1. ‘So the Omega Workshops closed down. The shades of the Post-Impressionists have gone to join the other shades; no trace of them is now to be seen in Fitzroy Square. The giant ladies have been dismounted from the doorway and the rooms have other occupants. But some of the things he made still remain – a painted table; a witty chair; a dinner service; a bowl or two of that turquoise blue that the man from the British Museum so much admired. And if by chance one of those broad deep plates is broken, or an accident befalls a blue dish, all the shops in London may be searched in vain for its fellow.’ Thus Virginia Woolf described the demise of the Omega Workshops in her 1940 biography of Roger Fry.



    Painter and art critic Roger Fry, best known for introducing a profoundly sceptical British public to the work of the Post-Impressionists, formed the Omega Workshops in 1913, a hundred years ago this summer. With Vanessa Bell and Duncan Grant as his co-directors, he aspired to produce decorative arts in the new, vital spirit of Post-Impressionism, while paying the participating artists a regular wage. Despite the rich creativity of those artists – Roger Fry, Vanessa Bell, Duncan Grant, Henri Gaudier-Brzeska, Frederick and Jessie Etchells, Nina Hamnett, Winifred Gill, Edward Wolfe, Wyndham Lewis and Dolores Courtney among them – the Workshops was not a commercial success and closed in 1919, just six years after it was founded.



    My approach to the Omega aesthetic is that of a passionate collector and is very different to that of an academic or design historian. My personal reaction to any work of art is primarily sensual and intuitive. I am interested in the notion of abstract ideas, but these must play second fiddle to my response to the physical presence of an object. The pieces in my collection were made to be lived with, to be used and enjoyed, and I continue to use many of them on a daily basis (much to the horror of many curators). Welcome, then, to my secret world, one usually hidden behind the front door and glimpsed only by friends and family, a personal sphere replete with interest, humour, and passion  even to the point of obsession.



    As an Australian, living in a small seaside town in central New South Wales, my own delight in the Omega Workshops and particularly its ceramics was sparked, as is often the case, by a chance comment, a moment of synchronicity. Frances Spalding’s biography of Vanessa Bell hit the antipodean shores around 1984. Those were the days of independent bookshops whose proprietors took an interest in their customers and often recommended suitable titles. My local bookseller knew that I collected early twentieth-century ceramics and alerted me to the remarkable examples pictured in Spalding’s inspired biography, and in Isabelle Anscombe’s beautifully illustrated Omega and After (Thames and Hudson, 1981). This sparked not only my interest in the ceramics of the Omega Workshops, but a fascination with the decorative arts of the Bloomsbury group in general. I was smitten with those extraordinary decorative domestic interiors and their painted pots, screens, lamps, chairs and rugs. It was never enough for this collector simply to read about these items; I wanted to own them too.



    The first time I saw pieces from Omega was not, as one would imagine, in a British museum or gallery, but at the Art Gallery of South Australia. Their impressive collection included an Omega lily pond table and decorated chairs (on permanent display), a dressing gown in Omega fabric, as well as ceramics (a very rare and desirable black glazed Omega Workshops vase) and a significant collection of art from both the Bloomsbury and Camden Town Group painters. Standing in front of the lily pond table and chairs, I was galvanized by the novel use of vivid colour, and profoundly and intensely moved in a way I had never experienced before.



    I wasn't able to acquire any Omega pieces for my collection until 2002 - many years into my Omega obsession. I had seen some ceramics, lamps, boxes, furniture and fabric while living in London between 1989 and 1992, at the Bloomsbury Workshop (a favourite haunt), the V&A and the Courtauld Gallery, but due to the sad state of my finances (the Australian dollar was like monopoly money back then) I was unable to afford to buy anything. I wasn’t in London for either the Craft Council Omega Workshops exhibition in 1984 or the Anthony d’Offay Omega show in 1984. Luckily, I returned to a full-time job in London in 2001 with my finances in a better state.



    Affordable pieces from the Omega Workshops rarely hit the open market, but with the careful scrutiny of auction catalogues, lots of internet searching and the assistance of various contacts and dealers, I was thrilled to buy my first piece of Omega pottery, a white tin-glazed dinner plate, in 2002. 





    Soon after, three Omega plates came up in one lot at a London saleroom. I had to beg and borrow to acquire the funds. To recover the cost I sold one of the plates to an American collector (whom I have, without success, been nagging ever since to sell it back to me). In 2005 I was lucky enough to purchase a two-handled turquoise bowl from an auction room in Bath. This extremely large hand-built bowl (21 inches in diameter) never fails to give me goose bumps when handled. Pottery has always been to focus of my collecting; it’s extremely likeable, usable and is always more affordable than furniture or art.







    From its inception, the Omega Workshops’ diverse stock included ceramics. Initially these were commercial, utilitarian wares that were over-painted by the artists. Fry learnt the rudiments of hand-building, throwing and glazing pots from an elderly potter in Surrey, making simple shapes with simple glazes. Initially he preferred a white tin glaze (good as a background for simple two-colour decorations), and later he developed various plain colour glazes for plates, vases and bowls including turquoise, dark blue and black.






    According to Virginia Woolf, ‘when he [Roger Fry] had found out how things were made there was the excitement of trying to make them himself. It seemed a natural division of labour – while his brain spun theories, his hands busied themselves with solid objects. He went down to Poole and took lessons in potting.’ In 1914 (through Winifred Gill, who worked at the Omega), Fry was introduced to the firm of Carter and Co, who produced commercial pottery in Poole, Dorset. At Carters, with its superior equipment and technical know how, Fry’s throwing skills improved, his touch become surer and he developed more complex shapes. Most of the dinner and side plates in my collection were produced at Carters. Some of these are hand-thrown by Fry and others appear to be made with the use of a jig and mould (fashioned from one of Fry’s handmade prototypes).





    My collection seems to accumulate experiences in the same way that I do. The discovery or even the first sight of a particularly sought-after piece is an important moment in the life of every collector and can become a point for reference in its own right. I often refer to events as Before or After a special acquisition. The provenance, life history or narrative of a piece is very important to me.



    In London in 1989, I went to an Applied Arts from 1880 sale at Sotheby’s that included two different lots of Omega chairs, one yellow, one grey, and both far beyond my means. The viewing of this sale was another one of those life-changing moments and I still remember my heart skipping a beat, and my knees going weak; it was extraordinary to be able to see and touch these rarities. I still have the catalogue with my markings on the relevant pages; 24 years later I am lucky enough to have both of these chairs in my collection.



    The hand-decorated ‘Egyptian’ dining-room chairs (one of which I had seen at Sothebys) were probably painted by Grant or Etchells. They were designed by Roger Fry in 1913 and made by the Dryad Company of Leicestershire. Most of the Omega dining chairs made to this or similar designs were painted red to simulate Chinese lacquer. In Fry's words, ‘in designing for furniture we have considered comfort and practical needs first’. I spotted the whole set of four chairs again while trawling auction catalogues one evening in March 2007 and consequently sat up very late one night a few weeks later, heart pounding, to make a successful phone bid to a saleroom in Toronto. I bought them relatively cheaply as they were rather shabby. After a clean and some light restoration by a conservator, they are splendid, used daily, and the first items I would grab if the house was on fire. The previous owner, a descendant of Clive Bell, believes that these chairs once belonged to Dame Edith Sitwell. Alvaro Guevara, a young Chilean artist who exhibited at the Omega Workshops in 1916, painted Sitwell seated on a similar chair around 1917 (Tate).




    See below and a page from the illustrated Omega Workshops Catalogue 1914 showing a similar chair priced at £2 10s.




    Grey chairs, similar to the ones offered at Sothebys appeared in my life when an entire set of eight grey chairs designed by Fry around 1914 and illustrated in Judith Collins’ The Omega Workshops (University of Chicago Press, 1984) came up for sale in New York. As luck would have it, I was in New York the week before, and was given a private viewing. This was a auction of remarkable (mostly American) twentieth-century decorative arts, nearly all in beautiful condition. At the far end was this set of Omega chairs, looking rather unloved, and needing re-caning and lots of TLC. To my good fortune, most American buyers like their decorative arts in pristine condition, and they remained unsold. I was cheeky enough to leave a rather insubstantial offer and it was accepted. I now had twelve Omega dining-room chairs in my collection – excessive, I know, but totally thrilling. The process of cleaning and re-caning these chairs is ongoing and they are used regularly. I have a policy that every piece in my collection is there to be used, and even though I don’t eat food off the Omega plates, I have used them as props in food photo shoots.





    Even though the best known products of the Omega Workshops are its pottery, textiles, furniture and rugs, it sold a remarkable range of other objects from its premises at 33 Fitzroy Square. Candlesticks, lamps and lamp shades, painted trays, artificial flowers, beads, children’s toys, bags, hats, clothing and fans were all popular, too. Duncan Grant painted several fans for Omega in 1913-14; one example in the V&A is on a similar silk and ivory support as the one below from my collection (acquired in March 2012).






    Adding pieces to my Omega Workshops collection is an essentially intermittent activity. Pieces enter the collection over an extended period and I feel this is part of its integrity and sincerity. Most acquisitions take place when ‘the heavens are looking down on me’ making sure both the availability of funds and objects are in alignment. The heavens were definitely on my side when in 2005 I bought an Omega wooden lamp base in a German flea-market for 50 Euros. Whether it is the story of the object itself, or the tale of how I was able to acquire it, the objects I own add up to my unwritten diary. Collections are material autobiography, written as we go along and left behind as souvenirs of our life.




    Collecting also furnishes me with a more spacious view of humanity, both past and present. The character of the other collectors, dealers, curators and various enthusiasts one meets when searching for finds is both various and fascinating. Susan M. Pearce in her book, On Collecting: An Investigation Into Collecting In The European Tradition (Routledge, 1999) suggests that hunting is, to collectors, a helpful analogy, promoting ideas of cunning, stealth, patience, competition and ultimate success, with the acquisition carried home in triumph.



    The materiality of things endows them with the capacity to convey the past physically into the present. An object that was once displayed at the Omega showroom retains the reality of that historical connection, even though it may also be the subject of many fresh interpretations. The object is the ‘real thing’ and has, for a collector like me, authenticity and real magic. That moment of discovery, when we find something we love, is at the heart of the collecting process. There is also a long piece to be written about the ones that got away. 

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  2. Information on Dolores Courtney is a little ‘thin on the ground’. In fact there are only four known extant paintings by her. The two oils in my collection came from Roger Fry’s estate. She worked alongside Nina Hamnett at the Omega Workshops between 1915-1917 and there is a remarkable portrait of Dolores (titled The Student), painted by Nina in 1917 that is held in the Ferens Art Gallery (Kingston upon Hull). 
      
    Nina Hamnett 'The Student' - portriat of Dolores Courtney
    She was born in Russia; her father was in the diplomatic service and the family has Spanish connections. Went to Paris to study, joined the Brangwyn School in London, and then returned to Paris, attending one of the academies (possibly Vichy). She married an American (R. Courtney) and settled in London around 1914. 

    Still Life by Dolores Courtney from my collection (prov Roger Fry)
    Dolores worked for Roger Fry at the Omega Workshops from about 1915-1917 where with Nina Hamnett and other contemporary artists she worked decorating and painting. In 1916 Fry received a commission For the Omega Workshops to decorate a room in Berkeley Street for Arthur Ruck who dealt in object d’art and old master paintings. Two coloured illustrations in the Colour Magazine of June 1916 show two of the four painted walls in one room; one by Fry and the other by Courtney. The scene painted by Dolores Courtney on the right of the mantelpiece, where two figures step out across a pink park in billowing grey and white dresses, has a breezy energy. The article in the Colour Magazine stated: ‘The subjects chosen are scenes of contemporary London life such as may be found in proximity to a Tube station, a London park, or in any street in the suburbs or West End.’

    Mural for Arthur Ruck - Courtney's panel. Image from Colour Magazine 1916

    Mural for Arthur Ruck - Roger Fry's panel. Image from Colour Magazine 1916

     Her style during the Omega period reveals a thorough knowledge of contemporary French and Russian art. The art historian Judith Collins met with Dolores in the 1970’s when researching her book on the Omega Workshops. Judith Collins writes ‘so little of Courtney’s work is known that it is hard to divine her central artistic aims, except to say that she shared with Hamnett at this time a concern for simple and bold realisations, often in strong jarring colours.


    Fry organised an exhibition at the Omega in 1917 titled ‘Copies and Translation.’ Omega artists were asked to contribute copies they had made of old masters. Dolores Courtney contributed the painting below, which rather than being an old master, was a copy of Derain's Samedi. It is smaller than the original and Dolores painted in Indian reds, yellow ochres and warm browns rather than the greys, ochres and blacks of the original. I bought this many years ago; it came from Fry’s collection.

    Dolores Courtney copy of Derain's Samedi 1917 (from my collection)
    In 1920 Dolores returned to Paris to live. Roger Fry was known to have used her studio there in 1921. She was friendly with Fry’s sister, Pamela when she moved to Paris in the early 1920’s. I am still to discover more of her life after 1920.
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  3. Portrait of Peggy Angus by Percy Horton 1930's (from my collection)

    Peggy Angus's belief that art could be found in everyday items pervaded her life and work. Floor tiles, wallpaper, party invitations, scary masks, mosaic stepping stones, children's toys, a birthday cake or a political cartoon, all were enhanced by her love of colour, design and craft. Peggy's art enriches the lives of those who live with it, but perhaps her greatest legacy is the number of artists and craft workers who came to their art through her inspiration.

    Peggy Angus was born in 1904, in Chile, the 11th of 13 children of a Scottish railway engineer. In 1922 she went to the Royal College of Art, starting off in the painting school but switching to the Design School, where her contemporaries and friends included Helen Binyon, Edward Bawden and Eric Ravilious. After graduating, in 1926 she took a teaching certificate, as a matter of duty. On passing with distinction she wept, fearing that teaching would frustrate her development as an artist. For that reason she never taught full-time and instituted a part-time system in the art department at North London Collegiate.
    recent photograph of Furlongs


    Eric Ravilious 'Furlongs'
     In 1933 while teaching at Eastbourne she found and rented Furlongs, a long low shepherd's cottage at the foot of the Sussex Downs. There she created an interior as curious and as beautiful as that of Duncan Grant and Vanessa Bell's house at Charleston, and filled it with a series of paintings of the Sussex countryside by herself and her contemporaries. Furlongs, she explained, was 'the matrix of much strange and inventive creation' and became the gathering-place of many artists - Eric Ravilious and his wife Tirzah, Edward and Charlotte Bawden, Percy Horton, Maurice de Saumarez, John and Myfanwy Piper, Olive Cook and Edwin Smith, as well as countless former pupils, colleagues and their children and grandchildren.
    Peggy Angus in Furlongs Kitchen 1990

    me in Furlongs kitchen 1990
    Furlongs interior 1990

    Furlongs linocut by Christopher Brown
     Every year on Midsummer Eve Angus held a party in the hollow of the dewpond just above Furlongs. Friends of all ages came together under the summer stars and Angus led the singing, revealing her extraordinary memory for arcane folk and revolutionary songs. She was intensely proud of her Scottish ancestry and was liable to break into fiery anti-British ballads at the slightest encouragement. Furlongs became the centre of a Sussex creative community but Angus was also an artistic force on the Isle of Barra in the Outer Hebrides, where she had a bothy, and in the litter-strewn streets of Camden, where she latterly rented a studio.
    Brixham 1933 watercolour by Peggy Angus (my collection)

     Gamekeeper oil on board by Peggy Angus (my collection)
    Barrage Balloon Primrose Hill 1943 (my collection)

    Although Angus was an effective figurative painter, her real genius emerged after the Second World War. With materials in short supply she got her pupils to make potato and lino cuts, inventing a deceptively simple set of design rules. The results were startling and the architect FRS Yorke immediately recognised her gift as a pattern designer. By 1950 she regularly worked with Carter of Poole, designing tiles to humanise the rather cold, unadorned interiors and exteriors of Yorke, Rosenberg & Mardall's commissions throughout the 1950s. 

    selection of Tiles by Peggy Angus for Carters Poole



    In the later 1950s, the painter Kenneth Rowntree suggested she adapt some of her designs for use as wallpapers. Clients were encouraged to have blocks specially cut and to participate in their design. In 1960 she won the Sanderson centenary competition for wallpaper design and her patterns were used by Cole and by Sanderson. But she designed few machine prints, preferring the less predictable effects of hand-printing, using small lino blocks and household emulsion. Over the years, Angus invented an extraordinary range of patterns. Many were abstract but others convey a vivid pastoral mood, making subtle use of oak leaves, heraldic dogs and birds, grapes and vines, corn stalks, suns and winds. Peggy Angus died in London on 28 October 1993.



    wallpaper designs by Peggy Angus











    various videos of interior at Furlongs 1990






     information taken from Tanya Harrod's Obituary of Peggy Angus
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  4. Omega Workshops fan designed by Duncan Grant C 1913 (from my collection)


    Even though the best known products of the Omega Workshops are its furniture, textiles and pottery (see previous posts), it sold a remarkable range of objects from its premises at 33 Fitzroy Square. Beads, artificial flowers, candlesticks, lamps, painted trays, bags, hats and fans were popular items.

    Duncan Grant is known to have painted several fans for the Omega in 1913-1914; another example is in the Victoria & Albert Museum click here to see example in V&A and is on the same silk and ivory support with white trimming and metal clasp. The two profiles of this one (from my collection) form a stemmed glass, familiar throughout Grant’s decorative work.
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  5. Doris Hatt
    One has to be careful what one wishes for! I have a friend who also collects obscure British painters and potters and who always enquires about my latest obsession or acquisition. I am naturally secretive about such things, so when she recently made her enquires I told her that ‘lesbian, abstract painters who worked between the wars’ was the direction I was taking. She took this without any question, encouraged coincidentally, by the fact that many of the painters and potters in my collection are single woman who lives were absorbed with making art (rather than looking after husbands). It is their art that interests me, rather than their sexuality. What a surprise then, when researching a small linocut I had found, to discover that the artist Doris Hatt was an out lesbian, lefty, radical, abstract painter... yippee!

    Linocut found recently

    Doris Hatt was born in Bath in 1890 and studied Art locally before progressing to the Royal College and the Vienna Conservatoire of Art.

    During the mid 1920s she worked in Paris where she befriended many artists of the day, including Picasso, Braque, Gris and others, this having a profound effect on the direction of her art, moving her away from her more naturalistic post-impressionistic work to a more radical modernism and an investigation of cubism among other styles. Although she undertook a return to a more personalised naturalism in later life, the works of her late period still possess a strong modernist sense of colour and boldness of composition.

    from my collection

    In 1932, Doris had a remarkable modernist house built for her in the seaside town of Clevedon, Somerset, to her own design. The house replaced a wooden ex-army bungalow with a veranda front, which she had put on the site after the First World War.

    She later scandalised polite Clevedon by living here with her partner Margery Mack Smith. Doris, an artist, writer and red-hot flag-waving Communist, attempted to sell the Daily Worker to uninterested Clevdonians, painted them in the monumentalist style of her hero Fernand Leger, and was a general all-round bad egg (according to the retired colonials whiling away the afternoons in Clevedon's tearooms).

    Exhibitions included Royal Academy, Leicester and Redfern Galleries, Jack Bilbo's Modern Art Gallery, and Foyles Gallery. In the 1950s and 1960s she had a series of one-man shows, including Minerva Gallery, Bath, and Osiris Gallery, Oxford; with a retrospective at RWA, Bristol, 1960. Michael Wright Fine Art, Bristol held a retrospective in 1998.


    Her work is represented in several major public collections. She not only painted but was also a wood carver.

    Miss Hatt continued to paint until her death in 1969. Margery, also born in 1890 (but in Bristol) died in 1975, aged 84.. How fantastic they must have been!


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  6. Merry Christmas and a very happy new year to all my readers, friends and contacts
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  7. Today I found this stunning Susie Cooper studio ware vase at a local market and had to have it.... more on Susie to follow shortly


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  8. In 1934 Harrods store in London held a selling exhibition entitled 'Modern Art for the Table'. It was part of a Government campaign of the early 1930s to encourage leading artists to produce designs for industry, with the hope of improving ceramic and glass design. It was a ground breaking collaboration between the artistic community and the decorative arts industry.
    Clarice Cliff was appointed the Art Director and twenty-eight artists and designers were invited to submit their designs. Clarice and others translated these designs for painting and printing on to various ceramic and glass shapes. There were three companies involved: A J Wilkinson Ltd. produced the earthenware, E Brain & Co (Foley China) produced the bone china and Stuart and Sons the glass. Some designs were reproduced on specially designed shapes, others were put on to standard factory shapes.
    Although some interesting pieces were produced, the experiment was not wholly successful. There was some critical acclaim but most of the designs were too far in advance of public taste. Most of the ceramic patterns were discontinued after the exhibition.

    All images below are from my collection.


    Angelica Bell design for Foley

    Duncan Grant design for Clarice Cliff

    Duncan Grant design for Clarice Cliff

    plate - Duncan Grant for Foley: Cup and saucer Paul Nash for Foley

    Duncan Grant design for Foley

    Dod Procter design for Clarice Cliff



    Graham Sutherland for Clarice Cliff

    John Armstrong design for Clarice Cliff
    John Armstrong for Foley

    John Armstrong for Foley

    Laura Knight design for Foley

    Milner Gray design for Clarice Cliff

    Paul Nash for Clarice Cliff

    Paul Nash design for Foley







    Graham Sutherland for Clarice Cliff

    Graham Sutherland for Clarice Cliff

    Graham Sutherland for Clarice Cliff

    Graham Sutherland for Clarice Cliff
    Graham Sutherland for Foley

    Graham Sutherland for Clarice Cliff

    Graham Sutherland for Clarice Cliff

    Vanessa Bell for Clarice Cliff








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  9. My original post about the dining room designed by Duncan Grant and Vanessa Bell for Dorothy Wellesley in 1930 appeared in an earlier blog post (April 2011 - link below). 
    I bought the chairs that were originally in the scheme a couple of years ago and have been searching for information and further images (up to that point I had only seen the two that originally appeared in Studio Magazine in 1930). A tip-off from a friend led me an article in Apollo Magazine of 1946 where low and behold there were many more images. It is especially interesting to see the table top (whereabouts unknown) and the curtains (which were referred to by Vanessa Bell in letters to her son).
    Images below...



    table
    room showing table and Vanessa Bell's Applique and sequined curtains
     
     





    detail of one of the light fittings


    The chairs today


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  10. the semi abstract figurative piece above was painted in 1930's and acquired from a London gallery



    Born in London in 1871 to a wealthy family of German coffee merchants, Cissie Kean - one of six children - was certainly not destined to become a painter. Although her interest in painting was established at an early age, her family did not however think that a career as a painter would be compatible with her social background.

    After being crippled as a young adult in circumstances that have never become quite clear, the strong willed Cissie decided to dedicate her life to painting. She went to Paris where she studied for a number of years, completed her studies at the Académie Julian, where she was awarded a medal in 1906. The work of André Lhote and Jean Marchand influenced her painting during this first Paris period. Before the Great War, Kean travelled extensively to Italy, Spain and Brazil, meticulously recording her changing surroundings in her sketchbooks, which she then used to work into watercolours and oil paintings.

    During the First World War she returned to her family in London, setting up a studio and travelling around England with fellow women artists such as Bertha Johnson and Lisa Sampson, regularly attending painting groups. During the period 1916-19 she found herself painting in Chipping Campden with New Zealand artist Frances Hodgkins.

    After the war, Kean travelled back and forth between London and Paris, with breaks in the Mediterranean. During the 1920s she was working under Lhote again, exploring the human figure through the cubist style, and was also attracted to the purism of Léger and Ozenfant. She spent time in Léger’s atelier where she found her true artistic identity working in oils. She started experimenting with keeping the very careful balance between representation and abstraction which the cubists sought to maintain. Following closely Léger’s approach to subjects, the figures and objects in her canvases are often simplified in an attempt to imbue them with a sense of greater vigour, movement and monumentality rather than to analyse their structure.
      
    As an independent, single woman of means, Cissie’s lifestyle, in some ways, exemplified that of Englishwomen in her position, but what makes her life extraordinary is the dramatic development in her work once she was in her 50s.
      
    Alas, Cissie instructed that her papers be destroyed after she died, but one of her closest friends, Lila Sampson, an aunt of Roger Hilton, recounts in her diaries the time these ladies spent studying in Paris before the First World War. Here they developed their skills as miniaturists, Cissie winning a medal for this at the Académie Julian. When Cissie returned to Paris after the War, however, it was to work in oils in the studios of the avant-garde painters, Léger, Ozenfant and Lhote.
     
    In London, Cissie was one of the founder members of the Three Arts Club, and this remained her base for 25 years while she travelled extensively in England, on the Continent, and to Brazil to visit one of her brothers. In 1936 she took up residence in the prestigious new apartment block at 49 Hallam Street, her home until shortly before her death. She returned to London where she died in 1961 in her ninetieth year. She never married.

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welcome...
welcome...

Welcome to my rather random and unfocused narrative on my (now less) random and more focused collection of ceramics, 20th century decorative arts and pictures.

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Recipe writer, passionate baker, obsessed collector of 20th Century decorative stuffs. Madly sowing and digging in my new garden.
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always interested to hear of any Bloomsbury group, Quentin Bell or Omega Workshops pieces for sale

I am currently researching a catalogue raisonne of the Omega Workshops and would love to hear from anyone with any pieces.

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