4th October 1995, lot 68; Private collectionCondition reportOld pin holes visible to some corners.Uneven old varnish.Some old minor surface abrasions including a scratch upper right just below branch of tree, but this could be original to work.A very slight indentation to canvas upper left.Dirt and small marks and spots in places.Otherwise overall appears generally good.
VANESSA BELL (BRITISH, 1879-1961)Church in France signed with initials 'V B' (lower right) oil on board 49 x 41cm ARR Provenance Modern British and Irish Paintings, Sotheby's, London, 4th October 1995, lot 87; Private collectionCondition reportSmall spot of paint loss lower centre edge but could be original to work.Dirt and a few very small minor spots and marks in places.A few other small holes/pin size holes and marks in places, including two centre left, but these appear to be original to the work.Otherwise appears in generally good condition.
(Wood Lea Press, Private Press), Jeremy Greenwood, 2 titles : 'The Graphic Work of Edward Wadsworth', Woodbridge, The Wood Lea Press, 2002, limited edition, one of 450 copies, profusely illustrated throughout as called for, folio, original black and white decorative boards based on a Wadsworth design, prospectus and errata slip loosely inserted, original slipcase, 'Omega Cuts', Woodbridge, The Wood Lea Press, 1998, limited edition, one of 450 copies, profusely illustrated throughout as called for, several ills. tipped in/folding, ills. after Henri Gaudier Brzeska, Vanessa Bell, Roger Fry, E. McKnight Kauffer, Edward Wadsworth and other artists associated with the Omega workshops and the Hogarth Press, folio, original cloth, prospectus loosely inserted, original slipcase (2)
Virginia Woolf, 3 titles: 'The Waves', London, The Hogarth Press, 1931, 1st edition, original cloth gilt (spine faded), 'A Room of One's Own', L, Hogarth Press, October 1929, 2nd impression, original cloth gilt, 'A Writer's Diary Being Extracts from the Diary of Virginia Woolf', edited Leonard Woolf, L, Hogarth Press, 1954, 2nd impression, original cloth gilt, dust wrapper (by Vanessa Bell, slightly worn, 18s price intact) (3)
Betty JoelConsole, designed for Marion Brownlie Blackwell, 1937White sycamore, glass.80.2 x 74 x 36.5 cm Produced by Betty Joel, Ltd., Knightsbridge, London.Footnotes:LiteratureRoger Shuff Yatol, 'A Moderne Home for a Modern Woman: Marion Brownlie Blackwell and 1 The Ridings, Ealing', The Decorative Arts Society Journal, 2020, p. 67Bonhams wishes to thank Clive Stewart-Lockhart, Betty Joel's great-nephew, for his assistance with the cataloguing of the present lot. Lizzie BroadbentFounder of the project 'Women Who Meant Business' (www.womenwhomeantbusiness.com)Betty Joel (1894-1985) was one of the foremost designers in the inter-war period. She had a rapid rise to prominence. Self-taught, she began designing furniture for her own home and then for friends, made by her husband, David. In 1921, when she was 27, they set up Betty Joel Ltd. The company's first public outing was at the (Daily Mail) Ideal Home Exhibition in March 1922 where their 'Token' range of furniture, so named because of it was made of teak and oak, was widely praised for its beauty and craftsmanship. Key to the business's ongoing success was Betty's ability to create furniture that was both functional and beautiful.In 1924, Betty and David opened their first London store at 177 Sloane Street and three years later moved to much larger premises at 25 Knightsbridge which revealed a dozen carefully-styled rooms displaying furniture, rugs, lighting and curtains. During the 1930s Betty expanded further into the area of interior design, creating complete show rooms and apartments. Lord Mountbatten and Winston Churchill were just two of her high-profile private clients. Her work could be seen in some of the most iconic buildings of the 1930s: the Daily Express building on Fleet Street; Shell Mex House on the Strand; and Viyella House in Nottingham. Her panelling adorned the walls of Coutts' Bank in Park Lane. Harley Street patients leant on her reception desk. Guests at the Savoy Hotel and transatlantic voyagers on the RMS Queen Mary sat in her armchairs. A radio she designed for Kolster-Brandes Ltd in 1933 was 'one of the sensations' of Radiolympia, with 2,500 sets sold on one day alone. Even HRH The Duchess of York bought one. That year Betty was named alongside Gracie Fields, Madeleine Carroll, Jessie Matthews and Gertrude Lawrence as one of the highest-earning women in the country and a new factory was built in Kingston-upon-Thames to cope with demand. In the spring of 1935, the Royal Academy held its now famed exhibition of British Design in Industry, with work on show by Duncan Grant, Vanessa Bell, Susie Cooper and Oliver Hill. Betty designed a bed on a revolving platform as the controversial centrepiece for a bedroom design. In 1936, a national newspaper described Betty as 'one of Britain's leading designers of furniture and among the few women in the history of furniture designing who have touched anything like eminence in this most specialised craft.' It predicted that in a couple of hundred years, collectors would be running after Joel furniture 'as today they chase Chippendale or search for Sheraton'. However, a year later, Betty's marriage to David unravelled. She left both him and the business and never did any more design work. The company was re-established as David Joel Ltd. and Betty's reputation faded. For many decades it seemed that the forecast of greatness would be remarkably inaccurate. However, since the mid-1980s her profile has started to rise again and now finally her work is attracting the attention it deserves.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
FORSTER (E.M.)The Story of the Siren, FIRST EDITION, [ONE OF 500 COPIES], paper toning, uncut in publisher's blue mottled wrappers, printed label with gold-printed border on upper covers, uneven fading, extremities rubbed [Kirkpatrick A6, first state], Richmond, Hogarth Press, 1920; Howards End, FIRST EDITION, first issue with 'A Stepson of the Soil' featured on last page of the 4pp. of advertisements, half-title, spotting, publisher's cloth, spine worn, hinges splitting, Edward Arnold, 1910--WOOLF (VIRGINIA) Monday or Tuesday... With Woodcuts by Vanessa Bell, FIRST EDITION, 4 full-page woodcuts by Bell, advertisement leaf at end, publisher's cloth-backed decorative boards designed by Bell, rubbed and spotted [Kirkpatrick A5], Richmond, Hogarth Press, 1921, 8vo (3)Footnotes:Provenance: Ray Strachey (nee Costelloe, 1887-1940), Suffragist and politician, ownership signature ('Ray Costelloe') in Howard's End, which was published the year before her marriage to Oliver Strachey, Lytton's brother, in 1911. From a house associated with the Strachey family.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WOOLF, Virginia. Flush. London: Hogarth Press, 1933. First edition, large paper copy, 8vo (214 x 134mm.) Photographic frontispiece, 9 further plates including 4 illustrations by Vanessa Bell. (Toning to text and plate margins.) Original tan cloth (some spotting to upper cover and spine), dust-jacket (toning, minor staining to upper panel, closed marginal tear to lower panel).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Allan Walton, British 1891-1948 - Ship on the coast; oil on canvas, with a spring landscape on the reverse, 50.5 x 56 cm Note:the artist studied with Walter Sickert and exhibited at important galleries of the period, including Arthur Tooth & Sons, Leicester Galleries and Wertheim Gallery. Similar marine paintings to the present work are in public collections including Manchester Art Gallery, Colchester and Ipswich Museums and the Arts Council Collection. The artist was closely associated with the Bloomsbury Group, including Vanessa Bell and Duncan Grant, in the 1930s through his company Allan Walton Textiles.
Winifred Knights, British 1899-1947 - Drapery study for the Milner Memorial altarpiece, Canterbury Cathedral, c.1928-33; pencil on paper, 17.3 x 12.2 cm Provenance: Liss Llewellyn Fine Art, St. Siffret (according to the copy of the Certificate of Authenticity for the work); private collection Note: with a copy of the Certificate of Authenticity from Liss Llewellyn Fine Art. The Milner Memorial altarpiece, which depicted scenes from the life of St. Martin of Tours, was the final major public commission that Knights completed before her untimely death in 1947. The work was highly praised, including by Bishop George Bell of Chichester, an important patron of arts, who had commissioned works by Vanessa Bell and Hans Feibusch.
Eight assorted biographies, letters etc, some signed, including L. Gordon: 'Virginia Woolf. A Writer's Life', OUP, 1984; F. Spalding: 'Vanessa Bell', London, W & N, 1983, 1st edition; Jonathan Coe: 'Like a Fiery Elephant - The Story of B.S. Johnson', L, Picador, 2004, 1st, signed by Coe; Richard Dawkins: 'A Devil's Chaplain', L, W & N, 2003, 1st edition, signed card attached to front pastedown "Best wishes Richard Dawkins 7th Jan 1997; Roy Jenkins: 'Churchill', L, 2001, 1st, signed & inscribed compliment slip attached to FFEP; 'Gielgud's Letters', L, W & N, 2004, 1st edition, signed & inscribed card attached to half title "To Tony Chance, Best wishes and appreciation of your very nice letter. John Gielgud. Jan. 1986"; plus George Bernard Shaw biog. signed by author Michael Holroyd and 'The Uncollected Michael Foot' with Michael Foot signed piece attached to FFEP, all original cloth, all in dust wrappers (8)
Duncan Grant (1885-1978), lithograph on handmade paper, Partridge and Grouse, 35cm x 25cm, mounted, glazed and framed. From Eight Lithographs, a suite oflithographs in a limited edition of 250 published by Millers of Lewes in 1945, in which Vanessa Bell and Duncan Grant each had two lithographs. This is from edition number 18 of 250. Copy original contents sheet attached
§ Simon Bussy (1870-1954) An Asian Fairy-bluebirdsigned with monogram and dated 40 (lower left)oil on board26.5 x 21cmProvenance:Purchased directly from the artist by Pamela, Lady Glenconnor (1903-1989)by whom gifted to Anne, Lady Glenconner (1932-)and by descent within the family to the present ownerBorn to a family of shoemakers in Dole, France, during a period in which the provincial bourgeoisie classes were rapidly expanding, Simon Bussy was the first in his family afforded the opportunity to liberate himself from the restrictive shackles of the family trade. Although an accomplished painter of portraits and landscapes, it is for his small-scale studies of animals, particularly those of birds and reptiles, that Bussy is perhaps best known today.As a young man, Bussy was awarded a scholarship to study at the local drawing school, before travelling to Paris to study under Gustave Moreau at the École des Beaux-Arts. Whilst he gained valuable experience under Moreau, the Symbolist works of his mentor were of little consequence to Bussy, who cited Japanese prints and the works of painters, such as James Abbott McNeill Whistler and Edgar Degas, as his primary influences.After a successful solo exhibition at the hugely influential and innovative Galerie Durand-Rue, in 1901, Bussy left Paris for London. Upon his arrival in the city, Bussy was quickly introduced to the fashionable Bohemian scene by his friend and fellow artist, William Rothenstein. It was during this time that Bussy was introduced to Dorothy Strachey, who, in 1903, would become his wife. As a novelist in her own right and as the sister of Lytton Strachey, Dorothy and Simon were closely associated with the Bloomsbury Group and would often host members, including Vanessa Bell and Duncan Grant, at their marital home, Le Souco, in Roquebrune, near Monaco.Alternating between Roquebrune and London, it was in the United Kingdom, specifically at London Zoo, where Bussy is known to have created most of his animal studies. Discussing these works, Bussy wrote: “Every work is an invention, a poetic composition, not only decorative. In the animals I paint and in the environment around them there is no element that has not been the subject of a patient observation”. Indeed, through his bold and confident presentation of colour, simplification of form and space and the meticulous and nuanced interpretation of the character of each animal, the present lots demonstrate the seamless confluence of the formal and the more ineffable and totemic qualities that have made Bussy’s works so collectable.The board with a light layer of surface dirt and some negligible accretions (mostly isolated to the lower left quadrant). Paint layer appears in good order overall, though there are some networks of very fine cracks largely located to the sky and buildings. Colours appear bright and strong. See additional images.
Vanessa Bell, British 1879-1961- Amaryllis; lithograph on wove, signed in the plate with initials, published by Millers of Lewes in 1945, ed. 18/250, sheet: 44.6 x 35 cm, (unframed) (ARR) Note: In 'The Bloomsbury Artists: Prints and Book Design', Scolar Press 1999, no. 13, Tony Bradshaw writes about Amaryllis Virginia Garnett (1943-1973) who was Vanessa Bell’s first grandchild. The child’s mother, Angelica, was the daughter of Bell and Duncan Grant. A rift occurred between mother and daughter as a consequence of her marriage in 1942 to David Garnett, as he was 25 years her senior, and had been Duncan Grant’s former lover. Amaryllis drowned in the Thames at the age of 29.Light creases and marks to the sheet generally, consistent with handling. Evidence spots of minor foxing in areas. Very small pin holes towards the centre of all four edges. Otherwise in fair condition overall.
ROGER FRY (BRITISH 1866-1934) THE RAVINE, THE ALPILLES, CIRCA 1932-33 oil on canvas, signedDimensions:54cm (21 1/4in), 65cm (25 1/2in)Note: Literature: Shone, Richard E. (ed.) 'The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', London 1999, repr. b/w p.13 fig.4.Note: In his 1999 essay 'The Artists of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', Richard Shone used this painting to illustrate the point that 'Roger Fry, seen as the arch-exponent of formal values and aesthetic decorum, was frequently drawn in his painting to the most romantic and picturesque aspects of the landscape - to the jagged profiles of unpopulated hillsides, to ravines and mountain pools.' (op.cit., p.13).Roger Fry’s appreciation of, and efforts to promote Post-Impressionist art were key to introducing Britain to recent developments in European art. Fry curated two Post-Impressionist exhibitions in London, the first in 1910 and the second in 1912, with the intention of showing the ways in which Impressionism had expanded and developed from its French origins and taken root in other countries, specifically in England. The work of French artists such as Cézanne, Bonnard and Matisse were juxtaposed with that of a new generation of British artists made in response to art made on the Continent. Fry’s intention was to show the artistic and cultural exchange between Great Britain and mainland Europe.One of Fry’s ambitions was to encourage a better appreciation of Cézanne’s achievements and he was the first British critic to champion his work. Fry’s 1927 study, Cézanne, remains the supreme introduction to a painter he regarded as the ‘greatest master of modern times’. On a trip to France in October 1919, Fry spent time in Cézanne’s hometown of Aix-en-Provence, the surrounding areas painted by the artist, and his house, the Jas de Bouffan. The magnificent countryside inspired Fry to paint, and led him to declare Cézanne a ‘pure naturalist’.Fry believed form, not subject matter, should be the primary expressive element in art. Cézanne’s aims closely aligned with Fry’s ideal, as it gave formal expression to nature. In his 1927 study, Fry asserts that Cézanne’s art is the antithesis of the abstraction of Cubism, constantly questing instead to explore the inner face of nature. He also notes the artist’s powers as a colourist as among the supreme aspects of his genius. Typical of Cézanne’s style, according to Fry, are the pulsating rhythms and constructed strokes that create geometric forms. According equal emphasis to all areas of the canvas, the entire picture surface is imbued with ‘the vibration and movement of life’. In one passage, Fry writes ‘Cézanne reduces actual objects to pure elements of space and volume. In their abstraction, the objects are then brought back into the concrete world of real things by expressing them in an incessantly varying and shifting texture. They retain their abstract intelligibility and regain that reality of actual things which is absent from all abstractions.’For all his academic influence, however, Fry primarily saw himself as an artist. His championship of Post-Impressionism was accompanied by a dramatic change in his own painting, becoming more experimental in style. His landscapes are arguably Fry’s most notable contribution to English Post-Impressionism, in which trees are ground down to the simplest geometrical shapes and clouds stalk the skies. He was interested in the capturing of light and mood of places, and his desire for clear-cut shapes and colours is expressed in sturdy geometric shapes.Fry was a regular visitor to southern France for much of his life. He had great admiration for its various landscapes, for the light and colours of the Midi, for the lifestyle and customs of its inhabitants, its broadly democratic attitude to culture, its architecture and artistic heritage. His extensive trips deepened his love of Provence, where he was eventually to buy a farmhouse. In 1931 he acquired Mas d’Angirany, on the Route d’Antiques leading out of St Remy-de-Provence, which he shared with Charles and Marie Mauron. It was surrounded by olive groves and the upper floor looked across to Les Alpilles, extraordinary geological formations that have been weathered into grotesque shapes and pitted by ravines that have cut their way through the rocks. Vincent Van Gough’s ‘Ravine’, painted shortly after his arrival at the Saint-Paul asylum in 1889, depicts a nearby ravine in Saint-Remy; a possible inspiration for Fry’s later production of a similar scene.Frances Spalding has written ‘some of Fry’s most lyrical late landscapes, with their observation of flickering light an intense responsiveness to the spirit of the place, were painted in the area in and around St Remy’. Until the end of his life, Provence would remain Fry’s favourite part of France. It was a painter’s love, ultimately visual.
Modern First Editions. Woolf (Virginia) & (Leonard, editor), A Writer's Diary [...], first edition, London: The Hogarth Press, 1953, pictorial dustjacket designed by Vanessa Bell, orange cloth, 8vo, Sansom (William) & Lamb (Lynton, illustrator), Lord Love Us, first edition thus, London: The Hogarth Press, 1954, original dustjacket, cloth over decorative boards, 8vo, Miller (Henry), The Colossus of Maroussi, first edition, Norfolk: New Connections, 1941, fragmentary dustjacket over cloth, 8vo, Kafka (Franz), The Great Wall of China, and Other Pieces, first English edition, London: Martin Secker Ltd., 1933, original publisher's cloth only, 8vo, Corvo (Baron, translator), The Rubaiyat of Umar Khaiyam [i.e. Omar Khayyam], first edition thus, London: John Lane/Bodley Head, 1903, parallel French-English text, original publisher's cloth over papered boards, top edge gilt, others uncut, 8vo, Hemingway (Ernest): The Old Man and the Sea, second edition, London: The Reprint Society, 1953, illustrated by Tunnicliffe and Sheppard, pictorial dustjacket over cloth, 8vo, [&] The Fifth Column, first edition, London: Jonathan Cape, 1939, original cloth, 8vo, Bellow, The Victim, first edition, London: John Lehmann, 1948, pictorial dustjacet over cloth, 8vo, Stendhal, Love, The Merlin Press, 1957, original pictorial dustjacket over cloth, 8vo, further Hemingway and Woolf interest, various; Hogarth Press imprints; Graham Greene, Osbert Lancaster, Classical Landscape, 1947, pictorial dustjacket other works, various pictorial dustjackets, including one designed by John Piper, etc., (28).
Vanessa Bell, British 1879-1961- Amaryllis; lithograph on wove, signed in the plate with initials, published by Millers of Lewes in 1945, ed. 18/250, sheet: 44.6 x 35 cm, (unframed) (ARR) Note: In 'The Bloomsbury Artists: Prints and Book Design', Scolar Press 1999, no. 13, Tony Bradshaw writes about Amaryllis Virginia Garnett (1943-1973) who was Vanessa Bell’s first grandchild. The child’s mother, Angelica, was the daughter of Bell and Duncan Grant. A rift occurred between mother and daughter as a consequence of her marriage in 1942 to David Garnett, as he was 25 years her senior, and had been Duncan Grant’s former lover. Amaryllis drowned in the Thames at the age of 29.Please refer to department for condition report
Woolf (Virginia) Kew Gardens, third English (limited) edition, number 210 of 500 copies signed by author and artist, woodcut decorations throughout by Vanessa Bell, original decorative colour boards after Bell, light browning to spine, splitting to joints, laminate and tape repair along spine causing some lifting and tearing to foot of upper cover, light wear to corners, light rubbing and surface soiling, [Kirkpatrick A3c; Woolmer 155], 4to, Hogarth Press, [1927].⁂ The first quarto edition of this work with Bell's illustrations expanded to cover every page. Scarce signed by both contributors.
Woolf (Virginia) Walter Sickert: a Conversation, first edition, initialed by the author and signed by Walter Sickert and Vanessa Bell with a quote "Life is colour" and the date crossed through and supplied in roman numerals on title in unknown hand, ink ownership inscription "William Bellows. Gloucester. 11.i.35" with later ink ownership inscription of E. E. ?Pullin below, original pictorial wrappers after Vanessa Bell initialed by Bell, "From W. B." to head of upper wrapper, light marking and toning to spine and covers, [Kirkpatrick A20a; Woolmer 355], 8vo, Hogarth Press, 1934.⁂ A remarkable copy, signed or initialed by each contributor, we can trace no like example. William Bellows (1873-1942), son of the printer and lexicographer John Bellows. He became joint-manager of his father's printing firm in 1902.
Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Maurice Villain signed 'Sickert' (lower right), titled and inscribed 'Maurice Villain - Neuville-lès-Dieppe' (lower left)pencil on paper26.5 x 19cm (10 7/16 x 7 1/2in).Executed circa 1901-2Footnotes:ProvenanceSale; Christie's, South Kensington, 3 July 2003, lot 243, where acquired by the previous ownerTheir sale; Sotheby's, London, 16 March 2021, lot 216, where acquired by the present ownerPrivate Collection, U.K. LiteratureW. Baron, Sickert, Paintings and Drawings, Yale University Press, New Haven and London, 2006, no. 188.1, p. 278The present lot was executed by Sickert as a preparatory sketch for the oil painting One of Madame Villain's Sons, a portrait which was painted in 1904 and formerly owned by Vanessa Bell and Duncan Grant, now forming part of the Charleston House Trust collection. The drawing is one of a number of works depicting Maurice Villain, who lived in Neuville-lès-Dieppe with his mother, the fisherwoman, Madame Augustine Villain. Sickert lived with Augustine at the Maison Villain between 1899 and 1902, and the close relationship between the pair prompted speculation that Maurice Villain was in fact the Artist's illegitimate son. During this period, Sickert enjoyed the rural, rustic way of living in Neuville, as opposed to the more cosmopolitan Dieppe, and began to depict the area's local fishing community, the Polletais. After leaving Maison Villain in 1902, Sickert would spend three more years in France, before returning to London in 1905.For further information on this lot please visit Bonhams.com
Duncan Grant (British, 1885-1978)Vanessa Bell in a Yellow Shawl oil on canvas72.7 x 51.5 cm. (28 5/8 x 20 1/4 in.)Painted circa 1911-12Footnotes:ProvenanceThe Artist's Estate, until 1987With Hirschl & Adler Galleries, New YorkWith Davis & Langdale Company, New York, where acquired by the present ownerExhibited New York, Hirschl & Adler Galleries, British Modernist Art 1905-1930, 14 November 1987-9 January 1988, cat.no.126New York, Davis & Langdale Company, Duncan Grant (1885-1978), 1997LiteratureJohn Russell, 'A Bloomsbury Founder, Always With an Idea', The New York Times, 7 March 1997, p.C30Duncan Grant painted and drew Vanessa Bell (1879-1961) countless times between 1911 and Bell's death in 1961 (when he drew her on her deathbed). All these portraits reflect both the personal intimacy of the two painters as well as Grant's sometimes dizzying changes of style – from brilliant Post Impressionism to the careful portrayals of her as an old woman. The present audacious work is one of the very first images he made of her and is a startling example of the 'divisionist' style Grant adopted in 1911 (which Bell called his 'leopard manner'). The origins of this style are mixed: Grant may have seen early Matisse paintings in which Pointillist handling is evident; also works by Cézanne and Signac (but not Seurat); and the mosaics Grant greatly admired in Sicily in early 1911. The best known of these 'leopard manner' paintings are The Queen of Sheba (Tate) and Portrait of George Mallory (National Portrait Gallery). He sometimes used both fluent and spotted styles in the same painting, but the latter gradually disappears in 1913 (although it is found in some specifically decorative works in 1913-14). Pure, often unmixed colour was applied in spots and square, parallel brushstrokes, the image tightened by a few dark lines as seen here on the left side of Bell's face.In several early portraits, Bell is fancifully dressed in striking hats or, as here, with a long yellow shawl over her head. It should be stressed that Bell was modelling for Grant rather than sitting for her portrait. He does not attempt to capture her particular beauty and flattery was a concept unknown to his personality. There is just a possibility that she is wearing metal spectacles, similar to these worn by Katherine Cox in another 'leopard manner' portrait (1912; two versions; Clandeboye, Northern Ireland; National Museum of Wales, Cardiff).This painting remained with Grant and was inventoried by Bell in 1951 as 'VB in yellow and orange'. It was in his estate from 1978 until shown in New York in 1987 and has been in the U.S.A. until the present.We are grateful to Richard Shone for his assistance in compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
WOOLF, VIRGINIA (1882-1941): 'THE YEARS' LONDON, THE HOGARTH PRESS 1937, ORIGINAL CLOTH 1ST EDITION. 'FLUSH'; A BIOGRAPHY LONDON THE HOGARTH PRESS 1933 ORIGINAL CLOTH WITH PICTORIAL ENDPAPERS DESIGNED BY VANESSA BELL 1ST EDITION, NEW EDITION PUBLISHED ONE MONTH AFTER THE ORIGINAL (COMPLETE WITH ERRATA SLIP) 'A ROOM OF ONE'S OWN' LONDON THE HOGARTH PRESS 1929 ORIGINAL CLOTH 1ST EDITION SECOND IMPRESSION 'BETWEEN THE ACTS' LONDON THE HOGARTH PRESS 1941 ORIGINAL CLOTH 1ST EDITION THIRD IMPRESSION 'THREE GUINEAS' LONDON THE HOGARTH PRESS 1943 ORIGINAL CLOTH 2ND EDITION 'JACOB'S ROOM' LONDON THE HOGARTH PRESS 1945 ORIGINAL CLOTH 3RD EDITION 'THE COMMON READER : FIRST SERIES' LONDON THE HOGARTH PRESS 1942 ORIGINAL CLOTH 5TH EDITION 'THE COMMON READER : SECOND SERIES' LONDON THE HOGARTH PRESS 1935 ORIGINAL CLOTH 2ND EDITION
Woolf, Virginia: The Moment and other essays, 1st Edition, The Hogarth Press, London, with maroon cover gilt lettering and original dust wrapper designed by Vanessa Bell (creases, tears to wrapper, damp damage to cover top and lower section) together with Shaw, Bernard: The Doctor's Dilemma, Getting Married & The Shewing-up of Blanco Posnet, 7th impression, Constable & Company 1924, leather cover, gilt lettering, gilt crest to spine, Coat-of-Arms to front cover (2)
Graves, Robert. Contemporary Techniques of Poetry, Hogarth Press, 1925, card covers by Vanessa Bell, tog. w/ Contemporary Poetry and Prose, issues 9 & 10, Spring & Autumn 1937, card covers by Henry Moore, covers detached to issue 10; New Verse, Nos. 26-27, Nov 1937, Autumn Double Number, and other poetry & 20th-century literature in varying condition, sold with all faults (16)
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