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Woolf (Virginia) Walter Sickert: A Conversation, first edition, signed by the author, original pictorial wrappers designed by Vanessa Bell, lower cover very slightly soiled, [Kirkpatrick A20a], 8vo, Hogarth Press, 1934.⁂ Rare signed.

Vanessa Bell (British, 1879-1961)Tile Design for Kings College Garden Hostel, Cambridge pen and ink and watercolour27.9 x 21.6 cm. (11 x 8 1/2 in.) (sheet); 19 x 15.2 cm. (7 1/2 x 6 in.) (image)Executed in 1951Footnotes:ProvenanceWith Anthony d'Offay, London, where acquired byLady Mary KeenPrivate Collection, U.K.ExhibitedLondon, Anthony d'Offay, Vanessa Bell, Paintings and Drawings, 20 November-12 December 1973, cat.no.38London, The Fine Art Society, June 1975, cat.no.51We 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

Anne Redpath (British, 1895-1965)White Tulips signed 'Anne Redpath' (lower right)oil on board48 x 71.7 cm. (19 1/8 x 28 1/4 in.)Footnotes:ProvenanceAcquired from the 1956 exhibition by the father of the present ownerPrivate Collection, U.K.ExhibitedBristol, Royal West of England Academy, May 1956, cat.no.34'Probably through the influence of her husband, Redpath was invited to have a solo show exhibition at the Royal West of England Academy in Bristol in May 1956. This was part of the Academy's new policy to raise money and it was the first in a series that included Duncan Grant, Vanessa Bell and Terry Frost. According to the Academy's records, the exhibition was a commercial success and both parties were happy. There were fifty-eight paintings and watercolours, including several loan pictures...In some ways the exhibition was a retrospective of the last six years' work, including work from the Spanish, Corsican and Brittany trips as well as still-lifes and interiors. After this show she exhibited regularly at the R.W.A. and in 1959 was elected an Academician.'(Patrick Bourne, Anne Redpath 1895-1962, Atelier Books, Edinburgh, 2004, pp.85-6).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

Caroline Byng Lucas (1886 - 1967), lithograph on handmade paper, fruit and flowers, image 33cm x 24cm, unframed, from Eight Lithographs, limited edition of 250 published by Millers of Lewes in 1945, in which Vanessa Bell, Duncan Grant and Caroline Lucas each had 2 lithographsVery slight paper discoloration

δ Grant (Duncan) Martini and Oranges, inks, pastel and chalks, touches of white heightening, on thin wove paper without watermark, signed with initials and inscribed 'Tangiers' lower right, 280 x 200 mm (11 x 7 7/8 in), under glass, toning and discolouration to pigments, minor surface dirt, framed, [circa 1936]Provenance:From the collection of the late Mr. Laurence Lee ⁂ Duncan Grant travelled to Tangier several times throughout his life, and the present undated sheet would appear to be part of a group of studies executed in the 1930s. Another drawing from this stay in Tangier, Bowl of Vegetables and Fruits, is executed in the same style and bears the date 1936 (see Toovey's, Fine Art, 5th September 2018, lot 75). Several other studies by Grant from Tangier can be found in the collection held in Charleston Farmhouse, the home and studio of Duncan Grant and Vanessa Bell.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

O J Dawson a modern pottery bowl after the original painted by Vanessa Bell, footed form, painted with comma motif in red on a blue ground, the foot with a band of brown dots, the interior with a band of yellow dot motif, a fluted vase by Phyllis Keyes glazed white, the interior glazed pale blue, a large shell dish dated 1942 by Phyllis Keyes, a smaller flaring vase, two troughs, and two fish dishes by Phyllis Keyes, and a jug by Caroline Gray, incised signature, 20cm. diam. Catalogue notes The original bowl was thrown by Quentin Bell and decorated by Vanessa Bell in the 1940s and is in the Bloomsbury collection at Charleston house. Phyllis Keyes donated a similar vase to the Victoria & Albert Museum in 1934. Provenance The David Coachworth & Peter Myers Collection.

° Woolf, Virginia - 3 works - The Captain's Death Bed and other Essays, 1st edition, original cloth in d/j designed by Vanessa Bell, spine darkened Hogarth Press, London, 1950; The Death of a Moth and other Essays, in chipped d/j with loss, designed by Vanessa Bell, Hogarth Press, 1942; The Moment and other Essays, original cloth, Hogarth Press, 1947

NO RESERVE Sickert (Walter).- Woolf (Virginia) Walter Sickert: a Conversation, first edition, original pictorial wrappers by Vanessa Bell, very slightly rubbed, spine a little browned, Hogarth Press, 1934 § Catalogue of an Exhibition of "English Echoes": A Series of New Paintings by Richard Sickert, A.R.A., original printed wrappers, uncut, Leicester Galleries, 1931 § Fine Art Society. The Ruth and Joseph Bromberg Collection of Sickert Prints and Drawings, original wrappers, 2004 § Sickert (Walter) The Complete Writings on Art, edited by Anna Gruetzner Robins, Oxford, 2000 § Baron (Wendy) The Camden Town Group, 1979, plates and illustrations, some colour, the last two original cloth or boards with dust-jackets, the last also with slip-case; and a small quantity of others on or relating to Sickert, some with notes loosely inserted, some pamphlets, 8vo & 4to (c.50)

Vanessa Bell (British, 1879-1961)In the Garden watercolour on paper22 x 30cm (8 11/16 x 11 13/16in).Painted circa 1927-29Footnotes:ProvenanceSale; Sotheby's, 9 February 1972, lot 64Acquired by the family of the present owner, circa the 1970s or 80s and thence by descentPrivate Collection, U.K.Painted at the Artist's house in Cassis, south of France.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)Cat stamped with Estate stamp (on sheet verso)charcoal on paper36.5 x 23.5cm (14 3/8 x 9 1/4in).Executed in the 1920sFootnotes:ProvenanceThe Artist's EstateWith The Bloomsbury Workshop, London, where acquired by the present ownerPrivate 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

Roger Fry (British, 1866-1934)Cypresses, Broussa oil on board35.5 x 25.5cm (14 x 10 1/16in).Painted in 1911with a further unfinished landscape sketch on the reverse, by the same handFootnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, no. 23 The present lot was painted on a visit to Turkey accompanied by Clive and Vanessa Bell.We are grateful to Richard Shone for his assistance in cataloguing this lot.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

Roger Fry (British, 1866-1934)Ravine with Houses, Broussa oil on board35 x 25cm (13 3/4 x 9 13/16in).Painted in 1911Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, no. 22The present lot was painted on a visit to Turkey accompanied by Clive and Vanessa Bell.We are grateful to Richard Shone for his assistance in cataloguing this lot.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

CLASSIC SOUL & FUNK - 7" COLLECTION. Choice grooves with these 27 x 7" loaded with rarities. Artists/titles/cat. numbers include Alvin Cash & The Registers - Stone Thing (Westbound W-159), The Fabulistics - Absence (D&H DM 84507 - VG+), Archie Bell & The Drells - Where Will You Go When The Party's Over (S PIR 4803 - VG), Bobby Womack - How Could You Break My Heart (RIS 17 - Ex+), The Montclairs - All I Really Care About (Is You) (Vanessa V-109 - Ex), Jakie Whitren/John Cartwright - International Times (LRS 111), The Johnson Family - I Only Want To Be With You (K 11523), Bobbie Houston, Gloria Lynne (IMP-31003), The Matta Baby - Do The Pearl Girl (RE), Gwen McCrae, Manu Dibango, The Fiestas, The Jackson 5, Four Tops, The Consolers, Tobi Legend, Jesse Henderson, THe Headliners, The Drinkard Ensemble, Tommy Jones, Maxine Brown and George Benson. Condition is typically well kept VG+ to Ex+.

WOOLF, Virginia (1882-1941). The Common Reader. [etc.]WOOLF, Virginia (1882-1941). The Common Reader. London: Published by Leonard and Virginia Woolf at The HogarthPress, 1925. 8vo (214 x 140mm). Half title. Original grey cloth-backed colouredpictorial paper boards by Vanessa Bell (corners rubbed and bumped, some lightstaining, without the dust-jacket). FIRST EDITION. IMPORTANT ASSOCIATION COPY,the front pastedown inscribed and signed in pencil: “Sherfield Court, Sherfieldupon Loddon. Dorothy Wellesley 1925”, and further signed and inscribed in ink:“Dorothy Wellesley, Penns in the Rocks, 1954.” Dorothy Wellesley (1889-1956),an accomplished writer and poet who was highly regarded and championed by W. B.Yeats, worked as an editor for Virginia and Leonard Woolf’s Hogarth Press. She isperhaps now chiefly remembered for her relationship with Vita Sackville-West,for whom she left her husband, Lord Gerald Wellesley, 7th Duke ofWellington, in 1922. Vita Sackville-West dedicated to Dorothy her book-lengthpastoral poem ‘The Land’ which describes the gardens at Sherfield Court whichDorothy did so much to foster: ‘She walks among the loveliness she made, / Betweenthe apple-blossom and the water – / She walks among the patterned pied brocade,/ Each flower her son, and every tree her daughter.’ The poem won theHawthornden Prize and was satirized by Virginia Woolf in ‘Orlando’ whoseprotagonist was based on Vita Sackville-West. When Vita and Dorothy’s relationshipended, Dorothy became the lover of Hilda Matheson (1888-1940), a Producer atthe BBC who rented a house from her in the grounds of Penns in the Rocks, inWithyham, Sussex, the house she moved to after the end of her marriage.Kirkpatrick A8a; Woolmer A Checklist of The Hogarth Press 1917-1946 81. WithVirginia Woolf’s The Common Reader. Second Series (London, 1932,original cloth, dust-jacket designed by Vanessa Bell, FIRST EDITION [notinscribed], with a loosely-inserted 4-page prospectus for Virginia Woolf’sworks, printed by The Hogarth Press). Provenance: From the Library of the late Sir GeorgeEngle. (2)

WOOLF, Virginia (1882-1941). Three Guineas. [etc.]WOOLF, Virginia (1882-1941). Three Guineas. London: The Hogarth Press, 1938. 8vo (183 x 120mm). Half title, 5half tone plates. Original yellow cloth, spine lettered in gilt (some verylight staining), dust-jacket designed by Vanessa Bell (repairs on verso, backstripfaded and with small piece torn away from head). FIRST EDITION of the author’sfeminist and pacifist polemic. Kirkpatrick A23a; Woolmer 440. With 9 otherbooks by Virginia Woolf, namely Jacob’s Room (London, November 1922,original cloth, lacking the dust-jacket, second impression), The Years (TWOCOPIES, London, 1937, original cloth, both lacking the dust-jacket), RogerFry. A Biography (London, November 1940, original cloth, lacking thedust-jacket, third impression), Between the Acts (London, 1941, originalcloth, lacking the dust-jacket), A Haunted House (London, 1943, originalcloth, lacking the dust-jacket), A Haunted House (London, June 1944,original cloth, dust-jacket, third impression), The Moment and Other Essays(London, 1947, original cloth, lacking the dust-jackets) and A Writer’sDiary (London, 1953, original cloth, dust-jacket), all FIRST EDITIONSexcept where indicated. Provenance: From the Library of the late Sir George Engle. (10)

WOOLF, Virginia (1882-1941). The Waves.WOOLF, Virginia (1882-1941). The Waves. London: Published byLeonard and Virginia Woolf at The Hogarth Press, 1931. 8vo (185 x 125mm). Halftitle (sporadic very light mainly marginal spotting). Original mauve cloth, spinelettered in gilt (narrow strips faded at head and foot of spine, very faint and localised adhesive deposits to covers), dust-jacketdesigned by Vanessa Bell (piece torn away from head of backstrip with loss ofpart of 2 letters, some light spotting). Provenance: From the Library of the late Sir GeorgeEngle. FIRST EDITION of the author's celebrated modernist work in which "... each character speaks in soliloquy against the background of the sea. Several lives thus appear as in a pageant detached from the framework of daily life, but they change and grow old as time goes on. In the end one of the characters sums up the effect of their lives as a whole" (from the front turn-in). “Her most experimentalnovel in which a group of ‘early Bloomsburies’ with qualities amalgamated fromKeynes, Strachey, Vanessa Bell and Desmond McCarthy, etc., are halted in aseries of close-ups at various stages of their lives while their thought-trainsare recorded, till they end in a crescendo of highly artificial writing thatsurprisingly comes off … [Her] most ambitious novel” (Connolly). Connolly TheModern Movement 70; Kirkpatrick A16a; Woolmer 279.

IONESCO EUGENE: (1909-1994) Romanian-French Playwright & Dramatist. A printed 4to handbill announcing a performance of Virginia Woolf's play Freshwater at the University Theatre in New York, 20th - 21st October 1983, signed by ten individuals associated with the production, some of them cast members, including Eugene Ionesco, his wife Rodica Ionesco, Simone Benmussa (director), Nathalie Sarraute, Joyce Mansour, Jean-Paul Aron, Florence Delay, Nigel Nicolson and two others. An interesting and unusual grouping of signatures. A few very light, extremely minor creases, VG The printed text at the base of the handbill explains 'This will be the first time Freshwater has been performed in the United States. It was given once in 1935 by friends of Virginia Woolf at the home of her sister Vanessa Bell…..the play was published in English in 1976. Elisabeth Janvier's adaptation appeared in 1981. This version was given a single performance on December 13, 1982, at the Centre Georges Pompidou. Many of those who will be performing the play in New York were in the Paris cast. Thanks to the collaboration of the British Council, Nigel Nicolson, a famous member of the Bloomsbury Group, will be present at the October 20 performance to present Freshwater.'

Woolf (Virginia) The Common Reader, some scattered spotting, original cloth-backed pictorial boards, light browning and soiling, spine ends and corners bumped, 1928; The Common Reader: Second Series, a few spots to fore-edge, original cloth, dust-jacket, light browning and faint damp-staining to spine, spine ends and corners a little chipped, short closed tears to head of joints, but an excellent example overall, 1932, first editions, preserved together in custom slip-case, 8vo (2)⁂ Woolf's witty collection of essays for the common reader with covers designed by Vanessa Bell.

Forster (E.M.) Anonymity. An Enquiry, first edition, signed by the author on title with strike through printed name, ink ownership inscription and bookplate of Gilbert A. Harrison to endpaper and pastedown, original pictorial boards by Vanessa Bell, chipping to spine ends with portion of loss to head of spine, light browning to spine and and cover margins, corners a little bumped, [Kirkpatrick A11; Woolmer 61], 8vo, Hogarth Press, 1925.

Crowley (Aleister) Why Jesus Wept, first edition, initialed presentation inscription from the author "W. J. W. startles the Belle (touches the clitoris as they say at the White Cat) This, then to startle you. A. C." to endpaper, some light scattered spotting, 1 gathering loose, note in pencil in Crowley's hand "M. H. Bell Htl. de la Haute Loire Bd. Raspail" loosely inserted, original Japanese vellum wrappers, largely unopened, spine browned with ends chipped, browning and soiling to covers, preserved in custom drop-back box, [Yorke 19a], 4to, Privately Printed, 1904.⁂ The rare first edition of this religious satire by Crowley with a typically enigmatic and risqué inscription. We can trace no other inscribed copy. This copy without the two printed inserts (often lacking). A loosely inserted bookseller's description intriguingly gives the provenance as by descent through the family of Clive and Vanessa Bell.

Duncan Grant (British, 1885-1978)Lucca signed and dated 'D.Grant./50' (lower right)oil on canvas122.1 x 91.6 cm. (48 x 36 in.)Footnotes:ProvenancePrivate Collection, U.K.The present work was painted following a trip Grant made to Lucca with Vanessa Bell, Eardley Knollys and Edward Le Bas (see provenance of lot 12) in September 1949.We are grateful to Richard Shone for compiling this catalogue entry.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)Landscape at St Tropez signed with initials and dated 'VB 1921' (lower right)oil on canvas35.7 x 59.8 cm. (14 x 23 1/2 in.)Footnotes:ProvenanceWith Austin Desmond Fine Art, London (as Landscape in the South of France)Private Collection, JapanThis painting was carried out during an extended period spent by Vanessa Bell at La Maison Blanche, a house at the back of St Tropez. It belonged to Charles Vildrac, poet and Paris dealer, and his wife Rose. Bell, her three children, their two nurses and Duncan Grant went by train in October 1921, returning to England in January 1922. Several landscapes, such as this one, resulted from this visit as well as one of Bell's best paintings, her Interior with a Table, St Tropez (Tate). The view through the French doors in that work is the same – if more distant – as the present painting, with a glimpse of the Mediterranean to the right. Bell's colour here is subtle and warm, putting one in mind of her love of Corot's Italian landscapes and possibly of recent works by André Derain that she had seen in Paris.We are grateful to Richard Shone for 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

Roger Fry (British, 1866-1934)The walled garden, Charleston oil on canvas46.6 x 54.5 cm. (18 3/8 x 21 1/2 in.)Painted in 1919-20Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaPainted from a top-floor window at Charleston, Vanessa Bell's house in Sussex. Years later when Bell's studio had replaced the attic bedroom, she depicted the same view on frequent occasions. There is a fragment of a painting on the verso which might well be by Bell, cut from a larger work of about 1911 but discarded by the artist. She may well have given this to Fry while he was visiting Charleston, to enable him to paint on the back.We are grateful to Richard Shone for compiling this catalogue entry.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

Roger Fry (British, 1866-1934)Vanessa Bell in a deckchair oil on board33.6 x 56 cm. (13 1/4 x 22 in.)Painted in 1911Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, CanadaExhibitedCanada, Edmonton, Edmonton Art Gallery, Roger Fry, Artist and Critic, 19 March-18 April 1976, (as Model Resting)In early summer 1911 Vanessa Bell spent a considerable time staying at Roger Fry's house Durbins near Guildford and at a nearby rented house called Millmead Cottage. She was recovering her health after a bout of illness while in Turkey with Fry, Clive Bell and Harry Norton earlier in the year. It was about this time that Fry and Bell began their affair and there are several portraits by him of Bell, painted and drawn, from the next year or two. On the verso there is another painting depicting Bell lying on the grass.We are grateful to Richard Shone for compiling this catalogue entry.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)Pond from a Window signed and dated 'V Bell 1944' (lower right)oil on canvas26 x 35.2 cm. (10 1/4 x 13 7/8 in.)Footnotes:ProvenanceRaymond SherrardWith The International Galleries, London, 13 June 1949, where purchased byPrivate Collection, U.K., thence by descentTheir sale; Duke's, Dorchester, 19 April 2007, lot 121, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Redfern Gallery, From the Abbot CollectionThis is a view from the sitting room window at Charleston to the pond in front of the house.We are grateful to Richard Shone for compiling this catalogue entry.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

Woolf (Virginia). Monday or Tuesday, 1st edition, London: Hogarth Press, 1921, 4 full-page woodcuts by Vanessa Bell (a little offsetting to opposite text leaves), advertisement leaf at end, small marginal chip to a couple of leaves from opening, light spotting and toning to endpapers, original cloth-backed boards, upper cover with design by Vanessa Bell, head of spine bumped, upper edges slightly rubbed, 8voQty: (1)NOTESKirkpatrick A5a. 1000 copies printed.

Fry (Roger). Twelve Original Woodcuts, 1st edition, Hogarth Press, 1921, 12 full-page woodcuts to alternate rectos, titles printed in red, advertisement leaf, light spotting to plate VII title leaf, light marginal toning to title and advertisement versos, original hand-decorated marbled wrappers, paper label to upper wrapper, some wear to spine and edges, 8voQty: (1)NOTESWoolmer 13. 150 copies printed. "Virginia Woolf in her diary entry for 25 November 1921... states, "Roger's woodcuts, 150 copies, have been gulped down in 2 days. I have just finished stitching the last copies - all but six." This suggests that the first impression may have been distributed by the end of November. In a letter to Vanessa Bell dated 13 November 1921... Virginia states, "By the way, Rogers [sic] cover paper was not designed by Carrington, I get it from a little man in Holborn; it is clearly an imitation of the Kew Gardens cover." " (Woolmer).

WOOLF, Virginia. Flush, a Biography. Hogarth Press, London. 1933 Large Paper 1st Ed. In original publisher’s cloth with dust wrapper. 4 original drawings by Vanessa Bell and six other illustrations. [1]Condition report: Boards stained and spotted.Internally clean.Wrapper has some damp staining to bottom edge of spine, various chips and tears.Brown paper repair to rear flap.

§ VANESSA BELL (BRITISH 1879-1961) THE SCHOOL ROOM, CIRCA 1937 lithograph, published by Contemporary Lithographs Ltd.(45cm x 61cm (17.75in x 24in))

Duncan Grant (1885-1978) St. Ives - Huntingdon lithographic poster, 1932, condition A; not backed, framed (Dimensions: 76cm x 114cm (30in x 45in))(76cm x 114cm (30in x 45in))Footnote: Literature: Hewitt, The Shell Poster Book, 50.Duncan Grant studied at Westminster School of Art and at the Slade. He was one of the first English artists to be influenced by Fauvism, particularly by Cezanne, and he exhibited at the second Post-Impressionist exhibition in 1912. He joined Roger Fry in 1913 as director of the Omega Workshops. He was part of the Bloomsbury Group and lived with the painter Vanessa Bell with whom he collaborated on projects, including designs for textiles, pottery, stage sets and costumes and a series of designs for the Queen Mary in 1935 which Cunard rejected. In his typical style, Grant here portrays the 15th Century bridge in the picturesque market town of St.Ives, in Cambridgeshire, 12 miles north-west of Cambridge.

Vanessa Bell (British, 1879-1961)Tile Design for King's College Garden Hostel, Cambridge pen and ink, ink and gouache on paper20.5 x 17cm (8 1/16 x 6 11/16in).Painted in 1951Footnotes:ProvenanceWith Anthony d'Offay, London, where acquired by the family of the present owner in 1973, and thence by descentPrivate Collection, U.K.ExhibitedLondon, Anthony d'Offay, Vanessa Bell: Paintings and Drawings, 20 November-12 December 1973, no. 37This 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

Woolf, Virginia: Monday or Tuesday. Leonard & Vriginia Woolf at the Hogarth Press, Richmond, 1921. First edition, first printing (1000 copies were printed). Illustrated with 4 woodcuts by Vanessa Bell. Original pictorial boards; rubbed. PP: 91, (i) Publishers’ advert. There is, as usual, some offsetting from the woodcuts onto the facing pages.

PRE-RAPHAELITE BEAUTY,a rare and early albumen photographic print 1857/8, by James Mudd or Joseph Cundall, of Mary Louisa Fisher and Julia Prinsep Stephen (both née Jackson),together with another albumen photographic print of Julia Prinsep Stephen, mid-1860s, photographer unknown, possibly Julia Margaret Cameron,197 x 149mm and 195 x 154mm (2)The first photograph shows an 11-year-old Julia (Jackson) Prinsep Stephen (on the right) with her sister Mary Louis Fisher (on the left).Julia Prinsep Stephen (née Jackson: 7 February 1846-5 May 1895) was a celebrated Englishwoman, noted for her beauty as a Pre-Raphaelite model and philanthropist. She was the wife of the biographer Leslie Stephen and mother of Virginia Woolf and Vanessa Bell, members of the Bloomsbury Group.An identical, but smaller print to this, was part of the famous ‘Signor 1857’ photograph album that Julia Margaret Cameron composed as inspiration, before endeavouring in the art of photography herself.The album of 35 photographs was sold at Sotheby’s on December 12 2012 for £121,000.Condition report: the first print is in excellent condition with just a few old creases, the second photograph has a number of losses along with small tears and a pin hole to the middle top, both have pencil numbers to reverse 2 on the first and 5 on the second --- see detailed additional images

* Bloomsbury Group. Bell (Vanessa, 1879-1961). Autograph Letter Signed, 'Vanessa Bell', Charleston, Firle, Sussex, 25 April, no year, to Miss [Monica] Young, thanking her for her letter with nice comments about the show at Agnews, hoping that her correspondent will get some painting time 'but I know how difficult it is to combine it either with marriage or any other work', saying that Dieppe is a wonderful place to paint and that her son is very pleased at her liking his book, written in blue ballpoint pen, a little spotting and some crease marks, particularly to left margin, small nick to top right corner and lower right margin, old sellotape repair to horizontal fold verso, one page, 8vo, together with: Grant (Duncan, 1885-1978). Autograph Letter Signed, 'Duncan Grant', Charleston, Firle, Sussex, 11 September, circa 1960s, to Miss [Monica] Young, in green ink, saying that he would like to meet her and her Dutch friend, but wishing to put it off as he wants to paint outdoors while 'this lovely weather lasts' before going to Paris in a week's time, some heavier spotting, a little creasing and one small split to lower blank margin, one page, 8vo, plus: Woolf (Leonard, 1880-1969). A brief typed letter signed, 'Leonard', Monk's House, Rodmell, Lewes, Sussex, 4 September 1963, to Monica [Young], thanking her for writing before concluding, 'I have never had any animal quite like Troy and naturally miss him a great deal', one page, oblong 8vo, and: Mitchison (Naomi, 1897-1999). Typed letter signed, 'Naomi Mitchison', Argyll, no date, '17th', to Miss Young, thanking her for writing, referring to her daughters and grandchildren, one page, 8vo, plus an envelope unconnected to the four letters addressed to Miss M Young, 11 Toronto Terrace, Lewes, SussexQty: (5)

Woolf (Virginia). Monday or Tuesday, 1st edition, Richmond: Hogarth Press, 1921, 4 full-page woodcuts by Vanessa Bell (light offsetting to opposite leaves), advertisement leaf at end, some toning to endpapers, small contemporary previous owner inscription 'E.C. Kidd, 1921' to front endpaper, original cloth-backed boards, upper cover with woodcut design by Vanessa Bell, some light edge wear and stains, 8voQty: (1)NOTESKirkpatrick A5a. 1000 copies printed.

A framed and glazed limited edition same size print of the painting 'Charleston', by Vanessa Bell. 90x79cm

Duncan Grant (British, 1885-1978)Girls on a Balcony signed 'D. Grant.' (lower right)oil on canvas83 x 61.5cm (32 11/16 x 24 3/16in).Painted circa 1923Footnotes:ProvenanceKeith William SleemanThe subject of the present lot was inspired by a trip to Spain, which Duncan Grant visited in 1923 with Vanessa Bell and Roger Fry. There is a lithograph based on the same subject titled Window in Toledo (published by Millers Press, Lewes, 1945).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

Gisèle FreundVirginia Woolf vor einem Fresko von Vanessa Bell, London Späterer C-Print. 30,2 x 20,5 cm (38,4 x 28,6 cm). Unten rechts mit Prägestempel der Photographin. Rückseitig mit Filzstift signiert und mit Photographenstempel.LiteraturGisèle Freund, Mémoires de l’Œeil, o.O. 1977, S. 83 mit Abb.; Gisèle Freund. Itinéraire, Ausst.kat. Musée National d'Art Moderne, Centre Georges Pompidou Paris, Paris 1991, S. 150 mit Abb. (Variante) Gisèle FreundVirginia Woolf vor einem Fresko von Vanessa Bell, London Chromogenic print, printed later. 30.2 x 20.5 cm (38.4 x 28.6 cm). Photographer's blind stamp lower right. Signed in felt tip pen and photographer's stamp on the verso.LiteratureGisèle Freund, Mémoires de l’Œeil, n.p., 1977, ill. p. 83; Gisèle Freund. Itinéraire, exhib.cat. Musée National d'Art Moderne, Centre Georges Pompidou Paris, Paris 1991, ill. p. 150 (variant)

Plaster portrait silhouette bust of a young child, signed E Halse (Emmeline Halse 1853-1930), mounted on a glass panel, 17.5cm square; photos of Horace Jones and his daughter Horatia, later 20th century fabric samples including Phyllis Barron and Dorothy Larcher 'Winchester' hand block print in indigo; and Omega Workshops 'Maud' pattern remnant designed by Vanessa Bell; and a Paragon brown silk mounted parasol with dogs head handle (qty)

Vanessa Bell (British, 1879-1961)Roses in a Jug signed with initials 'VB' (verso)oil on canvas40.5 x 30.5cm (16 x 12in).Painted c.1950Footnotes:ProvenanceWith Anthony d'OffaySale: Sotheby's, London, 30 March 1986, lot 70With Phyllis Gorlick King, LondonExhibitedLondon, Alpine Club, Art Bazaar Exhibition, 1983, cat.no.93We 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

Duncan Grant (British, 1885-1978)Still life with compotier and glass signed with initials 'D.G.' (lower right)oil on canvas41.9 x 31 cm. (16 1/2 x 12 1/4 in.)Painted circa 1916Footnotes:ProvenanceThe Artist, until 1970, by whom gifted toRichard ShoneWith The Mayor Gallery, London, where probably acquired byChristopher Hull, thence by family descentPrivate Collection, U.K.The opaline compotier depicted was a favourite object at Charleston. It was given to Duncan Grant by Barbara Bagenal (née Hiles), and is still at the house today. It appears in numerous still lifes by both Grant and Vanessa Bell, including the major canvas Interior (c.1918 Ulster Museum, Belfast), a painting of the dining-room at Charleston depicting Bell painting the fruit-filled compotier.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

Helen Bradley (British, 1900-1979)Aunt Edith was Sixteen and Wept for Love signed 'HELEN BRADLEY' and with fly insignia (lower right)oil on board30.6 x 38 cm. (12 x 15 in.)Footnotes:ProvenanceThe Artist, thence by family descentThe Estate of Margaret BradleyFour Paintings from the Family of Helen Bradley (1900-1979)Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties.Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail.It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.The following four works were given by the artist to her son Peter. They have remained in the family collection since then, with Uncle Tom's Funeral Procession taking pride of place above the dining table.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

Duncan Grant (British, 1885-1978)Portrait of Peter Morris Seated in a Wing Chair signed with initials and inscribed 'Peter Morris/DG' (verso)oil on canvas76.2 x 50.8 cm. (30 x 20 in.)Painted circa 1928Footnotes:ProvenancePaul RocheWith The Parkin Gallery, LondonSale; Christie's, London, 7 March 1986, lot 244, where acquired by the present ownerPrivate Collection U.K.Peter Morris was a painter, great friend and for a brief period lover of Duncan Grant. Grant painted him several times in the late 1920s, and Morris's sister Dora (later Lady Romilly) was painted by Vanessa Bell (now in the collection of Leeds City Art Gallery). Here Grant depicts Morris in rich and fluent colours positioned in a green upholstered wingback chair, that formerly belonged to Sickert. The chair, along with a similarly upholstered chaise-lounge, came into Grant's possession when he took over Sickert's Fitzroy Street studio.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

Virginia Woolf (1882-1941), 'Between The Acts' Hogarth Press, 4th impression 1947 The cover designed by Vanessa Bell and signed in the plate; together with 'The Captain's Death Bed and other essays' by Virginia Woolf, Hogarth Press, 1950, the cover also designed by Vanessa Bell and signed VB in the plate; and a copy of The Hogarth Essays - 'Mr Bennett and Mrs Brown' by Virginia Woolf, 2nd impression, 1928 19 x 13cm (3)Please refer to department for condition report

NO RESERVE Dutch & Northern European Art.- Fry (Roger) Flemish Art: A Critical Survey, first edition, original cloth-backed pictorial boards ?by Vanessa Bell, a little rubbed and browned, small tear to spine, 1927 § Leeflang (H.) & others. Hercules Segers. Catalogue, 2 vol., Amsterdam, 2017 § Ainsworth (M.W.) & others. Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance. The Complete Works, New York, New Haven & London, 2010 § Campbell (L.) & Jan Van der Stock. Rogier van der Weyden 1400-1464: Master of Passions, Zwolle & Leuven, 2009 § Oberthaler (Elke) Bruegel the Master, Vienna, 2018 § de Boer (J. van Asperen) & others. Jan van Eyck: Two Paintings of Saint Francis Receiving the Stigmata, Philadelphia, 1997 § Vogelaar (C.) & others. Lucan van Leyden en de Renaissance, original wrappers, Leiden, 2011, plates and illustrations, many colour, all but the first two and last original cloth or boards with dust-jackets; and c.10 others on early Netherlandish art, 4to & 8vo (c.15)

WALTER RICHARD SICKERT (1860-1942) 'Study for The New Home' c. 1908, oil on canvas, 34.5cm x 24cm . Provenance: Formerly the property of Vanessa Bell (1879-1961). Then Angelica Garnett (1918-2012) . Sold Christies, 21st November 1969, lot 92 (titled ‘Seated Girl’). Anthony d’Offay, London. Sold Sotheby’s, 14th November 1984, lot 40 (titled ‘Study for The New Home’) Private Collection, Wiltshire.Literature: Wendy Baron ‘Sickert, Paintings & Drawings’ p.369, catalogue number 350.2, listed as ‘Coster Girl by a Fireplace’, Yale University Press, 2006.The title of this work is borrowed from the larger painting, first exhibited by Sickert at the New English Art Club in the summer of 1908 as ‘The New Home’, a painting that was the key work in a sequence featuring the ‘two divine coster girls’ whom Sickert described in a letter written early in 1908 to his friend, the American-born painter, Anna Hope (Nan) Hudson,. As Sickert told Miss Hudson, his models were dressed “in the sumptuous poverty of their class, sham velvet &c. They always wearing for everyday dirty, old, worn clothes, but Sunday clothes. Extraordinary lives. Men, who live on them, now & again hitting them with ‘ammers, putting poisonous powders on cakes, trying to cut their throats, drugging their whisky &c.”. The two models were usually painted separately, the ‘New Home’ model with a round face, while the model in the in the misleadingly titled L’Americaine (Tate) has a slimmer face. The painting offered here, along with another small oil sketch of the two Coster girls together, has an interesting history. The Bloomsbury artist Vanessa Bell discovered them in Sickert’s old studio at 8 Fitzroy Street after Duncan Grant had moved into the space in 1920. Presumably, she told Sickert about her find and he – ever careless about the after life of his paintings – told her to keep them. The paintings were inherited by Angelica Garnett, Vanessa Bell’s daughter, and were included in her sale at Christie’s, 21 November 1969.Duke's are grateful to Wendy Baron for confirming the authenticity of this work, and for providing  the additional information above. 

Attributed to Vanessa Bell (1879-1961) British. Sanguine Drawing of a Young Child, Signed with Initials and Dated 15.5.34.

Woolf, Virginia - The Moment and other Essays, 1st edition, with price clipped dj, designed by Vanessa Bell, chipped and with tear at head of jacket spine, Hogarth Press, London 1947; Mrs Dalloway's Party, 1st edition, with dj, Hogarth Press, 1973 and Walter, Sickert: a conversation; 12mo, original wraps by Vanessa Bell, Hogarth Press, 1934 (3)

Woolf, Virginia - The Captain's Death Bed and other Essays, 1st edition, original cloth, in dj designed by Vanessa Bell, Hogarth Press, London 1950

Woolf, Virginia - 5 Works: Granite and Rainbow, 1st edition, in dj designed by Vanessa Bell, Hogarth Press, 1958; Flush: A Biography, with 10 plates, Hogarth Press, London 1933; A Room of One's Own, Hogarth Press, 1929; A Haunted House and Other Short Stories, Hogarth Press, 1943; A Writer's Diary, 3rd impression 1959 and Woolf, Leonard, 2 vols, "Growing" and "Sowing", Hogarth Press, 1961 (7)

WOOLF, VIRGINIA THE COMMON READER (TOGETHER WITH) THE SECOND COMMON READER - THE SECOND WORK SIGNED BY WOOLF London, Hogarth Press, 1925 (first work); New York, Harcourt, Brace and Company [1932] (second work), both first editions, 8vo, first work: original pictorial boards designed by Vanessa Bell, no dust-wrapper, internally very good with just a few leaves with very light spotting, boards a little dusty and corners worn, spine a little soiled/marked, second work: original blue cloth with dust-wrapper, wrapper a little worn at extremities, otherwise the book itself is near-fine, the front free end-paper signed by Virginia Woolf. Woolf's signature here matches her signature on some other books signed in the later 1920s-30s, for example: on a 1927 copy of 'Kew Gardens', and on a 1937 copy of 'The Years', both of which are currently for sale elsewhere on the market (2)

Margaret Kemplay Snowdon "Still-life II" - fruit and kitchenware on a table, signed and indistinctly dated; with inscription on a Bloomsbury workshop label verso, oil on canvas, 44 x 59cms, in frame. NB: M.K. Snowdon was born in 1878 in Leeds and was active as a painter between 1918-1938, she died in Cheltenham in 1965. Details of her life seems sparse, but she may have been the fellow student and close friend of Vanessa Bell, usually known as "Margery Snowdon/Snowden" and referred to as "Old Snow" by the Virginia Wolfe.

Woolf (Virginia). Between the Acts, 1st edition, London: Hogarth Press, 1941, partial offsetting from flaps to endpapers, original blue cloth, some fading to spine, dust jacket designed by Vanessa Bell, spine a little faded, a few light spots to folds, 8voQty: (1)NOTESKirkpatrick A26a.

Woolf (Virginia). Flush. A Biography, 1st edition, London: Hogarth Press, 1933, half-tone frontispiece, illustrations, a little light spotting to fore margins, original cloth, some darkening to spine, dust jacket, spine toned with a few small stains, 8vo, together with Three Guineas, 1st edition, London: Hogarth Press, 1938, half-tone illustrations, partial offsetting to endpapers, original cloth, some fading to spine, dust jacket by Vanessa Bell, spine toned with lettering and decoration faded, some light spotting, 8vo Roger Fry. A Biography, 1st edition, 1940, frontispiece and illustrations, a few leaves with some toning front and rear, original green cloth (spine faded to blue), dust jacket, a few tiny nicks and stains, 8vo, with four other 1st editions by or on the author: The Death of the Moth and Other Essays, 1942, A Haunted House and Other Short Stories, 1943, A Writer's Diary, 1953 and Virginia Woolf & Lytton Strachey. Letters, edited by Leonard Woolf & James Strachey, 1956Qty: (7)

Circle of Vanessa Bell 1879-1961. British. Oil on canvas. “Blossom Lined Street”. Signed with initials. Measures 40cm x 50cm. Condition Report – Original condition with paint spread but stable.

Duncan Grant (British, 1885-1978)The Plaster Cast - Venus oil on canvas42 x 26.5 cm. (16 1/2 x 10 1/2 in.)Footnotes:ProvenanceClarissa Roche, from whom acquired by the present ownerPrivate Collection, U.K.This plaster cast was at 46 Gordon Square, home of Clive and Vanessa Bell, where Grant also painted in Bell's studio. The cast features in a number of Grant's paintings around 1918-19. 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

Duncan Grant (British, 1885-1978)Study of Vanessa Bell Painting signed with initials 'DG' (lower right)oil on board61.3 x 41 cm. (24 1/8 x 16 1/8 in.)With a further landscape work painted versoFootnotes:ProvenanceWith Anthony d'Offay, LondonWith Bloomsbury Workshop, London, where acquired by the present ownerPrivate 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)Self Portrait signed with initials, inscribed and dated 'VB/Self Portrait/50?' (in Duncan Grant's hand, verso)oil on canvas42 x 31 cm. (16 1/2 x 12 1/4 in.)Painted circa 1952Footnotes:ProvenancePossibly Adams Gallery, London, 1961, where purchased byCyril ConnollySale; Christie's, London, 1 July 1993, lot 22Sale; Christie's, London, 11 March 1994, lot 117Private Collection, U.K.ExhibitedLondon, Adams Gallery, Exhibition of Paintings by Vanessa Bell, October 1961, cat.no.39London, Belgrave Gallery, British Post-Impressionist and Moderns, February-March 1985, cat.no.1London, National Portrait Gallery, Mirror, Mirror: Self Portraits by Women Artists, 12 September 2001-20 January 2002; this exhibition travelled to Leeds, Leeds City Art Gallery, 18 April-9 June, Bath, Victoria Art Gallery, 22 June-1 August and Canterbury, Royal Museum & Art Gallery, 7 September-2 November 2002London, Dulwich Picture Gallery, Vanessa Bell, 8 February-4 June 2017LiteratureSarah Milroy & Ian A.C. Dejardin, Vanessa Bell, Philip Wilson Publishers, London, 2017, pp.178-9 (col.ill)Richard Shone, The Art of Bloomsbury, Roger Fry, Vanessa Bell and Duncan Grant, Tate Gallery Publishing, London, 1999, p.236, fig.133 (ill.b&w.)There are five extant self-portraits by Vanessa Bell dating from her last decade. All in their ways are revealing of her gradual withdrawal from the world as she confronts herself in her attic studio at Charleston. To anyone who knows something of Bell's character and art they can be mined for their biographical and aesthetic disclosures on several levels. For anyone knowing nothing of her, they might strike a chord of detachment, painted in a modest, even tentative style, the brushwork behaving itself in front of her watchful presence. The tonal range is quite low; it is warm but not effusive; the drawing is soft-edged, following but not emphasising the contours. Here she is, in her studio beneath the eves in the near silence of Charleston's second floor, among the few sounds, those barely audible ones of the painter's activity – the unscrewing of a paint tube , the exchange of brushes, the mixing of oil and turpentine. It was up here that, as her daughter Angelica said, 'she was in heaven'.The present Self-portrait contains paintbrushes, a plate for a palette and a framed painting by the artist, probably an Italian townscape, leaning against shelving behind her. The chair is covered in the fabric Bell had designed for Alan Walton's company in the early 1930s. A beam at top left shows the sharp slope of the studio ceiling; the room is lit from a long window overlooking Charleston's walled garden. Bell wears a broad sunhat to temper the distraction of light above her: when one is seated in her studio, there is only sky to be seen through the window. The hat shades her face whose features are indicated rather than spelt out, much as she had done forty years before in several portraits and figures . She looks extraordinarily like Virginia Woolf in her well-known painting of her sister in a deckchair of c. 1912. Some commentators have read this near-blankness as deliberate self-effacement but this goes against what we know of her personality and aesthetic. She was never a 'symbolic' painter; she did not aim to convey states of mind or make the viewer alert to some psychological undertow (though this is not absent from some her works). It is from her manner of painting, her choice of subject and colour scheme, her refusal to be drawn away from what she sees in front of her that we can deduce, especially in this painting, those elements of reticence, modesty and watchfulness that characterise her work, 'steeped in emotion deep but contained' as her friend and admirer Dunoyer de Segonzac wrote of her .We are grateful to Richard Shone for compiling this catalogue entry.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

Roger Fry (British, 1866-1934)Portrait of E.M. Forster oil on canvas73 x 60 cm. (28 1/4 x 23 5/8 in.)Painted in 1911Footnotes:ProvenanceThe ArtistEdward Morgan Forster (1879-1970)Florence Barger, thence by family descentWith Anthony d'Offay Gallery, London, 1984Private Collection, U.S.A.ExhibitedLondon, Alpine Club Gallery, Paintings and Drawings by Roger Fry, January 1912, cat.no.2 (as A Novelist)London, Arts Council, The Arts Council Gallery, Vision and Design: The Life, Work and Influence of Roger Fry, 17 March-16 April 1966, cat.no.10; this exhibition travelled to Nottingham, University Art Gallery, 27 April-22 May, Leeds, City Art Gallery, 28 May-18 June, Newcastle upon Tyne, Laing Art Gallery, 25 June-16 July, Manchester, City Art Gallery, 23 July-13 August 1966London, Courtauld Institute Gallery, Portraits by Roger Fry, 18 September-14 October 1976, cat.no.6, pl.3; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October-21 November 1976London, Anthony d'Offay Gallery, The Omega Workshops: Alliance and Enmity in English Art 1911-1920, 18 January-6 March 1984, cat.no.23LiteratureQuentin Bell, Bloomsbury, Futura Publications Ltd., London, 1974, pp.48-9 (ill.b&w.)S.P. Rosenbaum, The Bloomsbury Group: A Collection of Memoirs and Commentary, Croom Helm, 1975Philip Nicholas Furbank, E.M. Forster: A Life, Volume One, The Growth of the Novelist 1879-1914, Secker & Warburg, London, 1977, pp.205-7 (front cover illustration)Frances Spalding, Roger Fry, Art and Life, University of California Press, California, 1980, pl.51Richard Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, Tate Gallery Publishing Ltd., London, 1999, p.93, fig.80 (ill.b&w.)Wendy Moffat, E.M. Forster. A New Life, Bloomsbury, London, 2010, p.106The sitter in this arresting portrait needs little introduction. In 1911 Edward Morgan Forster (1879-1970) had recently reached a new audience and a breadth of critical acclaim with his fourth novel Howards End, published in 1910. He was not, however, a well-known figure in the London literary world. He lived comfortably with his widowed mother in Weybridge, invariably stayed in a club if he visited London for a night and kept to a relatively small circle of friends. Several of these he had met through the Cambridge University society known as The Apostles. Friends from an earlier generation at King's College included the writer Goldsworthy Lowes Dickinson (1862-1932) and Roger Fry (1866-1934). Dickinson and Fry were close friends and both followed with great interest Forster's career, beginning with his first novel Where Angels Fear to Tread (1905). Over the years, Fry seems to have read everything Forster published. There was great praise for A Passage to India (1924) – 'a marvelous texture – really beautiful writing,' he wrote to Virginia Woolf, although he had reservations about the intrusive mysticism towards the end of the novel (as well as in other writings by Fortser). The novel was translated into French by Fry's friend Charles Mauron whom Forster came to know well and whom he appointed as his French translator. (He also translated Woolf's Orlando). And a few months before his death, Fry read Forster's biography of Dickinson:'it's beautifully done, I think', he wrote to Gerald Brenan, 'and it was a desperately difficult thing to do' (implying that the British public were not yet ready for male foot fetishism).Very early on, before Fry and Forster came to know one another, Forster admired a series of Adult Education lectures on art that Fry gave in Cambridge, in his pre-Post-Impressionist years. Later, in an early draft of A Room with a View, Forster included a character called Rankin (later dropped from the novel), an art historian attending tea-parties in Florence at which Florentine attributions were a leading topic and 'pictures were snatched from one great name and thrust upon another, or slighted and left as doubtful [. . . ] or utterly damned as the work of a clever forger who flourished in the middle of the nineteenth century at Hamburg'. In her recent book Roger Fry and Italian Art (London 2019), Caroline Elam gives an excellent, detailed account of Fry and Forster and the influence of the former's aesthetics on the latter (although Forster was never entirely converted to Fry's full-on formalism). Fry drew curious endpapers and a non-figurative cover for Forster's book of short stories The Celestial Omnibus, published in the same year as the present portrait was painted. Just as Fry was completing the picture (painted in his house at Guildford), Forster wrote to a friend, that he appeared to be 'a bright healthy young man, without one hand, it is true, and very queer legs, perhaps the result of an aeroplane accident, as he seems to have fallen from an immense height on to a sofa' (letter to Florence Barger, 24 December 1911). Actually Forster liked the picture and bought it but, after it was shown in Fry's one-artist exhibition in 1912, he gave it to his great friend Florence Barger and it was not seen again in public for well over fifty years. This is an important work in Fry's development as a painter and is certainly among his most accomplished portraits. Forster is depicted as both alert and yet slightly ironic in expression, finding himself plopped down among Post-Impressionist-seeming fabrics. Earlier in the year Fry had been in Turkey with Clive and Vanessa Bell and had sent a mass of textiles, mostly from Brusa, the historic centre for Turkish textile production, back to England. Some may well feature among the variety shown here and would have influenced Fry's own designs; the patterned cushion by Forster's left shoulder pre-figures textiles he designed for the Omega Workshops a year or so later. Frances Spalding has rightly drawn attention to the faceting and angularities of Forster's head (which Lytton Strachey called 'triangular'), almost certainly derived from Picasso's 1909 portrait of Clovis Sagot, which Fry had included in his momentous exhibition Manet and the Post-Impressionists held in London in 1910-11. In the same exhibition was Matisse's 1908 Girl with Green Eyes which also appears to have guided aspects of Fry's work here – the simple frontality of a figure seen against a busy but essentially flat background. The green modeling on Forster's face is further indebted to Matisse's recent portraits of his wife and himself.A number of painted and sculpted images of the men and women associated with Bloomsbury have become canonical and are frequently reproduced. Among them are, of course, several works by Grant and Bell (such as portraits of Virginia Woolf of 1911-12); Strachey by Henry Lamb; Maynard and Lydia Keynes by William Roberts. Forster was often photographed but not much painted – two portraits of him by Carrington and Vanessa Bell, and drawings by Grant, William Rothenstein and Paul Cadmus. The present portrait deserves to be better known, commemorating as it does, not only a warm personal friendship but also the association of two highly influential figures from the early twentieth century whose reputations have not dimmed.We are grateful to Richard Shone for compiling this catalogue entry.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

Duncan Grant (British, 1885-1978)Vanessa Bell indistinctly signed with initials and inscribed 'dg/VB' (upper right)pencil and oil on board27.8 x 25.5 cm. (11 x 10 in.)Painted circa 1913Footnotes:ProvenanceWith The Bloomsbury Workshop, 19 July 1993Private Collection, U.K.ExhibitedThe Bloomsbury Workshop, Images of Vanessa - Paintings and Drawings by and of Vanessa Bell (1879 - 1961), 8 June-29 July 1993This head of Vanessa Bell was almost certainly painted in the summer of 1913 when the artists were at a camp at Brandon, near Thetford. There are similarly expressive heads painted on the same holiday. 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