FORSTER (Edward Morgan). An archive of Autograph Letters Signed by E. M. Forster to Norman Routledge, 1953-69, comprising 15 handwritten letters and 11 handwritten cards/postcards, most signed "Morgan", several referring to Bob Buckingham [with whom Forster had a long-term relationship for forty years], together with a small quantity of photographs & ephemera. To include: ALS on King's College Cambridge letterhead, complete with envelope addressed to Routledge at Eton College, postmarked 23 November 1961 [the year in which Forster was named a Companion of Literature by the Royal Society of Literature], "Dear Norman, I greatly enjoyed seeing you, especially on our drive. We seem to look at the future through much the same spectacles. I wish they were rosier. I have made friends who couldn't be better and seem likely to outlive me, and I have never invested too deeply in world-peace, and so far so good. But what I didn't expect and what does get me down is the reinvention of the earth's lovely surface which will extend to its heights and its depths as soon as Work Work Work gets going on them...With love, Morgan." An undated postcard depicting a horse & rider beneath a rainbow, addressed to Routledge at "K.C.C." [King's College Cambridge], "Please will you pick up my letters at the Porter's Lodge tomorrow morning. Just a faint possibility of chicken and champagne at Journey's End, and if we missed it through lack of direction - how tragic! Am taking some slabs chocolate. EMF, Thursday." Postcard, 30 October 1961, addressed to Routledge at Eton College, "Can you come to La Traviata with me at the Guildhall on Sunday Nov 5 at 2.30 - excellent seats, front row of Dress Circle?...With love, M." ALS on King's College Cambridge letterhead, 26 January 1953, humorously explaining how feigning illness will influence his social life, "Dear Norman, If I am ill, I should like to lunch with you on Friday very much. If I am well, I ought to be at the B.B.C. 4.0. [4pm] and don't think I can lunch. Let us contact on the Thursday, and settle whether I am ill or not. Friday evening I (should) go to the concert performances of 'Nelson' in London (R.B.A. Gallery, 7.30). I have another ticket, which you could in any case have if you wished. Morgan." Undated ALS, headed "Coventry" [Forster spent his final years living with Bob & May Buckingham at their home in Coventry], "Dear Norman, How sweet of you and what sharp ears! I shall keep the week of the 22-27th April free and nearer the time you shall find the days in it you prefer. What I most have in mind is the Spire of Louth, Boston Stump...and some 'untouched' spots I was once taken to by Kenneth, now probably much touched...Love from Morgan, and May emphatically adds much love, Bob is out." King's College Cambridge notecard, postmarked 2 November 1959, addressed to Routledge at Eton College, "Alas I am on the rush too and if not lunching with the Rector of College on the 7th shall be hobnobbing with Quasimodo." Postcard after Watteau, 17 February 1960, composed in a whirling shape, "Morgan [referring to himself in the third person], who will regrettably be detained here on the 27th, but is greatly attracted by the prospect of the F. B., as would William Plomer [novelist and early editor of Ian Fleming] be if he knew of it. Do tell him and do tell me, so that if by any chance I...[descends into a vortex of dashes]." A steel-engraved topographical view of Glastonbury Tor, folded to form a card, "What have we here but Christmas [ruled through and amended to "New Year"], Greetings from Morgan to Norman, 1954 [amended to 1955]." A postcard after Millet, postmarked 17 April 1960, in which Forster gradually increases the size of his inscription and jokingly says "must enlarge my handwriting [if] I am to make any impression." ALS from Tim Leggatt [author of "Connecting with E. M. Forster: A Memoir"], King's College Cambridge letterhead, 28th May, one side conveying the dictated words of Forster, "Dear Norman, Here I am writing, but whose is the handwriting? Wait, and perhaps you will see. What I have to say is that I am very much better, expect to be discharged from this hospital and to go to Coventry quite soon...", signed in Forster's own hand, "Morgan", the other side from Leggatt himself. ALS on King's College Cambridge letterhead, 10 April 1960, "Dear Norman, Thank you for your very nice letter and for the photograph which William Plomer shall see next week...I sympathise with the boys wanting proper scenery. 'We have no resources but our genius' is sometimes too readily paraded...Yours affectionately, Morgan." Other letters & cards of a similar nature, mostly arranging lunches and social outings. ALS from Bob Buckingham, 9 July 1969, "Dear Norman...We brought Morgan here on Sunday & apart from a swollen ankle he is reasonably well." ALS from May Buckingham, 3 October 1991, in which she refers to "Morgan" and describes Stephen Spender as one of "the most handsome boys I have ever known". Original menu for the "King's College Cambridge Luncheon for E. M. Forster's Eightieth Birthday", 9 January 1959, plus associated guest lists [the guests included Vanessa Bell, L. P. Hartley, Duncan Grant, Leonard Woolf, Bob Buckingham, and many others]. Two b&w press photographs taken during the aforementioned 80th Birthday Luncheon (stamped "The Times" verso). Two b&w photographs of E. M. Forster seated with Bob & May Buckingham in their garden in Coventry (taken by Routledge and bearing his notes verso). "E. M. Forster and King's", by Patrick Wilkinson, Privately Printed, 1970, bearing Norman Routledge's bookplate (Eton College), the frontispiece photograph credited to Routledge, pink wrappers. "E. M. Forster (1879-1970)", by Sally M. Brown, British Library [1978]. A printed "list with commentary" from Nigel Haigh to Norman Routledge, describing letters sent to Haigh by Forster during 1960-62, plus printed email [personal details removed] asking for Routledge's opinions on the list. A recently typed transcript of Routledge's memoir of E. M. Forster. Contemporary transcripts of a reading made during the unveiling of a plaque at Bob & May Buckingham's home in Coventry, as well as the list of attendees. Two theatre programmes: A Passage to India, Oxford Playhouse Company, 1960; Howard's End, New Theatre [Playbill, Vol. 2, No. 3], 1967. Provenance: By descent of Norman Arthur Routledge (1928-2013), mathematician and personal friend of Alan Turing & E. M. Forster
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Duncan Grant, British 1885-1978 - Still life with coffee pot and wine glass, 1928; watercolour on paper, signed and dated lower left 'D. Grant 28', 48.8 x 57.5 cm (ARR) Provenance: The Estate of Lady Jessel Note: with thanks to Richard Shone for his assistance with the cataloguing of this work. The present work was painted at Grant and Vanessa Bell's house in Cassis. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. His work will be the centre of a major exhibition at Tate Britain in 2026, 'Vanessa Bell & Duncan Grant'.
Duncan Grant, British 1885-1978 - Near Toulon, 1937; oil on board, signed and dated lower left 'D. Grant 37', 45.7 x 55 cm (ARR) Provenance: with Thos. Agnew & Sons, London (according to the label attached to the reverse of the frame); The Estate of Lady Jessel Exhibited: Thos. Agnew & Sons, London, no.29 (according to the label attached to the reverse of the frame) Note: with thanks to Richard Shone for his assistance with the cataloguing of this work. The work was most likely exhibited as part of a group show at Agnew's, as the label lists both the title of the work and the artist's full name, which would not be the case for a solo exhibition. In Grant's 1937 Agnew solo exhibition catalogue, two oil paintings with the title 'Fort St. Louis, Toulon are listed under numbers 5 and 11. Grant painted a number of scenes depicting Toulon harbour in both the 1920s and 30s, two of which are now in public collections; 'Harbour Toulon: Sketch, 1928' (Herefordshire Museums & Galleries) and 'Fort St Louis, Toulon, France, 1937' (Touchstones Rochdale). In a letter written to Toulon to Vanessa Bell in 1937, now in the Tate Archive, Grant references meeting with Edward Sackville-West and the painter and writer Adrian Stokes. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. His work will be the centre of a major exhibition at Tate Britain in 2026, 'Vanessa Bell & Duncan Grant'.
A painted pot cupboard in the manner of Duncan Grant, late 19th century and later, having a single drawer over a panelled cupboard door, decorated with a floral spray,47cm wide35cm deep82cm highProvenance: Carel Weight RA, who was a personal friend of Vanessa Bell, thence by descent.Condition Reportlightly chipped and marked, the drawer pull lacking, marked and stained throughout, overall fair useable condition,
BOOKS, POST-WAR LITERATURE (mainly). A small box to include: SACKVILLE-WEST, V., 'The Eagle and the Dove', Michael Joseph, 1st, 1943 in reasonable jacket; GREEN, Henry, 'Back', 1st ed. in Good unclipped Vanessa Bell jacket, The Hogarth Press, 1946; WAUGH, Evelyn, 'A Little Learning', 1st ed. 1964 in almost Fine condition. With other interesting, well-preserved post-war vols. all in d/js.
ATTRIBUTED TO DUNCAN GRANT (BRITISH, 1885-1978). Portrait Study, probably of Vanessa Bell inscribed in pencil "Vanessa" and dated c.1920 charcoal 30.5 x 22.5cm (12 x 8.75in) Provenance: Bonhams Modern Pictures Sale, London Knightsbridge, Lot 498 11th January 2006 Private Collection UK Artist's Resale Rights (ARR) may apply to this lot. CR* unexamined out of frame, small specks and marks to mount, otherwise in good order.
Woolf (Leonard, & James Strachey, editors). Virginia Woolf & Lytton Strachey, Letters, edited by Leonard Woolf & James Strachey, 1st edition, London: Hogarth Press, 1956, original orange-brown cloth, spine lettered in gilt, in printed dustwrapper with design to upper cover by Vanessa Bell, a little rubbed and some marks, fraying to edges with minor loss to extremities, together with Wilde (Oscar). Intentions, The Decay of Lying, Pen, Pencil and Poison, The Critic as Artist, The Truth of Masks, [2nd edition], London: Osgood & McIlvaine, 1894, 258pp., colophon leaf at end reads 'printed by Gilbert and Rivington, Ld.', light spotting to endpapers, pencil signature of H. A. Mason, Exeter 1956, to front endpaper, original green cloth gilt, rubbed and somewhat soiled with spine dulled, plus other modern literature in first editions, including Robert Lowry, Casualty, 1st edition, New York: New Directions, 1946, original cloth in dustwrapper, George Orwell, The Road to Wigan Pier, 1st edition, Left Book Club, 1937, rubbed, William Empson, Poems, 1st edition, Chatto & Windus, 1935 (with some ink and pencil annotations by H. A. Mason to text), original black cloth in frayed dustwrapper, somewhat worn on spine with a little loss, Allen Ginsberg, Planet News, Fifth Printing, City Lights Books, 1982, Michael Thorpe, The Poetry of Edmund Blunden,1971, Witter Bynner, Journey with Genius, Recollections and Reflections concerning the D. H. Lawrences, 1953, plus an issue of Delta magazine, no. 32, spring 1964, all 8voQTY: (9)
Duncan Grant, British 1885-1978 - Study of Clive at Charleston Manor; oil on paper laid down on board, indistinctly signed lower right, 36.5 x 26.2 cm (ARR) Provenance: Christie's, London, Twentieth Century British Art, 27th March 2003, lot 428; private collection, purchased from the above Note: Richard Shone previously assisted in the cataloguing of this work. This a warm and spontaneous depiction of Clive Bell, art critic and husband of Vanessa Bell. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. Condition Report:Please note the work is oil on paper laid down on board and not oil on board as previously catalogued, which appears original to the making and sheet appears well affixed.Held in a wooden frame with minor scuffs and wear. Minor losses to the sheet bottom left corner and right of bottom edge and near centre of top edge. Small fleck of missing paint above centre of right edge. Flecks of black particles across work. Possible minor discolouration to surface but colours are fresh.
Duncan Grant, British 1885-1978 - Tulips, 1929; oil on board, signed and dated lower left 'D. Grant 29', 75 x 56.5 cm (ARR) Provenance: with The London Artists' Association (according to the inscribed and stamped label attached to the reverse); private collection, purchased from the above (according to the indistinct inscription on the label attached to the reverse); private collection Exhibited: The London Artists' Association, London, c.1929-31, no.128 (according to the inscribed and stamped label attached to the reverse) Note: this is a brilliant example of the artist's most beloved subject of a still life with flowers and has been in the same private collection for nearly 50 years. This is an extremely exciting opportunity to purchase the work the first time it is coming to the market in nearly half a century. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. Grant was a member of the London Artists' Association between 1929-31, locating when this work was first shown to the public.
Duncan Grant, British 1885-1978 - Vanessa Bell (with 'Male Nude Study' on the reverse); pencil on paper, signed with initials lower right 'DG' and annotated lower left 'VB', 26.5 x 23.3 cm (ARR) Provenance: with The Fine Art Society, London, June 1975, no.NIC (according to the label attached to the reverse of the frame); Christie's, London, Twentieth Century British Art, 13th June 2001, lot 13; private collection, purchased from the above Note: this is a moving study of Grant's lifelong companion and artistic partner, Vanessa Bell. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Duncan Grant, British 1885-1978 - Lovers Entwined, c.1965; waterolour and pencil on paper, annotated lower right 'fixed', 55.5 x 65.5 cm (ARR) Provenance: Christie's, London, British & Continental Furniture from 1860 to the present day - 20th Century British Decorative Arts, 29th October 1998, lot 524; private collection, purchased from the above Note: with thanks to Richard Shone for his assistance with the cataloguing of this work. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Vanessa Bell - Foley China - A hand painted part tea service, flower head panel with stylised scrolling leaves over smudged grey ground, within purple lustre field and chain link hatched yellow border, comprising six tea cups, six saucers and side plates, Sandwich plate, cream jug and sugar bowl, printed black marks to base and facsimile signature, marked 'First Edition', diameter of sandwich plate 23cm. (21) NB - This was designed by Bloomsbury artist Vanessa Bell for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Angelica Bell - Foley 1934 Art In Industry Exhibition - A pair of circular plates, of circular form, painted with brown centred blue floral outline over monochrome speckled field and sage green wavy border, printed black marks and facsimile signature, marked First Edition, diameter 20.5cm. (2)NB - Angelica Bell, the daughter of Duncan Grant and Vanessa Bell, was commissioned to design a coffee set for the 1934 Art in Industry exhibition at the age of just 16. The exhibition featured work by Paul Nash, Laura Knight and her parents, produced by Clarice Cliff at Wilkinson's Pottery, Foley and also glass by Steven's & Williams.
λ VANESSA BELL (BRITISH 1879-1961) STILL LIFE WITH JAR, FRUIT AND BUST, CHARLESTON Oil on board Signed with initials and dated 55 (lower left) 44 x 53cm (17¼ x 20¾ in.) Provenance: Sale, Christie's, London, 2 March 1979, lot 101Exhibited: London, The Adams Gallery, Vanessa Bell, 1956, no. 27 (as 'Child;s Bust') Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Overall appears to be in good original condition. Condition Report Disclaimer
λ VANESSA BELL (BRITISH 1879-1961) THE POND AT CHARLESTON LOOKING TOWARDS TILTON Oil on canvas Signed with initials (verso) 60 x 50cm (23½ x 19½ in.)Painted circa 1950.Provenance: Sale, Sotheby's, London, 23 May 1984, lot 106 The Maas Gallery, London Acquired from the above by the late owner in 2011Tilton is a farming hamlet where John Maynard Keynes and his wife Lydia Lopokova lived in Tilton House, the little white building with grey roof at centre of this composition. Bell has set up her easel to face Tilton, with her back to Charleston, on the gravel terrace between the house and the pond. A comparable view is illustrated on p. 113 of Richard Shone's catalogue which accompanies the exhibition The Art of Bloomsbury at the Tate Gallery in 2000. We are grateful to Richard Shone for his assistance with the cataloguing of this work. Condition Report: The canvas is very slightly puckering at the lower corners. The horizontal canvas weave is visible but this is consistent with the conception of the work. Some fine horizontal craquelure to the upper right quadrant. Small patches of craquelure running along the lower edge. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise appears to be in good original condition. Condition Report Disclaimer
Vanessa Bell (British 1879-1961) Design for Rug gouache 25 x 12 cm, framed and glazed 51 x 38.5 cmPainted circa 1938. Provenance With The Bloomsbury Workshop, London. London, Anthony d'Offay, 1983, no.4. Reader's Digest Corporate Collection, 7 January 1991, stock no. 71899. Sold by the above, Christie's, 19 November 2004, lot 36. Private collection, UK.Exhibited Johannesburg, Art Gallery, Bloomsbury Artists at Charleston: Paintings from the Reader's Digest Corporate Collection, November 1992 - February 1993. In good colour. The sheet is slightly wavy in mount. There are several creases visible to the sheet. Some areas of mild craquelure to the gouache in the lower portion of the design. Some minor spots of surface dirt and minor rubbing to some of the edges. Under glass and unexamined out of frame.
Woolf, Virginia The Years London: Hogarth Press, 1937. First edition, first impression, 8vo, 469 pp., original green cloth, with the dust jacket designed by Vanessa Bell. Cloth slightly faded, bookplate apparently removed from rear pastedown, dust jacket chipped and head and foot and with tear to centre, joint between spine and front panel with 8cm split to foot, front panel with small closed tear under title, minor toll to upper fore corner of front and rear panels
Duncan Grant (1885 - 1978): oil on board, French Townscape 1946 (Dieppe), signed LL, dated 1946, with Philip Mould insurance valuation (2022) affixed verso, image 53 x 38 cm, overall 69 x 54 cm. Grant was a central figure in the circle of artists and writers known as Bloomsbury, which included Grant's cousin Lytton Strachey, Maynard Keynes, Roger Fry, Virginia and Leonard Woolf, Virginia's sister the painter Vanessa Bell and Vanessa's husband the critic Clive Bell. Grant and Vanessa Bell were closely associated in their professional and personal lives for more than fifty years. In 1913 Roger Fry founded the Omega Workshops, of which Grant and Vanessa Bell were directors. The workshops produced furniture, pottery and textiles designed by various young artists including Grant and Bell themselves. Artist Resale Rights may apply Not available for in-house P&P
Vanessa Bell (1879 - 1961): oil on canvas, Flowers in a Black Pot c. 1948, estate stamp and inscription VB verso, in the hand of Duncan Grant, image 29 x 39 cm, overall 40 x 50 cm, Very good throughout, various labels as shown including The Bloomsbury Workshop and Philip Mould. later re-framed, canvas does not appear to have any repairs, from a private Cheshire collection. Bell was an English painter and interior designer, a member of the Bloomsbury Group and the sister of Virginia Woolf. The Bloomsbury Group, which included: Lytton Strachey, Desmond MacCarthy, Maynard Keynes, Leonard Woolf, Roger Fry, and Duncan Grant. Bell and Grant painted and worked on commissions for the Omega Workshops, established by Roger Fry. Her first solo exhibition was at the Omega Workshops in 1916. She also designed book jackets for all of her sister Virginia's books that were published by Virginia and Leonard Woolf's publishing company, the Hogarth Press. Artist Resale Rights may apply Not available for in-house P&P
Woolf (Virginia). The Captain's Death Bed and Other Essays, 1st edition, London: The Hogarth Press, 1950, partial offsetting to endpapers, original cloth, spine faded and lettering dulled, price-clipped, dust jacket designed by Vanessa Bell, spine toned with small chips at ends, short closed tear at head of front panel, a few small stains, 8vo (Kirkpatrick A30), together with Woolf (Leonard & James Strachey, editors). Virginia Woolf & Lytton Strachey Letters, 1st edition, London: Hogarth Press & Chatto and Windus, 1956, original cloth, fading to extremities, dust jacket by Vanessa Bell, tear and loss at head of spine and top right corner of front panel, some toning and small chips, 8vo, plus Garnett (David). Go She Must!, 1st edition, London: Chatto & Windus, 1927, a little minor spotting, original cloth (slight lean), dust jacket, spine lightly toned, 8vo, with 13 others including The Village in the Jungle, by Leonard Woolf, 1st edition, 1913, Cezanne. A Study of his Development, by Roger Fry, 2nd edition, 1932, the Death of the Moth and Other Essays, by Virginia Woolf, 1st edition, 1942 (lacking dust jacket), , Winter Movement and Other Poems, by Julian Bell, 1930 (2 copies), others by David Garnett etc QTY: (16)
![WOOLF, Virginia. Mrs. Dalloway, FIRST EDITION, FIRST PRINTING, 8vo, publisher's maroon cloth, [1-6], 7-293pp., tipped-in adve](https://cdn.globalauctionplatform.com/f732a45c-8ca9-4255-b367-b2300141488d/1c34c00a-f79d-40da-8c80-b230014d23b1/468x382.jpg)
WOOLF, Virginia. Mrs. Dalloway, FIRST EDITION, FIRST PRINTING, 8vo, publisher's maroon cloth, [1-6], 7-293pp., tipped-in advertisement for Boots Book-Lovers' Library, contents mostly very good & bright, roughly cut edges, a few leaves with pale marginal stains, rear endpapers slightly worn with an early library label on pastedown, cloth discoloured & worn, London: Published by Leonard & Virginia Woolf at the Hogarth Press, 1925. Together with first editions of The Common Reader, 1925; Flush, 1933; The Moment, 1947; The Captain's Death Bed, 1950; A Writer's Diary, 1953; Granite and Rainbow, 1958; Roger Fry, 1940; Between the Acts, second impression, 1941; A Haunted House, fourth impression, 1947; The Death of the Moth, fourth impression, 1945, and others, including uniform editions, later printings, and biographical & bibliographical works on Woolf. Condition varied, some with unclipped dust-jackets designed by Vanessa Bell, sold as one collection with all faults (24)
WAUGH, Evelyn (1903-66). Remote People, London, Duckworth, 1931, 8vo, original burgundy buckram gilt, dust-jacket (jacket torn with loss). FIRST EDITION, IMPORTANT PRESENTATION COPY, inscribed, "For Gerald Duckworth with best wishes from Evelyn Waugh."WAUGH, Evelyn (1903-66). Remote People. London: Duckworth, 1931. 8vo (220 x 140mm). Half title, monochrome frontispiece, 2 folding maps, 6 plates. Original burgundy buckram, the spine lettered in gilt, green dust-jacket lettered in black (lightly bumped and rubbed at edges, the dust-jacket torn with loss and fraying to corners, with a larger section lacking from the lower left corner of the upper wrapper, the loss not affecting letters to the upper wrapper but with the loss of the title at the head of the backstrip, although with a detached fragment bearing the word "People" preserved). FIRST EDITION of this "... diverting story of Mr. Evelyn Waugh's recent travels in Africa. After attending the coronation of the Emperor of Ethiopia in Abyssinia he visited Arabia, Zanzibar, Kenya Colony, The Congo and returned in the third class from Cape Town to Southampton" (from the front turn-in). It received uniformly positive contemporary reviews in the press. IMPORTANT PRESENTATION COPY, the front free endpaper inscribed, "For Gerald Duckworth with best wishes from Evelyn Waugh." In 1898, Gerald Duckworth (1870-1937) founded the London publishing company that still bears his name ("Duckworth") although it was originally called "Gerald Duckworth and Company Ltd." In addition to representing Evelyn Waugh (concentrating on his earlier non-fiction and travel writing), the firm published a diverse range of writers which reads like a 'Who's Who' of 20th-century literature including, inter alia, Hilaire Belloc, Anton Chekhov, John Galsworthy, Henry James, D. H. Lawrence, Virginia Woolf, Anthony Powell, Simone de Beauvoir and the Sitwells. Gerald Duckworth's mother - whose first husband and father of Gerald had died before Gerald's birth - went on to marry Sir Leslie Stephen (1832-1904), himself a notable author and critic, and their four children included Virginia Woolf and Vanessa Bell. Whilst this would have placed Gerald Duckworth in the orbit of 'The Bloomsbury Group', it was not a coterie with which Waugh would have found an instinctive sympathy. We have been unable to trace another example of a presentation copy from Waugh to Duckworth. RARE.
VANESSA BELL (BRITISH 1879-1961): A LITHOGRAPH IN COLOURS 'GIRL READING', 1945Signed with initials in the plate.38 x 29cmOne of the Eight Lithographs series printed in edition of 100 by Frances Byng-Stamper and Caroline Lucas, Miller's in Lewes.Listed in the 'The Bloomsbury Artists prints and book design' by Tony Bradshaw, published by Aldershot in 1999, no. 14.Provenance: Purchased by the vendor from Louise Kosmon, Modern British Art.Framed and glazed 58cm x 46cm
A 1987 Laura Ashley sofa cover from the Bloomsbury collection in Queen Mary terracotta. The Bloomsbury collection reproduced a number of prints, originally designed by Duncan Grant and Vanessa Bell in the 1930s whilst residing in Charleston, a farmhouse on the Sussex Downs. Made from linen this is in excellent condition and would appear to be unused (1) This was made for the Montgomery sofa and it is missing its cushion covers measurements 57 by 29 inch seat, inside arm 14 inches, arm 6.5 inches wide, 20.5 inch side drop
Five publications Virginia Woolf & Vanessa Bell: Remembering St Ives. Marion Dell and Marion Whybrow. Published 2003 by Tabb House Originals. Hardback.Under Open Sky: The Paintings of the Newlyn and Lamorna Artists 1880-1940 in the Public Collections of Cornwall and Plymouth.Different Ways of Seeing: The Artistic Visions of Joan Gillchrest, Bryan Pearce and Fred Yates. Published 2011 by Sansom and Company Ltd.St Ives Artists: A Companion. Virginia Button. Published 2009 by Tate Publishing.Tate St Ives: An Illustrated Companion. Published 1993 by Tate Publishing.
Quentin Bell (British, 1910-1996)Portrait of a Lady oil and pencil on paper47 x 36.5cm (18 1/2 x 14 3/8in).Painted circa 1960Footnotes:ProvenanceWith The Bloomsbury Workshop, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitionLondon, The Bloomsbury Workshop, Summer Exhibition, 25 July-24 August 1990Quentin Bell, the younger son of Vanessa and Clive Bell, was born in 1910 into the very heart of the artistic Bloomsbury circle, growing up between London and Charleston. Although best known as a potter, sculptor and the biographer of Virginia Woolf, Bell continued painting from the 1930s to the later 1960s. His contributions to the murals in Berwick church, Sussex, in 1940-41 showcase his skilled draughtsmanship. The sitter in this portrait has not been identified, but is possibly a model in the Fine Art Department at the University of Leeds, where Bell was Professor of Fine Art from 1959 to 1967.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 - Parrot Tulips, c.1957; oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (photo of the original label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label originally attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent (label attached to the reverse of the frame); Roseberys, London, Modern British & Contemporary Art, 12th March 2024, lot 6; private collection, purchased from the above Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (photo of the original label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
WOOLF (VIRGINIA)Wood is a pleasant thing to think about... From The Mark in the Wall, second separate edition, broadside, 2 woodcuts by Vanessa Bell, watermark 'Endowment Bond. Strathmore U.S.A.' [Kirkpatrick A2c], 335 x 184mm., 'The Chelsea Book Club Broadside No.I ptd. at 43 Belsize Park Gdns.', [1921]Footnotes:SCARCE broadside printing of an extract from 'The Mark on the Wall', illustrated with two woodcuts by Vanessa Bell. The piece first appeared in Two Stories (1917), the first title issued by the Hogarth Press. Little is known about the present printing of this extract, and 'it is unclear whether the broadside was meant as an art piece for sale in the Chelsea Book Club, or if it was an advertisement for either the shop or for Woolf's writing' (Emily McGinn et al, 'Comparing Marks: A Versioning Edition of Virginia Woolf's 'The Mark on the Wall'', The Annual of the Association for Documentary Editing, vol. 24, 2014, online). Kirkpatrick suggests that it may have been printed by John Rodker, founder of the Ovid Press, who lived at 43 Belsize Park from 1920-1923. The last copy traced at auction was in 1987.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
Dame Eileen Rosemary Mayo DBE (1906-1994) "Circular Quay Sydney" (1964) Signed, mixed media, 43cm by 61.5cm (unframed) Provenance: Riverhouse Galleries, Brisbane, Australia Literature: "Shifting Boundries, The Art of Eileen Mayo", thesis, by Margaret Jillian Cassidy, no.154 We are grateful to Peter Vangioni, Curator, Christchurch Art Gallery Te Puna o Waiwhetū, New Zealand for his assistance in catagloguing this piece. Dame Eileen Mayo was a multi-talented artist; a printmaker, painter, illustrator, designer and author whose long career spanned the globe from England to Australasia, yet she never lost the primary focus of her creativity - depicting the natural world.As a young artist, she began establishing herself in London, and after training supplemented her income by modelling for notable British artists such as Duncan Grant, Dod Procter, Vanessa Bell and Laura Knight who helped her secure her first commissions. Indeed, one of Knight’s extraordinary portraits of her, “The Maiden”, sold at Tennants in 2015 for £33,000. With such illustrious friends and mentors, Mayo soon made a name for herself, particularly as a print maker, and became a significant part of the British art scene in the 1930s and 1940s.However, a divorce in 1952 sparked a major change for the artist. Following her father’s death in 1921, Mayo’s mother and sister had emigrated to New Zealand, and by the early 1950s her sister was living in Sydney. After her divorce, Mayo emigrated to Sydney, where she became a key member in Australia’s artistic reinvigoration. With a pressing need for money, Mayo taught at the National Art School and focused on commercial commissions, producing a body of work that included an iconic set of poster designs for the Australian National Travel Association and sets of stamps featuring the country’s flora and fauna.In 1962 Mayo moved to New Zealand. As she settled into her new home, she worked on a painting, "Warehouses, Sydney" (1963), based on drawings she had made of the old sandstone warehouses along the eastern side of Sydney Cove. The painting was later reproduced as a card for the Australian Mutual Provident Society (AMP), whose headquarters were in one of the new modern buildings that sprung up around the quay in the 1960s. According to a record in the National Library, Wellington, Mayo also designed the front cover of the AMP’s 1964 magazine which depicted four warehouses on Circular Quay, which had been demolished to make way for the building of a tower for the British Tobacco Co. (Australia) Ltd.The present work, “Circular Quay, Sydney” (1964) was sold by the Riverhouse Galleries in Brisbane but its whereabouts was lost, and it was listed in Margaret Jillian Cassidy’s thesis "Shifting Boundaries, The Art of Eileen Mayo" as location unknown.Sydney Cove was the site of the landing of the First Fleet in 1788 and was the point from which Sydney grew. The first wharfs were built in 1792, and Circular Quay (originally called Semi-Circular Quay) was constructed between 1837 and 1844 to become the central port for the city. As the city outgrew the cove, it was converted to a passenger ferry hub, and from the 1950s the stone warehouses were replaced with modernist buildings and the first skyscrapers in Sydney.In 1965 Mayo moved to Christchurch, where she would live for the rest of her life. She taught at the University of Canterbury, and served on the Print Council of New Zealand, all the while producing work that combined her sense of colour harmony, eye for design and in-depth research into her subject. Mayo had devoted her life to art, and continued to work until 1985, when arthritis overcame her. She was made a Dame in 1994 for services to art, just days before her death. Today, Mayo’s work is once more coming to prominence, and a major exhibition of her work was held in 2019 at the Christchurch Art Gallery. The work is unframed. Some light surface dirt. Slight surface scratch to the right of the cream arch on the second building from the left, the odd minor superficial surface scratch to the sky. Upper left of top edge to the left of the palm tree, extreme right of top edge between the palm tree and the corner approx 3cm. Some minor losses to the outer edges, perhaps were an old frame has rubbed? Slight crease to lower right corner. Small scratch to the brown centre of left edge. Small brown spot upper right of the sky to the right of the orange building's roof. See images.
Woolf (Virginia) The Waves, first edition, second impression, original cloth, light sunning to foot of spine, dust-jacket designed by Vanessa Bell and priced at 7/6, light toning to spine, spine ends and corners a little chipped, a few short nicks with light creasing to head, some light spotting to upper panel, an excellent example overall, [cf. Kirkpatrick A16a], 8vo, Hogarth Press, 1931.*** Published in the same month as the first impression in a run of 4,940 copies, compared with 7,113 copies for the first impression.
Woolf (Virginia) To the Lighthouse, first edition, second impression, very light browning and faint ink ownership stamp to endpapers, original cloth, very slight fading to spine, light rubbing to extremities, dust-jacket designed by Vanessa Bell and priced at 7/6, light browning to spine, spine ends and corners chipped, short split to head of upper fore-edge, closed tear to foot of upper panel, the odd short nick or small chip to head and foot with light creasing but a very good example overall, [cf. Kirkpatrick A10a], 8vo, Hogarth Press, 1927.*** Published one month after the first impression, with only 1,000 copies printed, compared to runs of 3,000 for the first impression and 1,500 for the third.
Kathleen Muriel Scale (Muriel Harding-Newman) (British, 1913-2006). Four Nudes with Two Herons signed and dated 1935 (lower left), oil on board 108 x 93cm (42.5in x 36.5in) Footnote: Born in Jersey in 1913, the daughter of Lieutenant Colonel John Dymoke Scale, she married in Cairo Cathedral Brigadier Rupert Norton Harding-Newman in November 1939, he was awarded an MC in 1942 and served in the Secret Intelligence Service. Scale attended Farnham School of Art where she was taught by Otway Maconnell FRSA RBA, later going onto Goldsmiths College where she was taught under the guidance of James Bateman RA. She studied Early Renaissance painting and was greatly influenced by the work and palette of Michelangelo, Botticelli, Piero della Francesca, as well as El Greco. Rowland Hilder taught her line drawing, but she was much more interested in producing large scale mythological and biblically based subjects, such as the work offered here, which provided Scale with much more scope for adventure and fantasy. Her large-scale compositions were initially worked up in sketchbooks, she would then produce a working watercolour or drawing which would be squared up ready to place onto the gesso prepared board. In 1933 at the age of nineteen she had her first painting exhibited at the Royal Academy and between 1933-38 Scale had seven paintings accepted and hung. Later in 1936 she was invited by the National Gallery of Canada to exhibit at an exhibition of Contemporary British artists such as George Spencer Watson, Duncan Grant, Vanessa Bell and Stanley Spencer amongst others. She also exhibited at the RBA and for many years with the Society of Women Artists. She later settled in Somerset and then Dorset after her husband retired. In 1995 Kathleen Muriel Harding-Newman as she was now known had a retrospective of her work held at the Dorset Museum in Dorchester. 'Artist’s Resale Rights (ARR) may apply to this lot'.
Duncan Grant, British 1885-1978 - Nude Seated Figure, 1933; pastel, crayon and pencil on paper, signed and dated lower right 'D Grant 33', 55.8 x 71 cm (ARR) (VAT charged on the hammer) Provenance: Aeneas J. L. McDonnell (1904-1964) (according to the label attached to the reverse of the frame); Magdalene Street Gallery, Cambridge (blank label attached to the reverse of the frame); with Wolseley Fine Arts, London (according to the label attached to the reverse of the frame); with Richard Salmon Gallery, London (according to the label attached to the reverse of the frame); private collection, purchased from the above Exhibited: Contemporary Art Society, 'Loan Exhibition', 1950 (according to the label attached to the reverse of the frame) Note: Aeneas J. L. McDonnell (1904-1964) was an Australian archivist, art dealer, collector and connoisseur, who spent time in Europe in the mid-20th century. In 1928, he became a partner of Macquarie Galleries in Sydney and was later adviser to the Felton Bequest of The National Gallery of Victoria in Melbourne, Australia. He died in London in 1964. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Still life of Charleston Farmhouse ceramics signed with initials 'CMR' l.l., oil on board60 x 90cmCharleston Farmhouse, East Sussex, is associated with the Bloomsbury Group, and was the country home of Vanessa Bell and Duncan Grant.Condition ReportFramed: 73 x 104cmAppears to be in generally good order. Not examined under UV light.
Duncan Grant (Scottish, 1885-1978) 'Autumn Bunch' a still life of flowers in a vase, another painting in the background, oil on canvas, signed and dated 'D Grant '41' lower right. With exhibition label verso: "Exhibition of works by Artists of Fame & Promise, Held at the Leicester Galleries, July August 1941, 'Autumn Bunch', Duncan Grant, Purchaser Miss Stevenson"; and gallery label for 'Ernest Brown & Phillips Ltd, The Leicester Galleries, Leicester Square, London, WC2'. 49.5 x 39 cmNote: this painting was most likely completed at Grant's home in Charleston, showing another painting of a still life in the background. This technique of featuring a painting in the background of his works is used in a number of paintings including ‘The Coffee Pot (Metropolitan Museum of Art). Duncan Grant was a pivotal figure in the Bloomsbury Group, intimately connected with prominent early 20th-century British cultural icons like Virginia Woolf, Vanessa Bell, E.M. Forster, and Lytton Strachey, as well as the influential art critic Roger Fry, who significantly shaped Grant's artistic style. His works are held in numerous collections across the country, including Tate Britain and the V&A in London, the Ashmolean Museum in Oxford, and the Scottish National Gallery of Modern Art in Edinburgh.Provenance: Estate of the late William Lloyd George, 3rd Viscount Tenby (1927-2023), the grandson of David Lloyd George, 1st Earl of Dwyfor (1863-1945) the British Prime Minister from 1916 to 1922 during WWI.Condition Report: Overall condition is fairly good, there is some paint loss on the upper right side and small dent lower left, images have been added to the listing, together with an image under UV light. UV inspection doesn't show any signs of retouching or strengthening.
Fry (Roger), Vanessa Bell, Duncan Grant, etc.. Original Woodcuts by Various Artists, first and only edition, number 44 of 75 copies, a few spots but generally cleaner than usual, original Omega patterned paper boards, rubbed, discolouring to edges, spine fraying and rubbed, [Greenwood p.63], 8vo, Omega Workshops Ltd, 1918. *** The last of only four books printed at the Omega Workshop.This copy with the rarer pink hand-printed pattern paper known only on "a few copies" - Greenwood. The experimental design studio was founded in 1913 by members of the Bloomsbury group with the intention of providing graphic expression to the essence of the Bloomsbury ethos, with close associations to the Hogarth Press. Roger Fry, the principle figure behind the enterprise, believed that artists could design, produce and sell their own works, and that writers could also be their own printers and publishers. However, after a few short years of poor financial decisions and internal conflicts, the company shut down in 1919. Yet it remains an important moment of the Bloomsbury group’s history and association with the visual arts. The conception of a book of original woodcut illustrations by practising artists began with Virginia Woolf, though she realised quickly that she would have to buy a new press to print the illustration adequately. When it came out, Woolf declared it to be "very magnificent but fearfully expensive" (Greenwood p.16).
![[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/9ffae97c-dbbf-4208-ab06-b1a2013c38f8/468x382.jpg)
[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910], 8vo, 38-page exhibition catalogue, wrappers. FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE WRAPPER.[BELL, Vanessa (1879-1961)] - [Exhibition Catalogue:] Manet and the Post-Impressionists. Nov. 8th to Jan. 15th 1910-11. 10 a.m. to 6 p.m. (Under Revision). London: Ballantyne & Company Ltd [for Grafton Galleries], [1910]. 8vo (178 x 120mm). 38-page exhibition catalogue, advertisements (some very light mainly marginal spotting and staining, very lightly browned throughout). Original printed wrappers (detached, lacking backstrip, some fraying and short marginal tears not affecting letters, each wrapper lightly stained at one edge). FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE UPPER WRAPPER. The exhibition held at the Grafton Galleries in London was a ground-breaking succès de scandale which first established the term 'Post-Impressionist'. It contained previously unseen works by Manet, Cézanne, Gauguin, Matisse, Picasso, Seurat and Van Gogh, among others, and shocked the British artistic establishment which remained largely Victorian in outlook, as revealed in the vitriol of contemporary reviews with their accusations of 'degeneracy'. On the gallery's "Honorary" and "Executive" committees were Clive Bell - Vanessa Bell's husband - Roger Fry, Lionel Cust, Lady Ottoline Morrell and, its Secretary, Desmond MacCarthy. In the catalogue's 7-page introductory essay, unattributed but probably by Roger Fry, the writer (commenting specifically on Matisse, although his words could apply more generally to the artists on display) states: "... this search for an abstract harmony of line, for rhythm, has been carried to lengths which often deprive the figure of all appearances of nature. The general effect ... is that of a return to primitive, even perhaps of a return to barbaric, art. This is inevitably disconcerting ..." Vanessa Bell (née Stephen), who has signed the upper wrapper of this catalogue in ink, was an English painter and interior designer, a prominent member of the Bloomsbury Group and sister of Virginia Woolf. Provenance: Included in the lot is Sotheby's 'Charleston' catalogue for its sale held on 21st July 1980, containing 130 lots "... donated from various sources to be sold for the benefit of The Charleston Trust ..." and in which the present exhibition catalogue ("Vanessa Bell's copy") is included as lot 225 with the footnote "The celebrated exhibition which introduced Post-Impressionism into this country"; loosely-inserted is an accompanying autograph note from the buyer. RARE.
λ DUNCAN GRANT (BRITISH 1885-1978) STILL LIFE WITH JUG Oil on panel Signed with initials (upper right) 26.5 x 19cm (10¼ x 7¼ in.)Provenance: Belgrave Gallery, London Painted in Grant's studio at Charleston, the Italian jug is seen on the mantel shelf, viewed from below. The work shows the decorated mantel from the studio of Duncan Grant & Vanessa Bell at Charleston Farmhouse in East Sussex. The ceramic is very similar to the work sold by Dreweatts in October 2023, Vanessa Bell's Still Life of Narcissi which was also perched on the corner of the mantelpiece, from the collection of Robert Kime. We are grateful to Richard Shone for his kind assistance in cataloguing this lot. Condition Report: There is a fine vertical line of craquelure running through the cream jug and fireplace, approximately 15cm long. There is a crack to the panel running vertically top to bottom through the handle of the jug. Associated retouching is visible in natural light. Some light rubbing to the extreme edges with a small loss to the lower section of the left edge. Inspection under UV reveals a thick layer of varnish and retouching to the aforementioned long vertical crack. Condition Report Disclaimer
![[Art] D.H. Lawrence Paintings 2003. David Jones A Fusilier at the Front, his record of the Great War 1995. Joyce Images by Bo](https://cdn.globalauctionplatform.com/5567ca6e-5a30-4b3f-b348-b15e00ea5ddc/9a93925f-78df-4454-8ab7-b19b010f8001/468x382.jpg)
[Art] D.H. Lawrence Paintings 2003. David Jones A Fusilier at the Front, his record of the Great War 1995. Joyce Images by Bob Cato & Greg Vitiello with Introduction by Anthony Burgess 1994. Vanessa Bell Sketches in Pen & Ink A Bloomsbury Notebook. Art of Gormanghast. Peake Captain Slaughterboard Drops Anchor 2001 new edition with colour tinting. Cecil Collins The Quest for the Great Happiness 1988 others on Camille Pissaro, Robin Tanner, Ronald Searle, Stanley Spencer etc (20)
▲ Vanessa Bell (1879-1961) French Landscape, 1921signed and dated l.r., watercolour44 x 66cm, 62 x 84cm framedProvenance: Abbott & Holder;the Estate of Max Clendinning and Ralph Adron.Condition ReportWith some minor foxing to the centre of the picture. Not examined out of the frame. With a small pinhole to the upper corners, additional images uploaded.
BELL QUENTIN: (1910-1996) English art historian and author, the son of Clive and Vanessa Bell and a nephew of Virginia Woolf. T.L.S., Quentin Bell, one page, 8vo, Cobbe Place, Beddingham, Lewes, Sussex, 13th October 1976, to Stephen Brook. Bell thanks his correspondent for their letter and apologises for the delay in replying, continuing to state, ´I don´t think that I could write on cosmetics, certainly not a history which could be a fascinating but rather specialised piece of archaeology. It´s possible that Mrs. Langley Moore might be able to help you, or alternatively the Professor of Fashion, whose name escapes me, at the Victoria and Albert Museum´. Bell also adds a postscript in his hand, signed with his initials Q. B., apologising if his salutation is too familiar and impertinent. One staple to the upper left corner. VGStephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.Doris Langley Moore (1902-1989) English author and fashion historian, and a well-respected Lord Byron scholar.
Woolf (Virginia). A Room of One's Own, 1st edition, London: Hogarth Press, 1929, light offsetting from flaps to endpapers, contemporary ink inscription at front "A cure for the fever of Dr Stella Churchill, 8.XI.29", original cloth, spine ends slightly rubbed, dust jacket designed by Vanessa Bell, lacking two-thirds of spine, remainder laid down, tears and marginal losses along folds, tape repairs to flaps and verso, light toning to rear panel, 8vo QTY: (1)NOTE:Kirkpatrick A12b.
Sir Arthur Stockdale Cope RA; A silver Cope and Nichol School of Painting Medallion, by Frank Bowcher, uninscribed, 57mm diameter, The Pelham Street School was established and included Vanessa Bell as a past student, it was known for greatly assisting young painters prepare for The Royal Academy, together with a bronze Rosa Bonheur for the Anna Klumpke Foundation prize medallion awarded by the Society of French Artists, awarded to Cope in 1906, 67mm diameter, and a silver Epée Club prize medallion designed by Elkington & Co., with presentation inscription dated 1912 (3)
Quentin Bell, British 1910–1996 - Firle Beacon, 1933; oil on panel, signed and dated upper right 'Quentin Bell 1933' and titled to board attached to the reverse of the frame, 38 x 45.8 cm (ARR) Note: the son of Clive and Vanessa Bell, Quentin became a vital member of the Bloomsbury community that lived around his mother and Duncan Grants home Charleston in West Sussex. The present work is a view of the countryside surrounding Charleston, the Beacon overlooking the South Downs. His works are in public collections including Newport Museum, the Towner Art Gallery, Eastbourne and Glasgow Museums. He has become particularly celebrated in recent years for his decorative works such as ceramics and painted lampshades.
Duncan Grant, British 1885-1978 - Landscape near Charleston, c.1924; oil on board, 39.5 x 53.5 cm (ARR) Provenance: Sotheby's, Olympia, 27th November 2002, lot 49 (unsold); private collection Note: the authenticity of this work was confirmed by Richard Shone in 2002. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Vanessa Bell (1879-1961) was a British painter and interior designer known for her contributions to the Bloomsbury Group, a circle of writers, artists, and intellectuals who were influential in the early 20th-century British art and literature scene. Here are some key points about Vanessa Bell:1. **Early Life and Background**: Vanessa Stephen, later known as Vanessa Bell, was born on May 30, 1879, in London, England. She was the elder sister of Virginia Woolf, the famous writer. Her family was part of the intellectual and artistic elite of London.2. **Bloomsbury Group**: Vanessa Bell was a central figure in the Bloomsbury Group, a loosely affiliated collective of writers, artists, and thinkers that included her sister Virginia Woolf, as well as artists Duncan Grant and Roger Fry, among others. The group emphasized artistic and intellectual freedom and often challenged societal norms.3. **Artistic Career**: Bell was primarily known for her painting. Her style evolved from a post-impressionist approach to a more abstract and modernist style influenced by the works of Cézanne and Matisse. She painted landscapes, portraits, and still lifes.4. **Interior Design**: In addition to her painting, Bell was also known for her work as an interior designer. She created innovative and artistic designs for various spaces, including her own homes.5. **Charleston Farmhouse**: Vanessa Bell, along with Duncan Grant, transformed Charleston Farmhouse in Sussex into a vibrant and artistic home. The farmhouse became a hub for the Bloomsbury Group and featured their artistic creations throughout the interior.6. **Personal Life**: Vanessa Bell had a complex personal life. She was married to Clive Bell, an art critic, but their marriage was unconventional and open. She had romantic relationships with other members of the Bloomsbury Group, including Duncan Grant.7. **Portraiture**: Bell created portraits of various members of the Bloomsbury Group and other notable individuals. Her portrait of her sister Virginia Woolf is particularly well-known.8. **Literary Connections**: Bell was closely connected to her sister Virginia Woolf, and their creative endeavors often intersected. Bell designed book covers for Woolf's Hogarth Press.9. **Legacy**: Vanessa Bell's contributions to the visual arts and her role in the Bloomsbury Group have earned her a lasting place in the history of modern British art. Her work continues to be studied and celebrated for its innovative and influential nature.10. **Death and Recognition**: Vanessa Bell passed away on April 7, 1961. Her work has been featured in numerous exhibitions, and her legacy as a pioneering artist and a central figure in the Bloomsbury Group remains significant.Vanessa Bell's artistic career, innovative interior design, and her involvement in the Bloomsbury Group collectively reflect her impact on the cultural and artistic milieu of early 20th-century Britain. Her work continues to be appreciated for its contribution to modernist art and design.Measures 27.8 x 21.5.
(Bloomsbury Group, Jean Shepeard, Doreen Kern, Francis Bacon.) Martin Harrison: 'In Camera - Francis Bacon: Photography, Film and the Practice of Painting', London, Thames & Hudson, 2005, 1st edition, signed & inscribed by Harrison to Doreen Kern (1931–2021), British Postwar & Contemporary artist, sculptor in bronze, niece of the artist and actress Jean Shepeard (1904-1989), "For Doreen with renewed thanks & kindest regards, Martin. Martin Harrison 2005", plus Typed Letter Signed and Autograph Postcard Signed from Harrison to Kern, both 2005, along with other associated ephemera loosely inserted, original cloth lettered in silver, dust wrapper, the book itself with content on Jean Shepeard pages 23, 26 & 79; Jean Shepeard (1904-1989), charcoal portrait on paper, initialled 'JS', 22.5 x 17.5cm, together with a good quantity of ephemera, photocopies/prints of other artworks by Jean Shepeard, Jonathan Poole Gallery letters, invoices, photocopies of correspondence, invoices and related ephemera, two photographs of Jean Shepeard c.1930's/40's (each 24 x 19cm), photocopies of drawings by Shepeard include portraits of Virginia Woolf, Vanessa Bell, R.O. Dunlop, Edith Sitwell, George Bernard Shaw etc etc, these all having been in the possession of Doreen Kern, who in the 1990's discovered that her reclusive aunt, Jean Shepeard, was a lost member of the Bloomsbury set. After inheriting a large black chest from her late aunt containing various portrait sketches by her and letters and photographs, Doreen Kern set about resurrecting the artistic career of Jean Shepeard posthumously; Peter Cotes: 'Thinking Aloud. Fragments of Autobiography', L, Peter Owen, 1993, 1st edition, signed and inscribed by Cotes to Doreen Kern on title page "To Doreen Kern, for the niece of Jean Shepeard: keeping alive the name of an actress, painter, and above all, her own woman...In memory, from Peter Cotes. August 1996", orig. cloth, dust wrapper; Frances Partridge: 'Good Company. Diaries January 1967-December 1969', 1995, paperback, signed & inscribed to Doreen Kern dated 26th October 1995, orig. wraps; packet containing several letters to Jean Shepeard c.1920's-1950's re her acting career, plays etc, including TLS from Assistant Comptroller, Lord Chamberlain's Office, 4th July 1951, re requesting for omissions to be made in the play "Into Our Charge", plus others including TLS from Anmer Hall, July 19th, 1929, others Holyrood Film Productions, BBC, News Chronicle etc; plus another packet containing a good quantity of colour photographs of artworks by Jean Shepeard etc. Jean Shepeard (1904-1989) was a well known actress and artist. She studied at the Slade School of Fine Art and then trained at the Royal Academy of Dramatic Art in 1925. Sharing a flat with Peggy Ashcroft, in 1928 she bacame a member of the Emotionist Group of painters, musicians, philosophers, poets and actors which had been founded by the artist R.O. Dunlop. In 1929 she exhibited with Francis Bacon and Roy de Maistre in Bacon's Queensbury Mews rooms and in the same year she showed with The Redfern Gallery, London. Her work was admired for the sensitivity, beauty of line, vigour and character of her drawings. Her drawings were then exhibited in 1933 in a one woman show at the Lefevre Gallery in London. Somewhat on the periphery of the Bloomsbury set, Jean Sheapeard went on to exhibit with VAnessa Bell and others at the Modern Picture Library. She also performed in numerous plays at leading theatres along with John Gielgud, Jack Buchanan, Sybil Thorndike and others, and in her later years acting was the main focus of her working life
St Ives School of Art interest Sixteen publications Marion Whybrow, 'St Ives 1883-1993', signed, 1994; Austin Wormleighton, 'Morning Tide - John Anthony Park and The Painters of Light, St Ives 1900-1950', signed, Stockbridge Books, 1998; Marion Dell and Marion Whybrow, 'Virginia Woolf & Vanessa Bell, Remembering St Ives', Tabb House, 2003; and thirteen other works, including signed works by Peter Davies, Michael Bird and Tom Cross (16) From the estate of author, John Branfield: Introducing The Art Collection of Pep & John Branfield (davidlay.co.uk)
* Ashton (Frederick, 1904-1988), British ballet dancer and choreographer. A substantial and important archive of approximately 230 personal and sometimes lengthy letters received by Ashton from some of the most influential people of the day, including royalty, artists, actors, dancers, composers, conductors, singers, journalists, writers, philosophers, and socialites, mostly autograph and some typed letters, most using the informal greeting ‘Dear/Dearest Freddie’, containing a mixture of personal and professional work content, including large groups from Ava Alice Muriel Astor (1902-1956) and William Chappell (1907-1994), plus others from Nora Kaye, John Piper, Clarissa Eden, Vanessa [Bell], Jasper Rootham, E. M. Forster, Benjamin Britten, William Walton, Princess Margaret, Tamara Karsavina, John Barbirolli, Margot Fonteyn, John Gielgud, Kathleen Ferrier, Irina Baronova, Sarah Chatto, Colin Graham, Graham Sutherland, John Betjeman, Lincoln Kirstein, Galina Ulanova, Hans Werner Henze, Virgil Thomson, Constant Lambert, Lydia Lopokova, Isiah Berlin, Sacheverell Sitwell, John Maynard Keynes, Bronislava Nijinska and others, various sizes, some with original envelopes QTY: (a small carton)
Manner of Vanessa Bell (1879-1961), oil on canvas, Church interior, bears monogram and date 1911, 34 x 25cm Surface of canvas is dry and granular; unsightly rub, in the form of an arc, from bottom-left corner reaching beyond centre; artwork does appear to have some age; frame re-finished and very ordinary. Only clue to be gleaned from reverse side is canvas supplier John Smith, … , London. Provenance local trade.
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