FRY (ROGER) Autograph draft, with numerous autograph revisions, of his Foreword for H.R. Wackerill's A New Note on Modern Painting, 1933-1934
Lot 73
FRY (ROGER) Autograph draft, with numerous autograph revisions, of his Foreword for H.R. Wackerill's A New Note on Modern Painting, 1933-1934
£800 - 1,200
US$ 1,400 - 2,000
Lot Details
FRY (ROGER)
Autograph draft, with numerous autograph revisions, of his foreword for H.R. Wackerill's A New Note on Modern Painting, 1934, headed in pencil 'Foreword?' and signed at the end 'Roger Fry' and with a pencil note 'Royat, August 1934', together with two autograph letters signed ('Roger Fry'), to Wackerill, about the piece; the first 2 pages, 4to, 48 Barnard Street, 5 November 1933, explaining that he has been very occupied and also that he felt that the first part seemed too like something he had written himself to be of interest, asking himself was it fear of the younger generation knocking at the door, praising Wackerill's essay ('...is admirably clear and soberly stated - indeed I should say that it was very well written and I believe it will be helpful to many people...') and asking him to lunch, though he is terribly rushed with lectures; the second one page, 4to, Royat, 24 August 1934, pooling for his continued remissness, stating that he had brought his manuscript away to this 'infernal hole where I have been doing a cure' and commenting 'You really have an admirably clear way of stating very rather difficult ideas and I think you deserve a success', 4 pages, in all, 4to, 1933-1934

Footnotes

  • PROBABLY FRY'S LAST COMMENTARY ON ART, WRITTEN SEVENTEEN DAYS BEFORE HIS DEATH. In the book, with Fry's foreword, was a short preface by Wackerill, a tribute to Fry: 'It is indeed with particularly poignant feelings that the author must always regard the following note, written only a few days before Mr. Fry's sudden death [9 September 1934 from complications of a broken thigh caused by a fall at home]. The great artist-critic's pre-eminence as a writer on aesthetics was, of course, widely acknowledged. His labours in the cause of art in this country, his splendid contribution to the elevation of the science of art-criticism...his personal kindliness and generosity towards other artists and writers were, of necessity, less widely known. To the author, for instance, coming to him as a complete stranger, he extended a generous and disinterested sympathy of a kind that must be rare indeed...' See illustration overleaf.
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