884543

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The Fry Collection at the Courtauld Institute Galleries Author(s): Christopher Reed Source: The Burlington Magazine, Vol. 132, No. 1052 (Nov., 1990), pp. 766-772Published by: The Burlington Magazine Publications Ltd.Stable URL: http://www.jstor.org/stable/884543Accessed: 31-03-2015 17:43 UTC

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CHRISTOPHER REED

The Fry Collection at the Courtauld Institute Galleries

()N his death in 1934, Roger Fry left to the gallery named fior his fricnd, the collector Samuel Courtauld, a selection of the art he had accumulated through his career as a painter and critic. Although it is refierred to as the Fry Collection, this grouping of objects is not really the work of a serious collector Fry's interests were too diverse and his purse was too small for that. The Fry Collection is, rather, the incidental residue of a lifie devoted to the visual arts. T'hat this life became one of' the most important influences on the development of' modernist aesthetics, however, renders the Collection a valuable art-historical record, one which until recently has never been studied in its entirety.' What follows is a descriptive introduction to the catcgorics of objccts that comprise the Fry Collection, with attention drawn to certain of its implications for our undcrstanding of the man whose taste and energies lie belhind it. It is lhopcd this introduction, not intended as dcfinitivc, will encourage those interested in Roger Fry to make greater use of" this Collcction as a record of his rcmarkablce intelligencc, all the more suggestive for its lack of

selft-c

THE FRY COLLECTION

his stock. One of'his Matisses, for instance, he sold;8 another, Le port, from around 1920, he left to Vanessa Bell. To appreciate fully Fry's commitment to recent art, one must add to the holdings of' the Collection at the Courtauld Picasso's Tl/e d'homme, purchased in 1913;' Juan Gris's Still life with a cup of 1913, bought the following year;,? Derain's Picasso's house al Avignon, purchased in 1919;'" Scurat's Field of poppies; 2 as well as the Brancusi head of Mlle Pogany and the sculpted Chinese bodhisattva figure that flanked the staircase in the house he designed for his faimily in Guildfbrd. ' Neither does the Collection include any of" the early renaissance panels that passed through Fry's hands and did so much to infbrm his appreciation of modern art.14

Without making claims to comprehensiveness, however, the collection remains representative of Fry's appreciation of ecarly modernists from both France and England. Derain's Le Parc des Carridres, which Fry bought from the first Post-Impressionist exhibition, is in the collection, as are two Bonnards, four Rouaults, and a rare cast of a Renoir bronze, La laveuse. Among English painters, Walter Sickert, Matthew Smith and Roderic ()O'Conor are represented, as well as Fry's friends within the Bloomsbury Group. It is Fry's Bloomsbury connexions that currently account for most of the inquiries about his Collection, which includes important works by artists )brought into contact with Bloomsbury through their association with the Omega Workshops. Among the examples of paintings by the Omega artists is a nude by Frederick Etchclls, who went on to a career as an architect and translator of Le Corbusier, and an elegant still lifei of'a silver cigarette box by Winifred Gill, whichl, ini accordance with the Omega's ethos of spontaneous creativity,l' is sketched on the cardboard lid of a laundry box. Among works by the artists who with Fry firmrcd the corc of Bloornmsury, are two still lifts each b)y Duncan (Granit and Vancssa Bell, Grant's portrait of' Ka Cox, Seated woman (1912; with a male nude on the verso), and Bell's A conversalion that became the basis for her first illustrations of Virginia Woolf's fiction.'"

Today, what has been called the post-modernist return to figuration has brought in its wake a renewed interest in twentieth-ce ntury artists who were not part of mainstream modcrnism. That Fry, who at least fi)r English-speaking audiences laid the theoretical groundwork for the accept- ancc of' abstractiorn, should be among the deserters from thet 'ourse (of this mainstream rtenders his collection es- pecially interesting. A less selective reading of the full scopel" (o Fry's writings has recently cased the sense of'

do I~o

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7. Landscape with olive trees and a chapel, by Pierrc Boniard. 1924. 48.3 by 6i1 crm. ('I'hc Fry C(ollction, (:ourtauld Institute Gallcrics, I, ndon).

contradiction between his theory and practice. Of) Fry's own art, the collection records his trajectory from the precisely rendered cityscapes of' the 1890s, to the experi- mental abstraction of c. 1914-15, and finally to a mature style that tempers a straightfbrward realism with broad massing of simple shapes.'7 Through all the periods in Fry's career, however, run certain of the most fundamental biases of his influential aesthetic theory.

Fry's dislike of dramatic subljects, which might distract from the purely visual impact of a work, is reflected in his collection by an emphasis on landscape and domestic subjects. .There are, for example, two Fry still lifes of" domestic objects and nine views of' landscapes or cities. Fry subordinates colour as the fif'th of' the five 'emotional elements of design' listed in the seminal 'Essay in Aes- thetics'.

His suspicion of colour's 'simple sensual p)leas-

ure' likewise pervades the opening essay of his Trans.Jorma- lions [19261, and is exemplified in the low-key tones in which he rendered even Mediterranean landscapes. Although painting, as it were, side by side with Matisse, Fry consistently resisted what he saw as the superficial appeal of'bright colour, insisting on the honesty of his own vision, which told him 'it's in the north that colours are bright . . . the essence of Provencc, even under its brilliant sun, is grey and pearly-colouring'. "

Dc-emphasising colour, Fry's Formalism stressed the relation of objects in space. A favouritc attribute of praisc became 'solidity', meaning, as Fry rather charmingly put

"1). sl"rON: Lehers o/ Rogr lFry, Lodoi 119721, Vol.11, p).534. Stumti icludcs illiisti'atioiis of IlidX of lie

~pai ltit ands 111l silp)tiul' ill Ite Fry Collcctioi. IX A 1x

id ROssF.IL.': IL (,Cubisnic, de iraa.sso, Ncuclia'itcl [ 19791, j ,o.6(15.

"1). ColR with M. ' 7r. /: .Juan (ri.s:. ral/logu'(11 raisonlIe de /'I're pein/, Paris 119771, io.4();.

I 'i.sion and l)esignI: /."h /u/P, wlork and in/luence /Roger lFr 1866-1934, Arts Council

19(i6il, cat.10.38T. 'This ((tlaills a ivaluial)c, thoughb Iy no means c(mpI)cte, catalogle of 'bI)jc'ts ownhiel lbyFry. S

PlIblisid as La s i

..rn1 I n SamI/- rn.111 ill C.M. D1: IIAI'KI: ,Seura/ sel son ( 'uvre, Paris

I19611,Ino.145, now iiiIIhoNatioialGillcryofy Sotlail. 'l. 1)DIAMA X: 'l)tIrb is', (,har ls/on .z,~esle/er, no.10 [M arch 19851, p.28. ''lh latter was sdl( to tit(' Woc'('estcr (Mass.), Mseumin of Finc Arts in 1925. ()ne of" tw(o )plast'r casts is ow at (,it alrl(ston; sOC . I,

l., A. GARNET a d111(1 R. SII()NE, (Charh.s/on, Lm loI I 19871, I.7 . liis s((miigly (clectic juxtapositiol reappetars ill ( live Boill's

otlilanison'i of ,"

r itusi to X\ i aid 'lanig sculpture, iII 'lhl Art of Braicuisi', ogu6 (i(i Late w e'ciibir 19251, pp.43-45.

"O)n l'ccct( (,rucifixion attril)utied t o PaA(h V)cliczialO r)ICaiiicd Ii FIry's faInilv, aid was iiCludCd iC(I c hI'i.sidon a(nd

l)Do., xliistioini (sce liot II aovo

(no.24). Anothcr l'rcccno ('Cruc/xion is now it ti R(O)rlrc cli lnii (:Cllccin

of thc Mletropolitan 'Muscuil of Art. Scc jj. I(olIE-IIENNIssIY: /The Roberl Lehman

Collection, Vol.1 19871, pp.(i8-70. ()Other such I)pancls can Ic sccn ) i photolgraphs)ls (f' Fry's Ihouses throughout l his life, 1)iIt nIO systclmatic attili)t h as IeeII n1alde ]here to trace thcsc wvorks. '"Scc Fry's introduction to a 1t914 catalo()gue (O) niega go,,ds, (111utcd iII 1. ANSCOMBE:

Ometga and

A./ter, lmodomi 119811, 1.32.

'1 it a letter tow her sister, Bell i)ropl)oSe(d illustrating hew (;Gar(des, writing: ')o yO)u renlcinl)er the )icturc I showed at the ()Oinega of c thrcc

wonlii talking with I a

flowcr Icbd seeIi llot the windo(w I)(lhitd It might alist ui

uit)l iite d() ..... (1L.ctter of3rd July 1918, Berg ()olle'cti(nIi, New York Puiblic Lilrarvy). 7"SCC R. MORPHET:'Roger Fry: the nature of' his piainting', Til. BURLING;''ON

MAGAZINE, CXXII [July 1980], pp.478-88. '"FRY, op.cil. at note 5 above, pp. 16-38. 9"s1'r'ON, op.cit. at note 8 alove, and cf. 523; pp.463, 469.

767


THE FRY COLLECTION

........

8. Queen's Road Station, by Walter Richard Sickert. (c.1916. 62.3 by 73 cm. ('hc1 Fry (Collection, (courtauld Institute Galleries, London).

it in a letter to Vanessa Bell, 'interplay between the volumes and the spaces both at their three dimensionalest'.20 The collection of paintings Fry owned reveals how, in landscape painting, he fobund this solidity in conventional one- or two- point perspective systems. Tell-tale lines of trees marching to a vanishing point characterise works in the collection by Derain, Bonnard (Fig.7), and Frederick Porter, as well as Fry's own Carpentras. For still lifes and figures, a clearly pyramidal organisation, with sharply defined corners, served an analogous function in the creation of formal unity.

Fry's formal prejudices may be most obvious in works he acquired from other artists. His Bonnards, for example,

Oi ii~itii

'14

50,

9. The orchard or Woman seated in a garden, by Roger Fry. c. 1914. 35.6 by 30.5 cm. ('l'h Fry (ollcction, C(ourtauld Ilnstitute Galleries, London).

must be among the most clearly constructed compositions by the master of spatial ambiguity. Likewise, the colours of his Matthew Smith, though quite brilliant in the context of Fry's collection, are remarkably subdued in the artist's wuvre. It is in Sickert's Queen's Road Station, however, that the impact of the collector's taste is most evident (Fig.8). As if it were tailor-made to please his old friend and rival, the composition is devoid of such Sickertian hallmarks as dramatic subject-matter and quirky viewpoints, its effect resting almost exclusively on the spatial interplay of' its forthright rectilinear structure.

Two non-formal characteristics of Fry's work in the collection deserve mention, for they exemplify some of the most distinctive characteristics of Bloomsbury's artistic practice: its penchant for portraiture and its resolutely historical focus. Bloomsbury's emphasis on portraiture may seem incongruous with its r6le in originating an aesthetic philosophy of pure fobrm, and indeed one o' Fry's first letters to Vanessa Bell inveighs against the idea of a portrait as 'likeness'."2 Fry's version of Katherine Cox (Fig.9), like the Grant portrait of' the same person in the collection, runs little risk of being labelled a likeness. Long known by its alternative titles, The orchard and Woman sealed in the garden, its emphasis is on the figure's compositional relation- ship to the trees around her, rather than on the physical or psychological characteristics of the sitter. Both Grant's and Fry's 'portraits' of Katherine Cox belong to the years just before the First World War. By 1917, when Fry painted Nina Hamnett, also in the collection, Bloomsbury had weathered three years in an increasingly hostile aesthetic and social war-time climate. This shift is reflected in the group's portraiture, which came to function increasingly as a record of individuals inside its own embattled perimeter. Fry's portrait of Nina Hamnett, despite its carefully con- trived background still life, reveals its author's attention to the character of the sitter, reflecting the insistence in Fry's later writings that portraiture balance formal and narra- tive elements.22

The year 1917 also saw Fry mount an exhibition at the Omega Workshops of 'Copies and Translations', giving visual manifestation to his belief that a new aesthetic order could be justified only in relation to the past. Unlike the anti-historical ethos of mainstream modernism, with its emphasis on novelty and individuality, the Bloomsbury painters' penchant for such academic-style copying never faltered. That Fry's 'old masters', however, could be drawn from both the immediate and the distant past, is demon- strated by his 1925 copy (Fig.10) of the C&zanne self- portrait in the National Gallery.

Fry's copy of this Cazanne is of particular interest, as it was produced simultaneously with his influential C6zanne: A Study of his Development, published in 1927. Unlike Fry's approach to some old masters, whose work he felt a need to 'translate' to reveal the essential aesthetic idea,2" no reservations about his model temper the ecstatic description of this work in Clzanne.24 The differences between the

20su'rToN, op.cit. at note 8 above, p.518. 2' R. Fry to V. Bell, c. 1911, Charleston Papers, ''atc (allery Archives (accession no.8010.5.592). 22FRY, op.cit. at note 3 above, pp.31-32. 2:'su'r'oN, op.cit. at note 8 above, p.582; also j. C(:oLINSN : 1he Omega Workshop)s, London [1984], p.149. 24R. FRY: (V7anne: A Sludy of his Development, London 19271, pp.56-57.

768


THE FRY COLLECTION

original and Fry's copy become all the more revealing for their unselfconsciousness. All the changes serve to underline the copyist's dedication to the value of 'solidity'. Fry's brushstrokes blend together to give greater roundness to the forms of head, nose, and shoulder; most striking is the change in the background, where Fry has reduced the tonal contrast in the wallpaper behind the head to diminish the flatness of the Cezanne by decreasing the assertiveness of the patterned background. This move is reinforced by Fry's slight distancing and shrinking of the decorative lozenge closest to the figure's face so that, rather than competing with the sitter's cheekbone, it recedes and allows the head to emerge unequivocally from the background.

By far the largest category of objects in the Fry Collec- tion, is that connected with his directorship of the Omega Workshops between late 1912 and 1919. Furniture, pottery, a rug, the limited edition books with their remarkable woodcut illustrations, and, above all, more than one hun- dred designs from the Workshops' files25 combine to create a valuable record of the Omega's ideas and aesthetics. Judith Collins's admirable book, The Omega Workshops, and the catalogue to the Crafts Council exhibition on the Omega,26 analyse certain of these designs, but many more remain unpublished. There are numerous designs from the Workshops' early years, when artists such as Wyndham Lewis and Frederick Etchells joined Fry, Bell, and Grant to produce a riot of innovative design. Eventually, per- sonality conflicts and military conscription left Fry relying on a more restricted stable of artists: Winifred Gill, Nina Hamnett, and the latter's husband Roald Kristian. In the last years of the Omega, Fry, although left increasingly alone, expanded his range of interests to include making pottery, exhibiting children's drawings, and designing books in anticipation of the Woolfs' Hogarth Press. Examples of all these areas of endeavour are represented in his collection.

The overriding impression left by the Omega designs in the Fry Collection is of the variety of moods within the Workshops' house style, from some of Winifred Gill's very tight renderings of puppets and paper figures to the slap- dash exuberance of rug designs that anticipate the energy of much art dico domestic design. The Omega's policy of anonymity and the possibilities of interaction among par- ticipating artists make definitive attribution of many of the designs impossible, although this creative ferment may be credited with producing some of the most interesting entries in the Collection. A screen design by Wyndham Lewis, fbr instance, reveals the influence of Bloomsbury's expansive figurative style on his aggressively angular manner. Lewis's reciprocal influence on Duncan Grant is dem- onstrated in his stage design for a 1914 production of Twelfth

.Nighl, which pairs an angular abstract curtain, evocative of the rising sun, with more typical flanking figures rendered in fanciful curves. A related design prob- ably by Grant applies his own 'leopard spot' manner to a series of very Lewis-like triangles. This essay in progressing geometric forms may have presaged Grant's Abstract kinetic collage painting with sound in the Tate Gallery.

114

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... . . .......?

":!!" ?:I

:?!t

10. Copy of a self-portrait by Czanne, by Roger Fry. 1925. Board, 35.9 by 28.3 cm. ('Thc Fry Collection, Courtauld I nstitute Galleries, London).

A preface appended by Fry to an Omega catalogue explains and defends the Workshops by comparing its artists to African artisans who create 'not only for need but for joy', in opposition to 'modern factory products ... made almost entirely for gain'."7 The inspiration of African arts is exemplified by a rug in the collection, designed by Duncan Grant, which Fry compared favourably to African textiles,28 and by two Omega designs, created, to judge from the similarities in paper and palette, at the same sitting. One (Fig. 11) echoes the form ofa Bakota reliquary figure Fry owned (Fig.12), while the second reflects the influence of textiles made for the African market which were sold at the Omega.

In its many facets, the Fry Collection provides numerous new perspectives on the eclectic career of England's most influential twentieth-century critic. It is, perhaps, this very eclecticism that stimulates our revaluation of his legacy, as we, in a post-modernist decade, assess our relation to the past. Conditioned as we are by the habit of seeing Fry's words embodied in the later abstract art for which they provided the critical vocabulary, the surprise engen- dered by his previously neglected collection is indicative of how incomplete our understanding of this remarkable man remains. As we try to comprehend the changing implications of Fry's conception of the modern, the artefacts assembled under his name at the Courtauld Institute Gal- leries will prove an invaluable resource.

Yale University

5l'hc majority of' ()mcga objccts in the Fry Collection were the gift of Fry's daughtcr, Pamcla I)iamnand. 26"' ie Omega Worksh.op, 1913-19:. Decoralive Arls o/ Bloomsbury, (Crafts C(ouncil, London [ 19841.

"7Quoted in ANSCOMBE, op.ci. at note 15 above, p.32. "8FRY, op.cil. at note 4 above, pp.35-36.

769


THE FRY COLLECTION

Appendix Checklist of the Fry Collection, Courtauld Institute Galleries

The following abbreviations are used:

Donors to the Roger Fry Collection

ACT Alec Clifton Taylor, bequeathed with the aid of the NACF AF Agnes Fry BCM Buckinghamshire County Museum CD Christine Day FS Fedora Stancioff "In Memory of Nadesda, Lady Muir" MF Margery Fry MR Marianne Rodker "In Memory of her husband,John Rodker" PD Pamela Diamand RF Roger Fry WG Winifred Gill

Medium

A Acrylic, plastic, synthetic resins or similar B Bodycolour or gouache C Colour print D Drawing E Enamel G Gold-leaf, gold paint M Monochrome print O Oil paint P Pastel R Relief S Sculpture (free-standing) T Tempera U Unidentified paint surface V Various media, including collage, found materials etc. W Water-colour or wash

If the line-work predominates in a drawing which includes wash, this is shown in the sequence of the letters, i.e. D will precede W e.g. DW. Extensive work in water-colour or wash over slight line-work is shown in the sequence of letters, thus: WD

Support or material

b board, cardboard, hardboard, millboard, etc. c canvas f fabrics other than canvas, e.g. linen, silk g glass i ivory m metal other than bronze p paper s stone or marble t terracotta, ceramic, pottery, majolica v vellum or parchment w wood or panel y plaster z bronze

Where the original support is laid down upon a different material, the original support is indicated first

Signature and date

s signed sd signed and dated (the date rendered in full even in cases where only the last

two digits of the date are inscribed)

Modes ofacquisition

Bq Bequeathed Bt Bought Pr Presented

I. Paintings, drawings & sculpture BELL, Vanessa (1879-1961)

Arum lilies (s) (c.1919) Oc:73.3 by 45.8:Bq RF A conversation (1913/16) Oc:86.4 by 81.3:Bq RF Still life in the kitchen (sd1933) Oc:48.9 by 59:Bq RF

BONNARD, Pierre (1867-1947) Landscape with olive trees and a chapel (s) 1924 Oc:48.3 by 61:Bq RF Portrait of a lady in an interior (s) Oc:48.9 by 44.5:Bq RF

CASH, Harold (1895-1977) Mask of a negro (s) Sz:22.5 by 14.5 by 11.5:Bq RF

DERAIN, Andre (1880-1954) Trees by a lake (Le Parc des Carrieres, Saint

Denis) (1909) Oc:53.4 by 64.2:Bq RF ETCHELLs, Frederick (1886-1973)

The hip bath (s) (c.1913) Oc:60.3 by 50.2:Bq RF FRIESZ, Emile-Othon (1879-1949)

Still life with peaches and pears (sd 1920) Oc:44.5 by 36.2:Bq RF FRY, Roger (1866-1934)

Portrait of Nina Hamnett (sd l917) Oc:81.3 by 61 :Bq RF The orchard or A woman seated in a garden (s)

(c.1912-1914) Oc:35.6 by 30.5:Pr CD Copy of a self-portrait by Cezanne (1925) Ob:35.9 by 28.3:Bq RF Still life with candle and earthenware pots

(sd1921) Oc:44.5 by 53.3:Pr PD Still life with a coffee pot (sd 1915) VBOb:50.2 by 36.8:Pr PD French town on a river (c1900) Wp:22.8 by 35:Bq ACT Beaumes Ob:31.3 by 41.2:Pr BCM Carpentras (sd 1930) Ob:33 by 40.9:Bq RF View on the C6te d'Azur, Menton (sd 1916) Oc:55.9 by 74.9:Pr PD Palermo (1934) Ob:33 by 40.9:Bq RF Venice (1890s) Oc:76.5 by 101.6:Pr BCM Venice WDp:25.2 by 35.4:Pr BCM Sir Edward Fry. Portrait on his deathbed

(sd Oct. 20, 1918) Dp:24.1 by 34.6:Pr AF Bassano (s) WDGp:23.5 by 34.3:Pr BCM Landscape, Southern France WDp: 15.6 by 27.4:Pr BCM

GILL, Winifred (1891-1976) Still life with glassjar and silver box (1914) Ob:48.3 by 33:Pr PD

GRANT, Duncan (1885-1978) Apples (s) Oc:32.4 by 42.6:Bq RF Still life: The dinner table (s) (c.1912) ODpb:55.3 by 77.5: :Bq RF Seated woman - Ka Cox (verso Standing nude

with raised arms) (1912) Ow:93.3 by 52.1 :Bq RF 'MANOLO': Manuel Martinez HUGUE (1872-1945)

Torso of a woman Scement: 19 by 10.7 by 9:Bq RF MARCHAND, Jean-Hippolyte (1883-1940)

The palm tree (s.d1914) Oc: 71.8 by 58.5:Bq RF Still life with earthenwarejug (s) Oc:65.1 by 53.4:Pr PD

NEVINSON, Christopher (1889-1946) Abstract (s) Dp:20.3 by 25.9:Pr PD

O'CONOR, Roderic (1860-1940) Still life with bowl of fruit by a window

(sd1924) Oc:54.6 by 45.7:Bq RF PORTER, FrederickJames (1883-1944)

Landscape under snow (c. 1920) Oc:45.1 by 50.8:Bq RF PuY,Jean (1876-1960)

Honfleur (s) Oc:52.7 by 54:Bq RF RENOIR, Pierre-Auguste (1841-1919)

The washerwoman (La laveuse) (s) (1916) Sz:height 34:Bq RF ROUAULT, Georges (1871-1958)

StJohn the Baptist Bp:31.5 by 20 :Bq RF Tree landscape Bp: 19 by 31:Bq RF Hill landscape Bp:19 by 31:Bq RF Woman and child Bp:31 by 19.5:Bq RF

SEGONZAC, Andre Dunoyer de (1885-1974) Still life with eggs (s) Oc:55.2 by 38.1 :Bq RF

SICKERT, Walter Richard (1860-1942) Portrait of Mrs Barrett (s) (1906) Oc:50.2 by 40:Bq RF Queen's Road Station (s) (c.1916) Oc:62.3 by 73:Bq RF

SMITH, Matthew (1879-1959) Still life: high tea Oc:49.5 by 38.8:Bq RF

THIESSON, Gaston (1882-1920) Head ofa girl (sd1919) Oc:34.9 by 26.7:Bq RF

II. Sketchbook FRY, Roger & Winifred GILL

Shared sketchbook (19 Fry drawings: 1905-06; 4 Gill drawings: c.1910) each leaf 15 by 24.8:PrWG

III. Poster and prints Poster for First Post-Impressionist Exhibition (1910) Mp:76.2 by 51:Pr PD

IV. Omega Workshops designs N.B. Omega designs are attributed to their artists with varying degrees of certainty; for

770


THE FRY COLLECTION

details consult individual accession sheets. Acces.sion numbers are included in these entries to jacilitate dislinguiishing ollecs one .fromn

another. I NATTR I II1 TiE1)

Fragment of printed( paper C:55.8 by 95: Pr PD) (Child's drawing of kitc(hen (1917-19)

(H H 1263/20) BDp:56.4 by 74.9: Pr PDi Sheet (ofrug de(signs (HHIF263/24) Bl)p:37.7 by 50: Pr P1) Cubist design flir )painited tray (HH1:263/50) WDBp: 20 by 28.2: Pr PD l)esign lfor rug l(r scarf (HH F263/91) Bp:40.5 by 50.7: Pr PD

BEI,I,, Vane(ssa I)esign witl 2 vases 1f(lowers (19147?)

(HHF2263/25) BDp:21.8 by 32:Pr P1) Screen design: Adam & vce ( 1913-14)

(HH1263/85) ODp:35.6 by 50.8: Pr PD D)esign flor tal)le tlop( r rug (1913-14)

(H H F263/86i) B1)p:48 by 56.6: Pr P1) Unfinishled design flir I ady Hamilton rug

(1914) (HH1I263/88) Bp:41.9 by 81 :Pr P1) D)esign finr lady Hamillti rug (1914)

(H H 1`263/89) BDp:40.2 by 62.7: Pr PDI BEITI., Vanessa & Rogger FRY

D)esign with 2 uIrns (If flo)wers (1913-14) (HH1263/3(3) BD1):25. 1 by 35.4: Pr PD

BELL., Vanessa lIr Roger vFRY

Rug design (1913-14) (HH1263/87) Bl)p:35.7 by 19.8:Pr PI) BE1,1,, Vanessa o()r )unical (GRANT

Rug dsign 11(H H1-263/5) Bp:61.5 by 31.2:Pr PD Rug tdesign (HH1:263/7) BI)p:42.5 by 57.2:1Pr PI) Rug design (H H 1263/8) B1)p:52.2 by 33.2:Pr P1) Rug design (HH1F263/9) BDp:53 by 33.9: Pr PD

IoucETI, Henri 1)(1sign li, r I1)()tery: dlelllrated flask

(1913-14) (H H 1263/47) WDp: 20.1 by 16.4: Pr PD D)esigns for po(llery: 2 flasks

(1913-14) (HH1F263/48) Wl)p:25.3 by 20.1: Pr PD) D)esigns flior p tery: sheet

f variations

(1913-14) (HH1:26(3/49) Dp:20.3 by 25.3:Pr P1) DI )esigns fr 'amusing' po(ttecry (1913-14)

(HH1F263/79) l)p:20.3 by 25.3: Pr PD l)esign fir jug (1913-14) (H H 1263/80) )Dp: 25.3 by 20.1: Pr PD) Abst ract designI (c. 1912) (HHF263/93) BO()p:37.3 by 30.5:Pr PD

ETrC:IIEI..s, Irefderick Rug design (1913) (H H 263/19) BD)p:58.3 by 76.1 :Pr PD Rug design (1913) (HH F263/22) BDp::56.1 by 30.9: Pr PD Rug (desigln ad la es (1913) (H HF 1263/27) BWp:42.9 by 50.5: Pr PD Design for border (191:3) (H H 1263/46() Bp:82.3 by 22.8: Pr PD Rug design (1913) (HHtF263/90) BDp:I30.1 by 15.2: Pr PD)

ETCHELLS, Frederick or D)uncan (;RANT Rug design (HHF263/64) BI)p:25.7 by 15.2: Pr P1) Rug design (HHF263/65) I)Dp:39.8 by 25.8: Pr 1l1)

FRY, Roger Sketch fbr peacock design (1913-14) (HH1F263/1) Blp:35.1 by 44.4: Pr PD Design for woodwork ofa calic (1914) (HHF263/2) BDp::53.1 by 64.7: Pr '1) Wallpaper de:sign (HHF263/3) B1p:53.5 by 58: Pr P1) Rug design (HHF263/6) BD1)p:39 by 37.2: Pr P1) Peacock design (1913-14) (HHF263/14) ()Dp: 33.3 by 50.8: Pr Pl) Rug design (HHF263/1 7) B1)P:35.5 by 64.5: Pr P1) Rug design (HHF263/18) BlI)p:41 by 40.8: Pr P1) Rug design (HHF263/28) BDp:29.5 by 19:Pr P1) Rug design (HHF263/30) Bp:31.9 by 21.2: Pr P1) T'ray design (1916?) (HHF263/33) Bp:32.6 by 24: Pr PD Dl)esign for bedhead (1916) (HHF263/51) l)p:11.5 by 17.1:Pr P1) Rug design for Cadcna Caff (1914) (HH 1l263/63) B)):41.5by 41.8:Pr Pl) Designl foir iembroidered c:hair seat (c. 1917)

(HHF263/67) BDI)p:2.4 by 36.8: Pr Pl) Rug design (c. 1917) (HHF263/68) BIp:40 by 31.9: Pr P1) Rug design and 'Mechtilde' design (1913)

(HHF263/69) BI)D:32 by 3(1: Pr P Rug design (c. 1913) (HHF263/70) B1)1):40.1 Iy 25.4: Pr P1) Interior for Lalla Vandervelde (1916)

(HHF263/83) BWDb:26.5 by 37.4:Pr f'1) Design;vases of flowers (HHF263/84) BDp:35.5 by 50.8:Pr PDI) Textile design (c. 1915?) (HHF263/92) BD)p:53.1 by 76.6: Pr PD) Design for painted harpsichord lid (abstract

on verso) (1918) (HHF263/101) (1)1b:25 by 3(i.2:1r P)D Design for stained glass window (1915)

(HHF263/102) BDb:54.6 by 37.6: Pr PD) GILL, Winifred

Rug design (HHF263/29) BDp:29 by 16.1 :Pr PD Design for paper toy figure: shawl dance

(1913) (HHF263/38&39) Bl)p:26.9 lby 24.5: Pr PD Design for paper toy figure: blue

butterfly dance (1913) (HHF263/40-42) B131)p:26.5 by 32.5:Pr P1) 1)esign for paper toy figure: castanet

dance (1913)(HHF263/43-45) BDp:32 by 19.8: Pr PD Woman in a spanish shawl (HHF263/57) BDWp:36.5 Iby 25.3:3Pr P1) Design for toy figure:Jellico

(1913-14) (HHF263/74) BDp:26.9 by 21.3: Pr PD l)esign for toy figure: the dancing master

(1913-14) (HHF263/75) WIp:32 by 19.8:Pr PD1) Design (fr toy figure: ballerina

(1913-14) (HHF263/76) BDl)p:27 by 21.1 :Pr Pl) Design for toy figure: music

(1913-14) (HHF263/77) WDp:32 by 19.8:Pr PD

11.

11. Omega design with red figure, by Duncan Grant. 1913-14. Gouache on paper, 56.5 by 43.8 cm. (The Fry Collection, Courtauld Institute Galleries, London).

12. Reliquary figure, Bakota tribe, Gabon. Brass and copper plated wood, 60 by 29.1 by 7 cm. (The Fry Collection, Courtauld Institute Galleries, London).

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771


THE FRY COLLECTION

Design for toy figure: fat military man (1913-14) (HHF263/78) WDp:26.7 by 21.2:Pr PD

GRANT, Duncan & Roger FRY Design with 2 birds and fountain

(1913-14) (HHF263/11) BDp:50.9 by 76.3:Pr PD GRANT, Dun'can

Design for runner (c.1913) (HHF263/4) BDp: 14.5 by 52.8:Pr PD Textile design based on African patterns (1913-14)

(HHF263/10) Bp:56.6 by 44:Pr PD Design with 2 swimmers and fountain (1913)

(HHF263/12) BDp:51 by 66:Pr PD Interior with chairs, clock & flowers (HHF263/13) WBp:35.6 by 50.8:Pr PD Design with red figure (1913-14) (HHF263/16) Bp:56.5 by 43.8:Pr PD Rug design (HHF263/21) BDp:50.9 by 50:Pr PD Abstract design (HHF263/23) BDp:60.9 by 48:Pr PD Rug design (HHF263/26) Dp:28.1 by 21.8:Pr PD Tile design (1921) (HHF263/31) Bp: 12.2 by 21.3:Pr PD Tile designs (1921) (HHF263/32) BDp:27.1 by 21.1 :Pr PD Design with chevrons (1913-14) (HHF263/35) BDp:21.6 by 28.1:Pr PD Design with fish (1913-14) (HHF263/34) BDp:21.8 by 28.3:Pr PD Collage (c.1915) (HHF263/37) 'Trojan Women' design (1913) (HHF263/59) BODp:20.3 by 28.6:Pr PD Tennis player design (1913) (HHF263/60) BODp:24.8 by 15.9:Pr PD Rug design (1913-14) (HHF263/61) BDp:28 by 21.7:Pr PD Rug design (1914-15) (HHF263/62) BDp:28 by 21.8:Pr PD Rug design (1913-14) (HHF263/66) Shutter design: male dancer (1912) (HHF263/71) ODp:37.6 by 17.2:Pr PD Shutter design: female nude (1912) (HHF263/72) ODp:34.8 by 22.8:Pr PD Shutter design: male nude (1912) (HHF263/73) Op:23.6 by 31.6:Pr PD Interior (HHF263/82) WDp:36 by 26:Pr PD Firescreen design (1912) (HHF263/95) Dp:63.5 by 47.6: Pr PD Circular design: giraffe (1913) (HHF263/96) BDp:48 by 61:Pr PD Circular design: 'Cat on a Cabbage' (1913)

(HHF263/97) BDp:62.4 by 72.3:Pr PD Design with triangles (1913) (HHF263/98) Op:43.1 by 65.3:Pr PD Curtain design for Twelfth NAight (1914)

(HHF263/99) BDp:56.6 by 76.1:Pr PD Design for furniture (1913-14) (HHF263/100) BDp:51.1 by 38.4: Pr PD

HAMNETT, Nina Sketch of Omega interior (1917) (HHF263/81) ODb:46.9 by 30.7:Pr PD

KRISTIAN, Roald [Edgar de BERGEN] Lampshade: winged dogs (1915-16) (HHF263/52) Bp: 14.5 by 29.4:Pr PD Lampshade: dragons (1915-16) (HHF263/53) Bp: 15 by 29.7:Pr PD Design for lampshade: dragons (1915-16)

(HHF263/54) Dp:21.9 by 32:Pr PD Unfinished lampshade: spotted winged reptiles

(1915-16) (HHF263/55) Dp: 13.7 by 28.6:Pr PD Design for lampshade: spotted winged reptiles

(1915-16) (HHF263/56) LEWIS, Wyndham

Design for screen with 4 figures (1913) (HHF263/58) DWp:2 sheets- 51 by 38.3 and 51 by 38.2:Pr PD

V. Books Les Ermites, ills: Natalie Gontcharova Mp: 19.2 by 14.5:Pr PD Lucretius on Death: Being a Translation of

Book III Lines 830 to 1094 of the 'De Rerum N.atura', trans: Robert Calverley Trevelyan, titlepage designed by Roger Fry and woodcut by Dora Carrington, Omega Workshops, Ltd. [1917] Mp:28.2 by 22:Pr PD

Original Woodcuts by Various Artists, Omega Workshops, Ltd. [1918] Mp:24.8 by 18:Pr PD

A. Clutton-Brock, Simpson's Choice: An Essay on the Future Life, ills: Roald Kristian, Omega Workshops, Ltd. [1915] Mp :28 by 22.5:Pr PD

Dmitrovna Art Salon, Moscow, Exhibition of the work of Natalie Gontcharova 1910-1913, 1913 Transferred to library: Pr PD

Roger Fry, Twelve Original Woodcuts, Hogarth Press [1921] Mp:21.7 by 15.1:Pr PD

Roger Fry, Architectural Heresies of a Painter [1927] Transferred to library:Pr PD

Grafton Galleries, Manet and the Post-Impressionists, 1910 Transferred to library:Pr PD

P.J.Jouve, Men ofEurope, trans: Roger Fry, ills: Roald Kristian Omega Workshops, Ltd. [1915] Mp:28.2 by 22.2:Pr PD

Logan Pearsall Smith, Needed Words, including 'Words Wanted In Connection with Arts' by Roger Fry, and 'Jeremy Bentham and Word-Creation' by Graham Wallas, Clarendon Press [1928] Transferred to library:Pr PD

VI. Omega Workshops ceramics BELL, Vanessa

Green vase t:36.7 Diam:27. l:Bq RF FRY, Roger

Blue bowl with cover (1915) t: 15 Diam: 15:Bq RF Blue tureen with cover (1915) t:22.9 by 29.2:Bq RF Blue sideplate (1915) t:Diam: 18.6:Bq RF White plate t:Diam: 19.2:Bq RF White sugar bowl t:9.7 Diam: 1 1.3:Bq RF White milk jug t: 17.9 by 18.1 by 11 :Bq RF Black bowl t:5.3 Diam: 16.8:Bq RF Black plate t:Diam:25.1 :Bq RF Painted plate with V-shaped design Bt:Diam:25.1 :Pr PD

FRY, Roger or Duncan GRANT Painted plate with Omega design Bt:Diam:25.1 :Pr PD

GRANT, Duncan Painted plate with sailboat Bt:Diam:25. l:Pr PD

LEWIS, Wyndham Painted plate with 2 figures Bt:Diam:24.7 : Pr PD

VII. Omega Workshops furniture FRY, Roger and Winifred GILL

Painted armchair with embroidered back (1913) 105.4 by 59.9 by 50.9:Pr MR

FRY, Roger Painted Omega side chair (c. 1913) Ow:97.2 by 49.4 by 47.5:?? Painted virginals (s) (1918) Ow:82.1 by 101.8 by 104.5:Pr PD

GRANT, Duncan 'Lilypond' 4-fold screen (c.1913) Ow:each panel 175 by 60.5 Pr 'Lilypond' table (c.1913) Ow: 173.6 by 152.2 by 103.3:Pr MR

VIII. Omega Workshops textiles TURNBULL, Jock

Painted silk scarf (1914?) dye f:41 by 93.9:Pr WG GRANT, Duncan

Ideal Home Exhibition rug (1913) wool/c:268.6 by 229.3:??

IX. Ceramics Byzantine bowl with foot (16th c.) t: 10.1 Diam: 14.4:Bq RF Byzantine bowl (? 14th c.) t:5.2 Diam: 11.2:Bq RF Chinese pot on 3 feet (Sung) t:9 diam:9:Bq RF Chinese dish (Sung) t:2.8 Diam: 15.3:Bq RF Chinese bowl (Ming) t:4.1 diam:8.3:Bq RF Italian jug with spout and handle (14th-15th c.) t:24 diam: 17:Bq RF Italian jug with spout and handle (18th-19th c.) t:34.7 Diam:29.7:Bq RF Italianjug with spout and handle (18th-19th c.) t:23 Diam: 18.1 :Bq RF Italian jug with spout and handle (19th c.) t:21.2 by 16:Bq RF Italian jug with spout and handle (14th-15th c.) t:broken:Bq RF Fragment of Italian bowl (16th c.) t: 13 by 16.7 by 4.8:Bq RF Italian bowl with well (15th-16th c.) t:4.0 Diam: 14.9:Bq RF Italian jar (19th c.) t:23.5 by 19.5:Bq RF Greek pitcher (8th c. B.C.) t:44.2 by 24.1 :Bq RF Moroccan jar with cover t: 15.2 by 13.4:Bq RF Spanish 3-hole salt cellar (17th c.) t:5.3 by 15.3 by 15.3:Bq RF Spanish saucer with deep well (18th c.) t:4.1 Diam: 16:Bq RF Turkish (?) bowl t:4.2 Diam: 17.2:Bq RF Persian bowl (c. Ilth c.) t:7 Diam: 18.6:Bq RF Persian bowl (10th-1 lth c.) t:6 Diam: 17.4:Bq RF Persian square bottle (18th-19th c.) t: 10.3 by 7.2 by 7.9:Bq RF

X. Glassware Spanish jar (18th c.) g: 12.2 by 9.2 by 7.6:Bq RF

XI. Metalwork Chinese figurine:bear Sz:4.1 by 7 by 1.7:Bq RF Chinese ornament: dragon Sz:3.3 by 9.1 by 8:Bq RF Chinese cheekpiece of bridle Sz:6 by 11.2 by 1.3:Bq RF Chinese ornament:2 animals (1st c. A.D.) Sz:2.8 by 2.7:Bq RF 2 Chinese axle pins: lion heads Sz: 11.3 by 5.2 by 5:Bq RF Pair of Chinese harness ornaments (before 1 A.D.) Sz:Diam:5.5:Bq RF Siamese (Thai) buddha (18th c.) SGz:9.6 by 7.7 by 3.3:Bq RF

XII. Primitive art Reliquary figure, Bakota tribe,

Gabon brass & copper plated wood:60 by 29.1 by 7:Bq RF Reliquary head,

Fang tribe, Gabon Sw:27.2 by 11 by 13.5:Bq RF Mask, Lake Tanganyika Sw:61.6 by 36.5 by 23.5:Bq RF Bowl on conical stand Sw:21.9 by Diam:41.2:Bq RF Spindle Sw: 19.3 by 7 by 6.9:Bq RF Bottle with cover Sw: 13.1 by 9.3 by 9.3:Bq RF Food bowl in bird shape, Admiralty Islands Sw:27.3 by 55.7 by 35.8:Bq RF

772


Article Contentsp. 766p. 767p. 768p. 769p. 770p. 771p. 772

Issue Table of ContentsThe Burlington Magazine, Vol. 132, No. 1052 (Nov., 1990), pp. i-xxxi+759-824Front Matter [pp. i-xxxi]EditorialScholarship in Museums [p. 759]

Dyce 'in Camera': New Evidence of His Working Methods [pp. 760-765]The Fry Collection at the Courtauld Institute Galleries [pp. 766-772]Towards an Art of Environment: Exhibitions and Publications by a Group of Avant-Garde Abstract Artists in London 1951-55 [pp. 773-781]Mondrian in London: Letters to Ben Nicholson and Barbara Hepworth [pp. 782-788]Shorter NoticesPaintings by Thornhill at Chinnor [pp. 789-793]A Portrait by James 'Athenian' Stuart [pp. 794-795]A Water-Colour by Samuel Palmer of Donati's Comet [pp. 795-796]

Book ReviewsReview: untitled [pp. 797-798]Review: untitled [p. 798]Review: untitled [pp. 798-799]Review: untitled [p. 799]Review: untitled [pp. 799-800]Review: untitled [p. 800]Review: untitled [pp. 800-801]Review: untitled [p. 801]Review: untitled [pp. 801-802]Review: untitled [pp. 802-803]

Publications ReceivedReview: untitled [p. 803]Review: untitled [p. 803]Review: untitled [p. 803]Review: untitled [p. 804]Review: untitled [p. 804]

Exhibition ReviewsReview: Landy at Building One Davenport at Waddington. London [pp. 804-805]Review: Braque: Still Lifes and Interiors. Liverpool and Bristol [pp. 805-806]Review: Old Master Paintings and Drawings. Paris [pp. 806-808]Review: Giovanni Battista Salvi, 'il Sassoferrato'. Sassoferrato, S. Francesco [pp. 808-809]Review: Carl Blechen. Berlin, Neue Nationalgalerie [pp. 809-811]Review: El Greco. Heraklion [pp. 811-814]Review: Menzel at the Frick. New York [pp. 814-815]

Calendar [pp. 816-820]Review: Correction: Guercino at the Louvre. Paris [p. 820]Selected Acquisitions (1985-90) at the Whitney Museum of American Art: Supplement [pp. 821-824]Back Matter

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