A pair of handmade, lined and interlined bottle green antique style velvet curtains, with matching covered pelmet board. Curtains: rufflette gathered heading, interlined and lined with gold fabric (possibly viscose acetate), trimmed on both sides and to the bottom edge with a handmade 8cm border appliquéd in a simplistic acanthus design in gold fabric (same fabric as lining) (230cm H x 270cm W overall). Pelmet: Covered with matching bottle green velvet and two parallel horizontal bands of matching border design, front panel and RHS panel only (143cm W x 30cm H x 15cm D). Condition: No sun damage to main curtain -- some wear and sun fading to border. We have been told that these are from a company called English Home, however we cannot find any further information about this business.
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A pair of pale caramel-coloured, cotton velvet curtains with gold and pale lavender damask border to bottom and leading edge, rufflette heading, interlined and lined with cotton sateen (265cmH x 286cmW).. Condition: Excellent overall, no visible sun fade, some very small marks to lining, rufflette heading in very good condition.
A pair of handmade, lined and interlined curtains, with matching lambrequin style, trimmed, covered pelmet board: Curtains: made of woven, tapestry style cloth depicting Medieval huntsmen and women on horseback, holding bows and arrows or horns, amongst stylised branching trees. Sandstone colour ground, pictorial design in shades of brown, green, blue and wine red, rufflette gathered heading, interlined and lined in plain cream cotton sateen (232cmH x 320cmW). Pelmet: covered with matching fabric and trimmed with red and gold bobble fringe, panels to both sides (245cmW x 57cmH x 24cmD). Condition: Face fabric of curtains is good with some sun fade to leading edge and some fading to lining. Face fabric of pelmet is good, tassel trim is good. Some wear to edges where it has been mounted. Fixing boards need attention. Track untested, as seen.
Puppenhaus von Moritz Gottschalk, um 1910Stadtvilla, Holzkonstruktion mit lithographierten Seitenwänden, 2 Etagen mit 2 Zimmern, Tapeten und Fußbodenbelag, verglaste Fenster mit Gardinen, Tür zum Öffnen, offene Veranda und Balkon mit Dekoration, dreiteiliger Zaun und 19 Figuren (nicht alle passend zum Puppenhaus). Gesamtmaße: 26 x 28 x 45 cm. - Ein selten zu findendes Puppenhaus. - Literatur: "Moritz Gottschalk 1892-1931", Cieslik Verlag 2000. Start Price: EUR 800 Zustand: (3/3)Blue-Roof Doll’s House by Moritz Gottschalk, c. 1910Town villa with blue roof and gabled dormer, wood construction with lithographic exteriors, 2 floors with 2 rooms, glazed windows with curtains, wallpaper, opening door, open veranda and balcony with decoration, three-part fence and 19 figures (not all appropriate for the doll's house). Overall: 10 1/5 x 11 x 14 ¾ in. - A rarely found doll's house. - Literature: "Moritz Gottschalk 1892-1931", Cieslik Verlag 2000. Start Price: EUR 800 Condition: (3/3)
A VICTORIAN MAHOGANY FRAMED TESTER SIZE BED FRAME tall headboard with moulded dentil cornice over carved scrolled foliate motif over three panel back flanked by reeded sides and panelled footboard with turned column sides with finial tops, 213cm high x 210cm long x 137cm wide, bed comes with a later awning with floral/foliated curtains Condition Report:Available upon request
A Pair of Cream and Green Floral Brocade Lined and Interlined Striped Curtains, with swags and tie-backs, curtain width 128cm, drop 205cm, together with a further pair of brown chenille single lined curtains, 330cm by 235cm dropThe striped curtains with some sun discolouration to the reverse and some staining, the brown pair with some staining to the lining.
19th Century and Later Bed Covers and Quilts comprising a white knitted cotton bed cover, two Marcella type bed covers and net curtains, late 19th century printed cotton patchwork log cabin design quilt, 210cm by 170cm,and another hand quilted whole cloth in pale pink and cream 190cm by 245cm,(one box and two quilts)
WILLIAM KENTRIDGE (B. 1955)Drawing from the History of the Main Complaint 1996 signed and dated '96charcoal and pastel on paper123 by 160 cm.48 7/16 by 63 in.Footnotes:ProvenanceAnnandale Galleries, SydneyPrivate Collection, SydneyAcquired directly from the above by the present ownerLiterature Carolyn Christov-Bakargiev, William Kentridge, Brussels 1998, p. 112, illustrated in colour Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, London 1999, p. 87, illustrated in colourCaptivating and poignant, Drawing for the Main Complaint is one of twenty-one large-scale drawings constituting Kentridge's film, 'History of the Main Complaint.' The present work's expansive scale and gestural execution coupled with its thematic exploration of apartheid, colonialism, memory, and time firmly establish Kentridge as a significant artist who has made a compelling contribution to contemporary art. Other drawings from the film are housed in esteemed collections such as the Museum of Modern Art, New York and the Museum of Contemporary Art, Chicago, affirming the importance of the present work, and of Kentridge's stature as one of today's most notable living artists. In the present work Kentridge is rendering a striking portrayal of an austere black-and-white hospital ward with curtains drawn around a solitary bed, revealing only two discernible hints of red and blue – red in the light on the wall to the right and blue in the bowl of water to the left. These sparingly applied colours carry profound aesthetic and allegorical significance, transforming into a device imbued with powerful symbolism. Drawing lies at the core of Kentridge's artistic practice. 'I guess it all starts from charcoal drawings; you can change charcoal as quickly as you can change your mind. There's a flexibility and granularity that I really like.' (the artist in an interview with Tate, London, William Kentridge – 'Art Must Defend the Uncertain' | Artist Interview | TateShots, youtube.com/Tate, 20 April 2018) This immediacy becomes palpable in the artwork, where the velvety smudged lines and sooty surface coalesce to deliver a tactile and evocative visual experience. Each drawing represents a singular scene within the animation, changing subtly through the swift process of erasing and redrawing with each new image photographed in 16 or 35-mm film. The lingering imprints of these stages on the paper transcend their physicality, emerging as an important metaphor for the layering of memory, a central and resonant theme that permeates Kentridge's extensive body of work. Kentridge comments further on his unique and labour-intensive process, 'The technique I use is to have a sheet of paper stuck up on the studio wall and, halfway across the room, my camera, usually an old Bolex. A drawing is started on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all, there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a grey, battered, and rubbed-out drawing). Once the film, editing, adding sound, music, and so on proceeds like any other.' (the artist in: C. Christov-Bakargiev, William Kentridge, Brussels 1998, pp. 61-64).Hypnotic and deeply moving, Kentridge's films go beyond politics to express a profound humanitarian perspective. They are a powerful collection of images tapping into a shared consciousness. Viewed collectively, these films evoke a lingering, almost overwhelming sadness extending beyond the confines of Johannesburg. 'History of the Main Complaint' is featured in many prominent publications and holds a pivotal place in Kentridge's filmography. Editions of the film are found in the collections of prestigious institutions such as the Museum of Modern Art, New York and Tate London.Drawing from the Main Complaint features in the sixth film, 'History of the Main Complaint,' which spans 5 minutes and 50 seconds. It is a part of Kentridge's ongoing series of animations entitled 'Drawings for Projection,' initiated in 1989. Created in 1996 during the Truth and Reconciliation Commission's initial hearings in post-apartheid South Africa, 'History of the Main Complaint' delves into the profound social and historical wounds inflicted by apartheid. The Commission, established under Archbishop Desmond Tutu, aimed to address human rights abuses during the apartheid era through public hearings where individuals recounted personal suffering for reparation and reconciliation. Kentridge's film centres on the theme of white responsibility, portraying a 'medical' investigation into Soho Eckstein, a white property-developing magnate, and the protagonist in preceding films. As Soho lies comatose in a hospital ward, weighed down by the burdens of his past actions and those implicated by his race and class, MRIs and CAT scans visually articulate his affliction. Memories of violence against black South Africans permeate the screen, reflecting the intricate interplay between individual and collective guilt. Soho's awakening from his coma hinges on acknowledging his personal responsibility, embodying a powerful revelation of conscience within the broader narrative of societal healing and historical reckoning. Kentridge's work has been exhibited in renowned museums and galleries worldwide since the 1990s, including the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia Museum in Madrid, the Kunstmuseum in Basel, Zeitz MOCAA, and the Royal Academy of Arts in London. He has also been featured multiple times in Documenta in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999, and 1993).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A Louis XVI parcel-gilt, cream and blue-painted lit en chaire a precher, last quarter 18th century, dressed by Robert Kime Ltd, with panelled fluted frame, the later corona with hangings in Robert Kime Ltd. hand-embroidered 'Divine Flowers' fabric, with box-spring and mattress, re-decorated; together with a pair of similar floral Robert Kime Ltd. curtains, 232cm high, 122cm wide, 210cm deep, the pair of curtains: 223.5cm high (3)Provenance: Christie's, London, Wilton Crescent: A Robert Kime Interior, 23 July 2020, lot 208.Photograph: © Christie's Images
Liberty-A pair of teal curtains having a panel to the hem of Liberty turquoise and blue 'Hera Feather' fabric, having a gathered heading with hem unpicked and a duck egg blue lining, each curtain measuring 25" wide x 85" drop (condition: Some sun damage to sides and lining, hem requires finishing) together with two pairs of purple print curtains having a gathered heading, one pair each curtain measuring 36" wide x 92" drop and the other pair each curtain measuring 49" wide x 92" drop, both with blue lining (condition:Some sun and historic water damage to lining and the largest pair having a perished lining to both curtains-see additional photos) Location:LAB
Two pairs of late 20th Century and later silk curtains comprising a pair of grey taffeta silk curtains having triple pleat headings and cream lining A/F (some stains-see additional photos) each curtain measuring 98" drop x 72" wide by repute and a pair of cream water silk curtains having gathered heading and pink brocade vertical trim to one side, each curtain measuring 67" drop x 117" wide by repute. Location:RWB
One pair of linen interlined curtains with taped pencil pleat headings by Sandersons, Morris & Co. "Golden Lily" with dark blue ground, approx 270 cm drop x 133 cm width at bottom, together with another similar pair on a dark green ground, approx 270 cm drop x 117 cm width at bottom and a pair of glazed cotton interlined curtains with fixed triple pencil pleat heading, the olive ground set with green, grey and yellow foliate and bird design, approx 237 cm drop x 118 cm width at bottom and 61 cm width at top together with eight remnant rolls of various curtain and upholstery material to include ends that match the curtains in the lot CONDITION REPORTS "Golden Lily" curtains - Fair - some grubbiness and dog hairsSimilar pair on dark green ground - GoodGlazed cotton curtains - Fair - small marks and some sun fading to the edges. Linings badly marked.
A pair of glazed cotton interlined curtains with taped pencil pleat headings, the cream ground set with multi-coloured floral sprays, approx 226 cm drop x 450 cm width at bottom, together with a matching door curtain with fixed triple pencil pleat heading, approx 200 cm drop x 300 cm width at bottom and 131 cm width at top, together with matching pelmets and tie-backs CONDITION REPORTS Cream and floral curtains - Poor - fading and significant stains to facing and liningDoor curtain - Fair - some marks to face lining and marked
A pair of Jane Churchill 'Tulip' in cream, pink and green cotton interlined curtains with taped pencil pleat headings 230 cm drop x 185 cm wide at bottom and a matching pelmet, two pairs of glazed cotton green, red and gold foliate and striped interlined curtains with taped pencil pleat headings 230 cm drop x 188 cm wide at bottom together with two matching pelmets and two tie backs, a Laura Ashley striped green, cream and red cotton lined door curtain with taped pencil pleat headings 227 cm drop x 228 cm wide at bottom, a pair of floral cotton type curtains in pink, blues and greens with taped pencil pleat headings 181 cm drop x 161 cm wide at bottom together with various scatter cushions CONDITION REPORTS Jane Churchill curtains :Fair - sun faded to one edge at each curtain, lining sun damaged and marked Glazed cotton curtains: Poor - edges sun faded and rotted, linings marked and rippedLaura Ashley curtain: Fair - sun fading to edgesFloral curtains: Fair - some sun fading to edges
Three pairs of cotton lined curtains with taped pencil pleat headings in blue and white stripe, approx 140 cm drop x 160 cm width at bottom, together with two matching blinds and various curtains for re-purposing to include Alison Reid "Ormolu", a large circular interlined table cover with fringed edging, a small quantity of household linen and five various scatter cushions CONDITION REPORTS Blue and white striped curtains - Poor - in need of a good clean - some small marks and a tear to the back
A pair of linen type interlined curtains with fixed triple pencil pleat headings, the cream ground with yellow, green and red scrolling foliate and bird design, approx 300 cm drop x 320 cm width at bottom and 144 cm width at top together with matching swags mounted on a fixed board CONDITION REPORTS Linen curtains - Fair - some fading to the face
One pair of cotton lined curtains with taped pencil pleat headings in Jane Churchill "Pavilion" in red, blue and yellow, approx 242 cm drop x 195 cm width at bottom, together with two boxes of curtains for re-purposing to include Titley & Marr "Dunster" glazed cotton curtains, Alison Reid "Conchila" and Parker Knoll "Prima" CONDITION REPORTS Jane Churchill "Pavilion" - Fair - some edges a bit grubby
Registration - MOR 953L Chassis No. - 2332025551 M.O.T. - Exempt Odometer - 19,547 This refreshingly vivid camper is resplendent in orange and white, fitting the retro-vibe of 1973 – the year it was first registered – perfectly. Fitted with a 1.6-litre version of Volkswagen’s Type 1 air-cooled four-cylinder boxer engine and four-speed manual gearbox, the T2 is mechanically simple and cheap to maintain. Fully functioning as a camper van, ‘MOR 953L’ includes folding seating, curtains, a pop-up roof, cabinet, and stove. To complete the 70s look, there is full tartan upholstery, and a front-mounted spare wheel, complete with bold VW logo. The vendor has owned this T2 camper for 11 years, and has carried out an extensive restoration of ‘MOR 953L’, with everything completed within the last three years. Invoices for all work carried out have been filed, and the vendor also has an original Volkswagen Caravelle manual, as well as a letter from the original owner and a photo of the vehicle from 1977 at a campsite. The odometer shows that only 19,547 miles have been covered, providing buyers with a truly useful and well-loved classic. Volkswagen’s ‘difficult second album’, the T2 had to follow in the hugely-popular footsteps of the Type 2 ‘Samba Bus’… but it more than passed muster. In 1967, the T2 ‘Bay Window’ replaced the Type 2 ‘Split Screen’ and came with significant changes to the suspension, windows, and engine mounting – in all, just about every panel and mechanical part was new for the T2. Regularly improved throughout its life, VW added developments such as disk brakes, an optional larger capacity engine, and styling changes, with the main design tweaks carried out in 1972. The following year, further design and mechanical changes were added to the T2, which included a 1.8-litre engine and further uprated brakes, before a 2.0-litre boxer was added to the range a year before the T2 halted production in 1979. · Fully restored T2 camper, with pop-up roof, fold out beds, and cooking facilities. · Low mileage example with fewer than 20,000 miles on the clock. · Comprehensive paperwork included, such as invoices, service stamps, and correspondence with the original owner.
Registration: Y264CGO VIN: WV2ZZZ70Z2H020202 Mileage Showing: 102,000 Transmission: Automatic MOT: 30/11/20242.4 litre turbo diesel engineRare autotmatic9 seatsFirst registered August 2001 this rare 2.4 litre turbo deisel with automatic gearbox shows 102,000 miles and only 2 previous keepers. Owned by the current keeper for 8 years and with MOT till November.This 9 seater variant with fitted curtains to all rear windows as well as upgraded OEM alloy wheels (original wheels also included)Please see our walk around video for more information and engine start upGUIDE PRICE £3,000 - £5,000
* Curtains. A pair of curtains and matching pelmets made from 18th century crimson silk damask, two long curtains, hand and machine-stitched, with large stylised design of flowers, fruit, and leaves, outer and lower edges with matching tufted silk fringe, top of curtains box-pleated and with 4 small brass rings, occasional small marks and tiny holes, one curtain with old printed and manuscript French label of J. and H. Barroux stapled to edge, width of each ungathered 51.5 cm (20.25 ins), drop 261.5 cm (103 ins), and a pair of matching unstructured gathered pelmets, a few small marks and holes as before, lined with red twilled cotton, wide self ruffle to top edge, and tufted fringe as before to lower edge, fabric tape with tack holes to upper edge verso, height 33 cm (13 ins), top gathered edge 233.5 cm (92 ins) QTY: (4)NOTE:Provenance: Collection of Peta Smyth
* Toile de Jouy. Four large panels of Toile de Neptune, France, Nantes, circa 1788, 4 pieced panels (previously curtains, each with one machine-stitched vertical seam), copper plate printed in red on a deep cream ground, depicting mythical scenes of Neptune in his chariot, Venus and Cupid, blacksmith cupids, Jupiter's eagle, etc., amongst elaborate flower garlands, volutes, trailing stems, and cornucopias, edges raw, variously faded and worn, 2 panels with some staining, each 272 x 119 cm (107 x 47 ins) and slightly smaller QTY: (4)
* Indian Palampore. A large Tree of Life panel, Coromandal Coast, South-East India, circa 1770, cotton tabby, painted resist and mordant-dyed, in shades of pink, blue, and brown, on a cream vermicelli ground, with a large bamboo tree on a rocky outcrop flanked by cockerels, its branches entwined with a multitude of foliate stems bearing peonies and other flowers, as well as cashew nuts, enclosed by a wide border of scrolling bamboo branches entwined with floral and foliate sprays and tendrils, toned, scattered wear with losses, expertly consolidated with stitching on a backing of cream twill, 2.93 x 2.18 m (9 ft 6 ins x 7 ft 1 in) QTY: (1)NOTE: A rare Tree of Life palampore, made in India in the 18th century for the European export market. For similar examples see the V&A (e.g. accession numbers IM.226-1921 and 341-1898), and the collection of palampores in the Royal Ontario Museum, Canada.Palampores were in great demand and high-prized in the West during the 18th century. Northern European countries particularly, and especially Britain, imported such textiles which were used as bed covers or curtains and wall hangings, sometimes covering whole walls, rather like wallpaper. The Tree of Life design was a popular one, with its myriad symbolic meanings and expressive possibilities of form and colour, although the style and decorative vocabulary used in palampores drew on a wide variety of sources, including local south Asian textile traditions, Dutch floral designs, Persian iconography, English and European patterns, and, particularly, Chinese influences (as here), to produce a blend of Oriental exotica particularly dovetailed to European tastes. The present example depicts cockerels, a symbol in both Indian and Chinese cultures, with a host of associations (herald of the light, courageous, protector, etc.). Also depicted - much more unusually - are cashew nuts, which were revered for their unique shape and structure, their crescent shape echoing the moon and symbolising fertility, abundance, and prosperity.
ROGER FRY (BRITISH 1866-1934) TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN Red 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 ownerLiterature: Roger Fry, A Sampler of Castile, Leonard & Virgnina Woolf Hogarth Press, London, 1923, reproduced plate 8 with the caption 'Segovia: S. Nicolas''Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Very light undulation to the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer
MARION RICHARDSON (BRITISH 1892-1946) BURNHAM MARSH, SCOLT HEAD, NORFOLK Gouache on card Signed with initials (lower right); signed and titled (to backing board) 25 x 28cm (9¾ x 11 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
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