| Description |
This painting, with excellent provenance, is a gorgeous British 20th century still life oil painting attributed to circle of Duncan Grant and painted circa 1915. Marion Richardson (1892-1946), innovative art educator was a previous owner. She was good friends with Roger Fry and his sister and also Duncan Grant and was reguarly gifted art by them both. The composition is of a white porcelain coffee pot, blue and white tureen and white, blue rimmed dish on a dark wooden table. The items are gleaming in the light and reflected in the table. The simplicity of the composition works perfectly and the palette and brushwork are extremely pleasing to the eye. This is a superb still life oil painting with rich provenance. |
| Provenance |
Marion Richardson (1892-1946), 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 (1892-1946) |
| Biography |
Duncan Grant was a British painter and designer of textiles, pottery, theatre sets and costumes. Grant was a central figure in the circle of artist and writers known as Bloomsbury, which included Grant's cousin Lytton Strachey, Maynard Keynes, Roger Fry, Virginia and Leonard Woolf, Virginia's sister the painter Vanessa Bell and Vanessa's husband the critic Clive Bell. |
