Roger Fry Paintings & Artwork for Sale | Roger Fry Art Value Price Guide

Oct. 17, 2024
ROGER FRY (1866-1934). The Quay, St Tropez. oil on paper laid on panel 24 ½
Est: £8,000 - £12,000
ROGER FRY (1866-1934). The Quay, St Tropez. oil on paper laid on panel 24 ½ x 18 ½ in. (62.3 x 47 cm.).
Christie's
Sep. 19, 2024
Fry (Roger) A Sampler of Castile, review copy, one of 550 copies, Hogarth Press, 1923 & others, press and illustrated (9)
Est: £200 - £300
Fry (Roger) A Sampler of Castile, review copy, one of 550 copies, plate by Fry, original cloth-backed boards, spine rubbed, lightly discoloured, Hogarth Press, 1923 § Nash (Paul) Room and Book, endpapers browned, jacket spine faded, extremities a little rubbed, 1932 § Fowler-Wright (Hugh), Rigby Graham & others. Piper in Print: Books, Periodicals & Ephemera, 2 vol., from an edition limited to 490, scarlet morocco-backed pictorial boards, additional printed material loose in pockets in red cloth folder, together in original slip-case, Church Hanborough, Artists' Choice Editions, 2010; and 6 others, private press and illustrated, v.s. (9)
Forum Auctions - UK
Jul. 18, 2024
Fry (Roger) Twelve Original Woodcuts, second impression, Hogarth Press, 1921.
Est: £1,500 - £2,000
Fry (Roger) Twelve Original Woodcuts, second impression, 12 plates, printed on alternate rectos, advertisement leaf at end, toning to title, original wrappers, one or two spots, creased at edges, spine a little toned, [Woolmer 13; Greenwood p.68], 8vo, Hogarth Press, 1921. *** See previous lot for details: a rare second impression of this Omega Workshop item. In a letter of 2 December 1921, Virginia Woolf noted that "the first edition of Roger's woodcuts sold out in two days, and another [is] to be printed, folded, stitched and bound instantly" - Letters, II, p.495. The second impression was printed on superior paper stock, without the titles of the woodcuts. Though the size of the impression is unknown, we can trace few examples of this impression in commerce.
Forum Auctions - UK
Jul. 18, 2024
Fry (Roger) Twelve Original Woodcuts, first edition, one of 150 copies, Hogarth Press, 1921.
Est: £2,000 - £3,000
Fry (Roger) Twelve Original Woodcuts, first edition, [one of 150 copies], review slip with autograph insertions in Virginia Woolf's hand loosely inserted, 1p. advertisements at end, light toning strip to title and rear endpaper, original handmade paper wrappers, light creasing to edges, [Woomer 13; Greenwood p.68], 8vo, Hogarth Press, 1921. *** The last title hand-printed by the Woolfs at the Hogarth Press. Including a rare review slip with Virginia's trademark purple ink. "Roger again last night, scraping at his woodcuts while I sewed; the sound like that of a large pertinacious rat. We live in stirring days." - Virginia Woolf, Diary, 12 April 1921. A rare Omega Workshop work, printed two years after the experimental design studio founded in 1913 by Roger Fry shut down in 1919. "At this moment all my time is spent in stitching Roger Fry's woodcuts. We sold our first edition in 2 days, and now have to provide a second in a hurry. It is very encouraging, but I wish we had a capable woman on the premises." - Woolf, letter to Violet Dickinson, 6 December 1921.
Forum Auctions - UK
Jul. 18, 2024
Fry (Roger) Vanessa Bell, Duncan Grant, etc.. Original Woodcuts by Various Artists, first and only edition, Omega Workshops Ltd, 1918.
Est: £2,000 - £3,000
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).
Forum Auctions - UK
Mar. 21, 2024
ROGER FRY (1866-1934) Auray Evening oil on board 14 x 20 in. (35.5 x 50.8 c
Est: £6,000 - £8,000
ROGER FRY (1866-1934) Auray Evening oil on board 14 x 20 in. (35.5 x 50.8 cm.)
Christie's
Mar. 13, 2024
ROGER FRY (BRITISH 1866-1934), THE ROUND TABLE
Est: £10,000 - £15,000
ROGER FRY (BRITISH 1866-1934)THE ROUND TABLEOil on canvasSigned and dated 1920 (lower right)76 x 69.5cm (29¾ x 27¼ in.)Provenance:The Mayor Gallery, LondonExhibited:London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976, p.105 (Illus.198)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.)In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912. Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism. (R.Fry, Vision and Design, London, 1920, p.282)Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds.
Dreweatts 1759 Fine Sales
Mar. 13, 2024
ROGER FRY (BRITISH 1866-1934), STILL LIFE OF A JAR
Est: £1,000 - £1,500
ROGER FRY (BRITISH 1866-1934)STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDEROil on board Signed (lower right)32.5 x 40.5cm (12¾ x 15¾ in.)Provenance:Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, Athene, The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, Writing and Writing Patterns, published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School.'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Dreweatts 1759 Fine Sales
Mar. 13, 2024
ROGER FRY (BRITISH 1866-1934), WOODED LANDSCAPE WITH HILLS BEYOND
Est: £700 - £1,000
ROGER FRY (BRITISH 1866-1934)WOODED LANDSCAPE WITH HILLS BEYOND Oil on board Signed, dedicated and dated Marion Richardson/with best wishes for Christmas/1926 Roger Fry (verso)20.5 x 26.5cm (8 x 10¼ in.)Provenance:Gifted to Marion Richardson, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, Athene, The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, Writing and Writing Patterns, published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School.'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Dreweatts 1759 Fine Sales
Mar. 13, 2024
ROGER FRY (BRITISH 1866-1934), FLOWER PIECE
Est: £4,000 - £6,000
ROGER FRY (BRITISH 1866-1934)FLOWER PIECE Oil on canvas laid on board Signed (lower left)51 x 41cm (20 x 16 in.)Provenance:Marion Richardson, Private Collection, British teacher and author on handwritingThence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, Athene, The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, Writing and Writing Patterns, published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School.'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Dreweatts 1759 Fine Sales
Mar. 13, 2024
ROGER FRY (BRITISH 1866-1934), TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN
Est: £400 - £600
ROGER FRY (BRITISH 1866-1934)TOWNSCAPE AND CHURCH, SEGOVIA, SPAINRed chalk Signed and dated 1923 (lower left), titled (lower right) 32.5 x 44.5cm (12¾ x 17½ in.)Provenance:Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, Athene, The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, Writing and Writing Patterns, published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School.'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Dreweatts 1759 Fine Sales
Mar. 13, 2024
ROGER FRY (BRITISH 1866-1934), HOUSE BY THE WATER'S EDGE
Est: £200 - £400
ROGER FRY (BRITISH 1866-1934)HOUSE BY THE WATER'S EDGE Ink Signed and indistinctly dated 15[] (lower right)23.5 x 35cm (9¼ x 13¾ in.)Provenance:Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerExhibited:London, The London Artist's Association 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, Athene, The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, Writing and Writing Patterns, published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School.'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Dreweatts 1759 Fine Sales
Dec. 19, 2023
Roger Fry (British 1866-1934), Book of Twelve Original Woodcuts, Overall: 8 3/4 x 6 1/4 in. (22.2 x 15.9 cm.)
Est: $800 - $1,200
Roger Fry (British 1866-1934), Book of Twelve Original Woodcuts,
Weschler's
Oct. 04, 2023
ROGER FRY (BRITISH 1866-1934), VIEW OF A WOMAN IN AN INTERIOR
Est: £10,000 - £15,000
ROGER FRY (BRITISH 1866-1934) VIEW OF A WOMAN IN AN INTERIOR Oil on canvas Signed (lower right)61 x 76cm (24 x 29¾ in.)Painted circa 1919.We are grateful to Richard Shone for his kind assistance in cataloguing this work.
Dreweatts 1759 Fine Sales
Jun. 28, 2023
Lady Seated in an Interior
Est: £25,000 - £35,000
Roger Fry 1866 - 1934 Lady Seated in an Interior oil on canvas unframed: 46 by 38cm.; 18 by 15in. framed: 64 by 55.5cm.; 25¼ by 21¾in. Executed circa 1915. We are grateful to Richard Shone for his kind assistance with the cataloguing for the present work.
Sotheby's
Apr. 25, 2023
Roger Fry (1866-1934)
Est: £400 - £600
Roger Fry (1866-1934) Roger Fry (1866-1934) Landscape at Vence signed and dated 'Roger Fry '21' in pencil l.r., watercolour 41 x 31.5cm Condition Report: Framed size Not viewed out of glazed frame 64 x 54cm
Sworders
Mar. 22, 2023
ROGER FRY (1866-1934) Provençal Landscape, St Rémy oil on canvas 21 1/2 x 2
Est: £4,000 - £6,000
ROGER FRY (1866-1934) Provençal Landscape, St Rémy oil on canvas 21 1/2 x 25 1/2 in. (54.6 x 64.8 cm.)
Christie's
Mar. 22, 2023
ROGER FRY (1866-1934) Summer in the Garden oil on panel 17 1/2 x 22 in. (44
Est: £5,000 - £8,000
ROGER FRY (1866-1934) Summer in the Garden oil on panel 17 1/2 x 22 in. (44.5 x 55.9 cm.)
Christie's
Jan. 25, 2023
ROGER FRY (BRITISH 1866-1934) THE RAVINE, THE ALPILLES, CIRCA 1932-33
Est: £2,000 - £3,000
ROGER FRY (BRITISH 1866-1934) THE RAVINE, THE ALPILLES, CIRCA 1932-33 oil on canvas, signed (54cm (21 1/4in), 65cm (25 1/2in)) Literature: Shone, Richard E. (ed.) 'The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', London 1999, repr. b/w p.13 fig.4. Note: In his 1999 essay 'The Artists of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', Richard Shone used this painting to illustrate the point that 'Roger Fry, seen as the arch-exponent of formal values and aesthetic decorum, was frequently drawn in his painting to the most romantic and picturesque aspects of the landscape - to the jagged profiles of unpopulated hillsides, to ravines and mountain pools.' (op.cit., p.13). Roger Fry’s appreciation of, and efforts to promote Post-Impressionist art were key to introducing Britain to recent developments in European art. Fry curated two Post-Impressionist exhibitions in London, the first in 1910 and the second in 1912, with the intention of showing the ways in which Impressionism had expanded and developed from its French origins and taken root in other countries, specifically in England. The work of French artists such as Cézanne, Bonnard and Matisse were juxtaposed with that of a new generation of British artists made in response to art made on the Continent. Fry’s intention was to show the artistic and cultural exchange between Great Britain and mainland Europe. One of Fry’s ambitions was to encourage a better appreciation of Cézanne’s achievements and he was the first British critic to champion his work. Fry’s 1927 study, Cézanne, remains the supreme introduction to a painter he regarded as the ‘greatest master of modern times’. On a trip to France in October 1919, Fry spent time in Cézanne’s hometown of Aix-en-Provence, the surrounding areas painted by the artist, and his house, the Jas de Bouffan. The magnificent countryside inspired Fry to paint, and led him to declare Cézanne a ‘pure naturalist’. Fry believed form, not subject matter, should be the primary expressive element in art. Cézanne’s aims closely aligned with Fry’s ideal, as it gave formal expression to nature. In his 1927 study, Fry asserts that Cézanne’s art is the antithesis of the abstraction of Cubism, constantly questing instead to explore the inner face of nature. He also notes the artist’s powers as a colourist as among the supreme aspects of his genius. Typical of Cézanne’s style, according to Fry, are the pulsating rhythms and constructed strokes that create geometric forms. According equal emphasis to all areas of the canvas, the entire picture surface is imbued with ‘the vibration and movement of life’. In one passage, Fry writes ‘Cézanne reduces actual objects to pure elements of space and volume. In their abstraction, the objects are then brought back into the concrete world of real things by expressing them in an incessantly varying and shifting texture. They retain their abstract intelligibility and regain that reality of actual things which is absent from all abstractions.’ For all his academic influence, however, Fry primarily saw himself as an artist. His championship of Post-Impressionism was accompanied by a dramatic change in his own painting, becoming more experimental in style. His landscapes are arguably Fry’s most notable contribution to English Post-Impressionism, in which trees are ground down to the simplest geometrical shapes and clouds stalk the skies. He was interested in the capturing of light and mood of places, and his desire for clear-cut shapes and colours is expressed in sturdy geometric shapes. Fry was a regular visitor to southern France for much of his life. He had great admiration for its various landscapes, for the light and colours of the Midi, for the lifestyle and customs of its inhabitants, its broadly democratic attitude to culture, its architecture and artistic heritage. His extensive trips deepened his love of Provence, where he was eventually to buy a farmhouse. In 1931 he acquired Mas d’Angirany, on the Route d’Antiques leading out of St Remy-de-Provence, which he shared with Charles and Marie Mauron. It was surrounded by olive groves and the upper floor looked across to Les Alpilles, extraordinary geological formations that have been weathered into grotesque shapes and pitted by ravines that have cut their way through the rocks. Vincent Van Gough’s ‘Ravine’, painted shortly after his arrival at the Saint-Paul asylum in 1889, depicts a nearby ravine in Saint-Remy; a possible inspiration for Fry’s later production of a similar scene. Frances Spalding has written ‘some of Fry’s most lyrical late landscapes, with their observation of flickering light an intense responsiveness to the spirit of the place, were painted in the area in and around St Remy’. Until the end of his life, Provence would remain Fry’s favourite part of France. It was a painter’s love, ultimately visual.
Lyon & Turnbull
Dec. 13, 2022
Roger Fry N.E.A.C. (British, 1866-1934), 'The Downs near Guildford', oil on wooden panel, 40 x 52cm
Est: £2,500 - £3,000
Roger Fry N.E.A.C. (British, 1866-1934) 'The Downs near Guildford' oil on wooden panel signed
Gorringes
Oct. 20, 2022
Roger Fry (1866-1934), Henri Matisse, New York, 1930
Est: $400 - $800
The bound book, copy 575 of 650. Works Formerly in the Collection of Jacquelyn Miller Matisse
STAIR
Oct. 20, 2022
ROGER FRY (1866-1934) Anemones ROGER FRY (1866-1934) /Anemones/ signed and dated 'Roger Fry . 29' (l
Est: £6,000 - £8,000
ROGER FRY (1866-1934) Anemones ROGER FRY (1866-1934) /Anemones/ signed and dated 'Roger Fry . 29' (lower right) oil on board 16 1/4 x 13 1/4 in. (41.2 x 33.6 cm.) Painted in 1929.
Christie's
Oct. 19, 2022
ROGER FRY (BRITISH 1866-1934), ATHENS
Est: £4,000 - £6,000
ROGER FRY (BRITISH 1866-1934)ATHENS Oil on board Signed (lower right); titled in blue crayon to backboard (verso)29 x 39cm (11¼ x 15¼ in.)Provenance:Sale, Christie's, London, 1 March 2006, lot 72Sale, Sotheby's, London, 7 September 2006, lot 95
Dreweatts 1759 Fine Sales
Mar. 22, 2022
Roger Elliot Fry (1866-1934)
Est: £400 - £600
Roger Elliot Fry (1866-1934) Roger Elliot Fry (1866-1934) 'The ravine' inscribed with title on torn label verso, gouache 19.5 x 29.5cm
Sworders
Mar. 08, 2022
Roger Fry (1866-1934), Three men in a cafe, Aix-En-Provence, pencil on paper, 11 x 16.5cm
Est: £300 - £500
Roger Fry (1866-1934) Three men in a cafe, Aix-En-Provence pencil on paper with Bill of Sale from The Bloomsbury Workshop dated 2004
Gorringes
Nov. 23, 2021
Roger Fry (British, 1866-1934) Farmyard With Ducks at Charleston
Est: £4,000 - £6,000
Roger Fry (British, 1866-1934) Farmyard With Ducks at Charleston signed and dated 'Roger Fry. 1919.' (lower left) oil on canvas 47.5 x 46.5cm (18 11/16 x 18 5/16in). For further information on this lot please visit the Bonhams website
Bonhams
Nov. 23, 2021
Roger Fry (British, 1866-1934) Gypsy
Est: £4,000 - £6,000
Roger Fry (British, 1866-1934) Gypsy signed and dated 'Roger Fry 1918' (lower right) oil on canvas 52 x 44.5cm (20 1/2 x 17 1/2in). For further information on this lot please visit the Bonhams website
Bonhams
Oct. 28, 2021
Roger Fry (British 1866-1934)
Est: £6,000 - £8,000
Roger Fry (British 1866-1934) Le Baou des Noir, Vence signed and dated ‘Roger Fry / 1920’ (lower left) oil on canvas 63.5 x 80cm Footnote: Set in the rugged hills of the Alpes Maritimes department and incised throughout with a labyrinth of medieval cobbled streets, Vence, formerly the Roman settlement of Vintium, attracted a flock of artists and writers including, D.H. Lawrence, Marc Chagall, Henri Matisse, Christopher Wood, and Gwen Raverat. The present lot was executed on one of several trips Fry made to Vence. On this particular trip, taken in the spring of 1920, Fry was accompanied by the French artist, Jean Marchand. In his 1920 publication of the influential work, Vision and Design, which comprised a collection of twenty-five essays he had written between 1900 and 1920, Fry dedicated a chapter to Marchand, whom he credited for discarding the 'scaffolding of cubism'.
Cheffins
Jul. 21, 2021
Roger Fry (British, 1866-1934) Suffolk Landscape
Est: £3,000 - £5,000
Roger Fry (British, 1866-1934) Suffolk Landscape signed and dated 'Roger Fry. 31' (lower left) oil on board 33 x 40.5cm (13 x 15 15/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Wooded Landscape, Provence (Painted circa 1926-7)
Est: £3,000 - £5,000
Roger Fry (British, 1866-1934) Wooded Landscape, Provence oil on canvasboard 40 x 32cm (15 3/4 x 12 5/8in). Painted circa 1926-7 For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Cypresses, Broussa (Painted in 1911with a further unfinished landscape sketch on the reverse, by the same hand)
Est: £3,000 - £5,000
Roger Fry (British, 1866-1934) Cypresses, Broussa oil on board 35.5 x 25.5cm (14 x 10 1/16in). Painted in 1911 with a further unfinished landscape sketch on the reverse, by the same hand For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Carpentras (Painted circa 1930)
Est: £3,000 - £5,000
Roger Fry (British, 1866-1934) Carpentras oil on board 31 x 39.5cm (12 3/16 x 15 9/16in). Painted circa 1930 For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Figures Beneath Trees, Vence
Est: £2,000 - £3,000
Roger Fry (British, 1866-1934) Figures Beneath Trees, Vence oil on board 27 x 36.5cm (10 5/8 x 14 3/8in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Cagnes
Est: £4,000 - £6,000
Roger Fry (British, 1866-1934) Cagnes signed and dated 'Roger Fry. 1930.' (lower right) oil on board 33 x 40.5cm (13 x 15 15/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Ravine with Houses, Broussa (Painted in 1911)
Est: £1,000 - £1,500
Roger Fry (British, 1866-1934) Ravine with Houses, Broussa oil on board 35 x 25cm (13 3/4 x 9 13/16in). Painted in 1911 For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
Roger Fry (British, 1866-1934) Woman in a Doorway (Painted circa 1930 with a further unfinished landscape painting on the reverse, by the same hand)
Est: £2,000 - £3,000
Roger Fry (British, 1866-1934) Woman in a Doorway oil on board 36.5 x 28cm (14 3/8 x 11in). Painted circa 1930 with a further unfinished landscape painting on the reverse, by the same hand For further information on this lot please visit the Bonhams website
Bonhams
Jun. 30, 2021
Roger Fry (British, 1866-1934) Vanessa Bell in a deckchair 33.6 x 56 cm. (13 1/4 x 22 in.) (Painted in 1911)
Est: £15,000 - £25,000
Roger Fry (British, 1866-1934) Vanessa Bell in a deckchair oil on board 33.6 x 56 cm. (13 1/4 x 22 in.) Painted in 1911 For further information on this lot please visit the Bonhams website
Bonhams
Jun. 30, 2021
Roger Fry (British, 1866-1934) Tea in the garden, Royat 32.5 x 40.6 cm. (12 3/4 x 16 in.) (Painted in 1933)
Est: £5,000 - £7,000
Roger Fry (British, 1866-1934) Tea in the garden, Royat oil on board 32.5 x 40.6 cm. (12 3/4 x 16 in.) Painted in 1933 For further information on this lot please visit the Bonhams website
Bonhams
Jun. 30, 2021
Roger Fry (British, 1866-1934) The walled garden, Charleston 46.6 x 54.5 cm. (18 3/8 x 21 1/2 in.) (Painted in 1919-20)
Est: £5,000 - £7,000
Roger Fry (British, 1866-1934) The walled garden, Charleston oil on canvas 46.6 x 54.5 cm. (18 3/8 x 21 1/2 in.) Painted in 1919-20 For further information on this lot please visit the Bonhams website
Bonhams
Jun. 30, 2021
Roger Fry (British, 1866-1934) A London Garden 50.8 x 68.6 cm. (20 x 27 in.)
Est: £10,000 - £15,000
Roger Fry (British, 1866-1934) A London Garden signed and dated 'Roger Fry.1924.' (lower right) oil on canvas laid on panel 50.8 x 68.6 cm. (20 x 27 in.) For further information on this lot please visit the Bonhams website
Bonhams
Jun. 30, 2021
Roger Fry (British, 1866-1934) Garden at Cassis 79.8 x 65 cm. (31 3/8 x 25 1/2 in.) (Painted in 1925)
Est: £8,000 - £12,000
Roger Fry (British, 1866-1934) Garden at Cassis signed 'Roger Fry.' (lower right) oil on canvas 79.8 x 65 cm. (31 3/8 x 25 1/2 in.) Painted in 1925 For further information on this lot please visit the Bonhams website
Bonhams
Dec. 16, 2020
Roger Fry (British, 1866-1934) Fishing Boats at St Tropez (Painted circa 1921-4)
Est: £2,000 - £3,000
Roger Fry (British, 1866-1934) Fishing Boats at St Tropez signed 'Roger Fry.' (lower left) oil on board 32.5 x 41cm (12 13/16 x 16 1/8in). Painted circa 1921-4 For further information on this lot please visit the Bonhams website
Bonhams
Oct. 23, 2020
§ Roger Fry (British 1866-1934) River Landscape
Est: £300 - £500
§ Roger Fry (British 1866-1934) River Landscape pencil on paper (21.5cm x 35cm (8.5in x 13.8in)) Footnote: Provenance: Given to Sheila MacDonald by Margery Fry September 1939.
Lyon & Turnbull
Oct. 22, 2020
Dutch & Northern European Art.- Fry (Roger) Flemish Art: A Critical Survey, pictorial boards ?by Vanessa Bell, 1927 & others on early Netherlandish art (14)
Est: £150 - £200
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)
Forum Auctions - UK
Jul. 01, 2020
Roger Fry (British, 1866-1934) Portrait of E.M. Forster 73 x 60 cm. (28 1/4 x 23 5/8 in.) (Painted in 1911)
Est: £30,000 - £50,000
Roger Fry (British, 1866-1934) Portrait of E.M. Forster oil on canvas 73 x 60 cm. (28 1/4 x 23 5/8 in.) Painted in 1911 For further information on this lot please visit the Bonhams website
Bonhams
May. 29, 2020
Roger Fry, Ten Architectural Lithographs
Est: £800 - £1,200
Roger Fry, Ten Architectural Lithographs, London: Arcitectural Press Ltd. Limited edition number 31 of 40, in folder with mounts, signed in pen by Fry
Kinghams Auctioneers
Feb. 11, 2020
Roger Fry, British 1866-1934- St Francis giving his cloak to a destitute n
Est: £800 - £1,200
Roger Fry, British 1866-1934- St Francis giving his cloak to a destitute nobleman, after Giotto; oil on canvas, 48x46cm Note: The present picture is a copy after a fresco by Giotto in the Upper Basilica of San Francesco in Assisi. In 1917 Fry organised an exhibition at the Omega Workshops called ‘Copies and Translations of Old Masters’, to which he invited all the artists who were associated with the Omega to contribute. The intention was to encourage young artists not to make perfect copies of the originals, but rather to learn new things while making a loose copy or study of an Old Master painting. Fry chose to copy Giotto. He later hung some of these copies in among his collection of paintings in his home at 48 Bernard Street in London. A photograph of his dining-room, reproduced on p. 260 of Frances Spalding’s Roger Fry: Art and Life, shows a copy of a Giotto fresco hanging on the wall. We are grateful to Dr Frances Spalding for her assistance with the cataloguing of this lot. In a gilded frame. Please refer to department for condition report
Roseberys
Dec. 03, 2019
ROGER FRY (1866-1934)
Est: £25,000 - £35,000
ROGER FRY (1866-1934) Lalla Vandervelde oil on canvas 91.5 x 71 cm (36 x 28 in) Painted in 1917 Provenance: with Michael MacCarthy (son of Desmond and Molly MacCarthy), by 1960s with Gallery Edward Harvane, London, by early 1974 with Belgrave Gallery, London, by 1980, where acquired by the present owner Private collection, France Exhibited: London, Gallery Edward Harvane, Bloomsbury Pie, 1974, no. 24 London, Gallery Edward Harvane, A Homage to Duncan Grant, 1975, no. 27 London, Courtauld Gallery, Portraits by Roger Fry, 1976, no. 19, this exhibition travelled to Sheffield, Mappin Art Gallery, Portraits by Roger Fry, 1976, no 19 London, Courtauld Gallery, Art Made Modern. Roger Fry’s Vision of Art, 1999, no.77 Literature: D. Sutton, (ed.), Letters of Roger Fry, 1974, London, vol. II, pl. 74, illustrated F. Spalding, Roger Fry: Art and Life, London, 1999, no.59, illustrated Exhibition catalogue, C. Green (ed.), Art Made Modern, Roger Fry’s Vision of Art, London, 1999, p. 122, no. 77, fig. 72, illustrated Painted in 1917, Roger Fry’s depiction of Lalla Vandervelde ranks among his finest portraits. Lalla wears an alluring low-cut yellow dress and in the background is a vase of paper flowers from the Omega Workshops as well as a piece of Omega designed ‘Margery’ fabric. The work belongs to a striking group made in the First World War which includes Edith Sitwell and Nina Hamnett. The setting was Fry’s studio at 21 Fitzroy Street. In December 1917 Fry wrote to Vanessa Bell that ‘Lalla’s very good and punctual and sits very well’ (R. Fry to V. Bell, 12th December 1917). Lalla and Fry were great friends and almost certainly lovers (London gossips certainly thought so). She supported Fry’s Omega Workshops, bought paintings by Duncan Grant and Vanessa Bell, and in early 1916 Fry and his Omega assistants decorated her Chelsea flat for her. (Several pieces, including her bed, are now in the Victoria & Albert Museum). Born Charlotte Helen Frederique Speyer in Camberwell, London in 1870, Lalla’s father Eduard Anton Speyer, of German Jewish descent, was a rich financier. In 1901 she became the wife of Emile Vandervelde (1866-1938), a prominent leader in the Belgian Socialist Party and later a Minister of State. During and after the First World War Lalla entertained many writers and painters and was devoted to the Belgian refugees in London. Although later estranged from her husband, she remained faithful to his Socialist and pacifist beliefs and was not averse to using her position as a Minister’s wife to further any cause she espoused. Osbert Sitwell described her as ‘a woman of striking intelligence and humour’… her war-time home being … ‘the resort of modern painters and writers, and of the more unconventionally minded of politicians…. Intrepid in mind, with a liking for all new ideas, in music, literature or politics – indeed she tended, perhaps, to like the new for its newness’ (O. Sitwell, Laughter in the Next Room, 1949, p. 9). She was friendly with a number of writers including Arnold Bennett and George Bernard Shaw, and was intimate with Edward Elgar. In 1925 she published her autobiography titled Monarchs and Millionaires. Her character is nicely summed up in her late motor racing endeavours, having taken up the sport as a hobby at the age of sixty. Allanah Harper, editor of Echanges, describing Lalla in Brussels in the late 1920s with ‘flaming, dyed red hair’ driving very fast in an open-topped car. Rumoured to have kept a stream of lover into her old age, Lalla died in London in 1965. Fry had founded The Burlington Magazine in 1903, been appointed Curator of Paintings at The Metropolitan Museum of Art, New York in 1906, and in 1910 organised the seminal exhibition Manet and the Post-Impressionists at the Grafton Galleries, London. It was at this time also that he became associated with the Bloomsbury circle, and it was during the following decade that portraiture in his oeuvre flourished. Working closely with Clive Bell and Duncan Grant, Fry sought to create a ‘directness of sensuous response’ in his compositions, his sitters typically being relaxed, with his finished works epitomizing the personal relationships held between him and his subjects, as in the present example. Artist's Resale Right may apply on this lot
Chiswick Auctions