Vanessa Bell Archives

Charleston Saved 1979-1989

May 25, 2010 by Roy Johnson

restoring a Bloomsbury decorated house

Charleston is a farmhouse near Lewes, Sussex which was once the home of Clive Bell, his wife Vanessa, and her lover Duncan Grant. Leonard and Virginia Woolf were frequent visitors from their own country property at Monk’s House in nearby Rodmell. Other members of the Bloomsbury Group such as Lytton Strachey, David Garnett, and Maynard Keynes were regular visitors.

It is most famous for the fact that Vanessa Bell and Duncan Grant covered the entire surface of the house – walls, fireplace, cupboards, tables, chairs – with their decorations and paintings, an impulse that was also part of the Omega Workshops movement initiated by Roger Fry around the same time during the first world war. [A subsidiary purpose of the house was to act as a refuge for conscientious objectors to the war.]

The house was famously damp and rather uncomfortable, but Duncan Grant went on living there until his death in 1978 – at which point it was in a state of neglect and dilapidation. This book is an account of the restoration project made to bring the hopuse back to life – ‘from the Broncoo toilet paper to the Bakelight electrical fittings’. Indeed throughout the whole project there was a constant debate over the relative merits of re-creating the original or saving what was left, which was a very expensive option.

There’s a great deal of fund-raising by the great and the good, but the real interest of Anthea Arnold’s account is in how a decaying over-decorated farmhouse can be pulled back from the brink of disintegration whilst preserving its spirit and integrity. There was much to be done against death watch beetles, mold, dry rot, and general decay.

At some points the narrative becomes a somewhat bizaare mixture of raffle prizewinners at fundraising events sandwiched between detailed technical accounts of replastering walls using goat’s hair bonding agents.

Chapters are ordered by the objects and materials being restored – furniture, ceramics, fabrics, stained glass, pictures, the garden – and most problematic of all, the original wallpaper. Yet desite all the nit-picking over minor details of wallpaper pattern repeats and curtain fabrics, the house was re-opened to the public without the fundamental problem of rising damp having been solved. Plaster had to be cut back to the bare wall more than once.

There was quite a lot of disagreement over the wisdom and accuracy of the restoration. Why spend tens of thousands of pounds preserving rotting wallpaper when the original designs could easily be reproduced? In the end, the argument for authenticity prevailed – so long as there were sufficient US-funded endowments to sustain it.

Anyway, the project finally succeeded, and Charleston is now a thriving visitors’ centre, and the location of an annual arts festival. So – Bloomsbury fans apart, this is a book that could appeal to public relations buffs and fundraisers, or to fans of Grand Designs or property restoration specialists.

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Anthea Arnold, Charleston Saved 1979-1989, London: Robert Hale, 2010, pp. 144, ISBN: 0709090188

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Snapshots of Bloomsbury

April 17, 2011 by Roy Johnson

The private lives of Virginia Woolf and Vanessa Bell

Snapshots of Bloomsbury is more or less the photograph albumns of Virginia Woolf’s family. Virginia Woolf herself is rightly celebrated as a writer of ‘sensibility’ – of matters spiritual, cerebral, artistic, and philosophical. Yet she was also very conscious of modern technology. She wrote about motor cars, the cinema, the underground, the radio, and even flying (though he had never been in an aeroplane). And she was also an enthusiastic amateur photographer, as was her sister Vanessa Bell. They had inherited an interest in photography from their great aunt Julia Margaret Cameron, the famous Victorian photographer and the photo albumns of their father Leslie Stephen.

From 1890 onwards the Kodak portable camera was both heavily promoted and enthusiastically taken up by female amateurs. Virginia and Vanessa took the photographs, developed them, printed them, and mounted them in albumns. And the Stephen sisters were not alone in their activity. Many of the other Bloomsbury Group luminaries took portraits of each other.

In her scholarly introduction to this collection Maggie Humm does her best to interpret them as biographical records of Virginia Woolf’s psychologically traumatic life history – but what she says is not at all convincing. She fortunately redeems these theoretical self-indulgences with two excellent contextual essays outlining both Virginia Woolf’s and Vanessa Bell’s relationship to the modernist movement in the arts between 1905 and the 1930s.

The book includes (and catalogues) the Monks House family albumns – though there are more photographs in other collections. There’s a great deal of the theory of photography in the preamble, but what will interest most people is who appears in the pictures, and what they tell us about the Bloomsbury Group and their lives.

Strictly speaking, the answer is not much that we didn’t already know, but there are some interesting social revelations, especially when seeing so many everyday snaps gathered together in one place.

For instance, there is a strange tension between clothed and unclothed bodies. People cluster on summer beaches engaged in sun-bathing – but dressed in three piece tweed suits, hats, pullovers, and thick woollen socks. Yet at the same time there is a cult of nudity, with innumerable children and even the doomed Everest mountaineer George Mallory (Duncan Grant’s lover) photographed stark naked.

It’s also worth noting how non-snobbish the photos are in the sisters’ choice of subjects. The collection includes many pictures of household servants dressed in their everyday working clothes.

The best photographs are those which we already know quite well – Woolf’s portraits taken by Man Ray and G. Beresford – but there’s also an excellent double portrait of Duncan Grant and John Maynard Keynes taken by Vanessa Bell.

There’s a great deal of lounging around in deck chairs, smoking pipes, and occasional appearances by E.M. Forster, T.S. Eliot, Vita Sackville-West, and Ethel Smyth (the lesbian composer who fell in love with Virginia Woolf) It’s also interesting to see that as the years progressed Leonard and Virginia Woolf, like many other close couples, began to look like each other.

So, there are no surprises or dramatic revelations here, but this is an elegantly produced collection which makes a useful contribution to the peripheral cultural record of a rich period in Britain’s artistic history.

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Maggie Humm (ed), Snapshots of Bloomsbury, London: Tate Publishing, 2006, pp.228, ISBN: 1854376721

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The Bloomsbury Group: who were they?

August 5, 2009 by Roy Johnson

modernist culture and arts 1900-1950

The Bloomsbury Group is a name given to a loose collection of writers, artists, and intellectuals who came together during the period 1905-06 at the home of Virginia Woolf and her sister Vanessa Bell. Following the death of their father, Sir Leslie Stephen, they set up home in Gordon Square, Bloomsbury, in central London, close to the British Museum.

The group included Virginia Woolf (writer) and her husband-to-be Leonard Woolf (writer and later political figure); her sister Vanessa Bell (artist) and her husband Clive Bell; the artist and critic Roger Fry; the novelist E.M.Forster and poet T.S.Eliot; economist John Maynard Keynes and philosopher Bertrand Russell; the writers Gerald Brenan, Lytton Strachey, and Vita Sackville-West; artists Duncan Grant and Dora Carrington.

The Bloomsbury Group is a short but charming book which explores the impact of Bloomsbury personalities on each other, plus how they shaped the development of British modernism. It’s actually the illustrated catalogue of an exhibition at the National Portrait Gallery. But most of all it’s a delightful collection of portrait paintings and photographs, with biographical notes. It has an introductory essay which outlines the development of Bloomsbury, followed by a series of portraits and the biographical sketches of the major figures.

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Toby invited his friends to soirees, and Vanessa invited hers. The two groups met, networked, formed liaisons with each other (that’s putting it mildly) and created some of the central works of the modernist movement in Britain in the period 1905-1930.

They were in conscious revolt against the artistic, social, and sexual restrictions of the Victorian age. They were on the whole from an upper middle class intellectual elite, but it has to be said that in their personal lives they defied the status quo, and most of them were very productive.

In fact, the true centre of the group was Cambridge University, where their brother Toby had met a number of intellectuals who had come under the influence of G.M. Moore, whose Principia Ethica (1903) had made a serious impression on undergraduates who formed a group called the ‘Apostles’. He propounded a notion of ethics which rested on the pursuit of friendship, happiness, and the cultivation of the intellect.

Bloomsbury Recalled is written by Quentin Bell, one of the last surviving members of the Bloomsbury circle. He offers a disarmingly candid portraits of his father, Clive Bell, who married the author’s mother, Vanessa Stephen (Virginia Woolf’s sister). He pursued love affairs while Vanessa, after a clandestine affair with art critic Roger Fry, lived openly with bisexual painter Duncan Grant, with whom she had a daughter, Angelica. Clive, Duncan and Vanessa were reunited under one roof in 1939, and the author conveys a sense of the emotional strain of growing up in ‘a multi-parent family.’ Acclaimed biographer of his aunt, Virginia Woolf, Bell here defends her as a feminist and pacifist. Along with chapters on John Maynard Keynes, Ottoline Morrell and art historian-spy Anthony Blunt, there are glimpses of Lytton Strachey, novelist David Garnett (Angelica’s husband) and Dame Ethel Smyth, the pipe-smoking lesbian composer, who fell in love with Virginia Woolf.
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Influenced by this notion of free-spirited friendship, intellectual liberty, and radical life-styles, many of the men were conscientious objectors during the First World War. They were liberals or socialists at a time when the English establishment was overwhelmingly conservative; and in their personal relationships they pushed back the boundaries of what could be done in a way which was not seen again until the 1960s.

Many of these people became sexually involved with each other in a way which even now seems quite bewildering. Married to one person, but in cahoots with someone else, often of the same sex. Some of them even lived with a person of the opposite sex yet shared the same lover.

It has to be remembered that at that time homosexuality was a criminal offence (though only for men) and many gay men got married as a legal cover and a smokescreen to provide social legitimacy.

There were also lots of minor figures who are counted amongst the Bloomsbury Group – people such as Harold Nicolson (diplomat and writer); Mark Gertler (painter); Desmond MacCarthy (literary critic); Saxon Sydney-Turner (civil servant); David Garnett and John Lehmann (writers); and Ottoline Morrell (social hostess).

Among the Bohemians: Experiments in Living 1900—1930 was written by Virginia Nicholson, Quentin Bell’s daughter and grand-daughter of Vanessa Bell, who was Virginia Woolf’s sister. Bloomsbury lies at the heart of the book in its portraits of Ralph Partridge, Virginia Woolf, Duncan Grant, Lytton Strachey, Dora Carrington, and Katherine Mansfield, plus peripheral figures such as Arthur Ransome, Rupert Brooke, Augustus John, Nina Hamnett, and Dylan and Caitlin Thomas. Very amusing, well written, and every page dense with top class gossip and anecdotes. She looks at their tangled love lives naturally, but also their radical ideas on money (and poverty) food, dress, and even child-raising. Highly recommended.
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The intellectual connections between these people were amazing. For instance, the Woolfs established the Hogarth Press in their own home as a hobby-cum-therapy to help Virginia through her periods of depression and madness. The Press published not only her own works, but books by T.S.Eliot, Vita Sackville-West, and Christopher Isherwood. They even pioneered the work of Sigmund Freud, whose writing was translated by James Strachey, Lytton Strachey’s brother.

It also has to be said that many of the group were enormously productive and high-achievers. Despite her periods of mental illness, Virginia Woolf was a voluminous diarist and letter writer – as was her husband Leonard Woolf. Together they also ran the Hogarth Press. Economist John Maynard Keynes produced an almost unbroken stream of influential political studies and policy documents whilst working in a number of high-ranking government positions. And Vita Sackville-West was a best-selling novelist and award-winning poet who also wrote books on historic houses and gardens.

A Bloomsbury Canvas is a selection of essays on the Bloomsbury Group. Essayists include Hermione Lee, biographer of Virginia Woolf; art historians Richard Shone and Frances Spalding; Nigel Nicolson, author of Portrait of a Marriage, a study of his parents, Vita Sackville-West and Harold Nicolson; and the last survivors of those closely connected to the Bloomsbury Group – Frances Partridge, Quentin Bell and Angelica Garnett. The text is illustrated with many previously unpublished works.
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The Omega Workshops

September 17, 2009 by Roy Johnson

Bloomsbury graphic and interior design

The Omega Workshops was a short-lived but influential artists’ co-operative which formed as an offshoot of the Bloomsbury Group. It was the brainchild of Roger Fry who had the philanthropic notion of a self-help scheme for hard-up artists who would create goods of simple but Post-Impressionist modern design. It was partly a reaction against the drabness of mass-produced household goods, but it did not have any of the socialist ideology of William Morris’s earlier Arts and Crafts movement.

It opened in 1913 at the worst possible time in commercial terms, at 33 Fitzroy Square in the heart of Bloomsbury. Vanessa Bell, Duncan Grant, and Roger Fry were named as directors, and the premises included both public showrooms as well as artists’ studios. Although the works were produced by people we now see as influential members of the modernist movement, individual productions were made anonymously, signed only with the letter Omega. Artists worked three and a half days a week, for which they were paid thirty shillings. The opening was regarded as nothing short of scandalous. This was a time when popular opinion, fanned by a largely reactionary press, was sceptical to the point of hostility on matters of modern art – especially when it was coupled to something as daring as interior design.

A number of famous names were associated with the workshop: at one time or another Henri Gaudier-Brzeska, Paul Nash, David Bomberg, William Roberts, and Mark Gertler all had connections with the Omega.

At the launch of the project, artist and writer Wyndham Lewis was also a member; but he quickly split away from the group in a dispute over Omega’s contribution to the Ideal Homes Exhibition. Lewis circulated a letter to all shareholders, making accusations against the company and Roger Fry in particular, and pouring scorn on the products of Omega and its ideology. This subsequently led to his establishing the rival Vorticist movement and the publication in 1916 of its two-issue house magazine, BLAST.

In 1915 Omega started to introduce clothing into the repertoire, inspired by both the costumes of the Ballets Russes and Duncan Grant’s theatre designs. Avid supporters included the flamboyant dresser and socialite Ottoline Morrell as well as the famous bohemian artist (and alcoholic) Nina Hamnet who helped by modelling the clothes.

The war years were difficult for Omega, because many of the principal figures were out of London, working on various agricultural projects as conscientious objectors. Whilst Roger Fry continued to support Omega in London, Vanessa Bell and Duncan Grant moved to Charleston in Sussex, where they put their efforts into decorating the entire house in Omega style – an effort which is now maintained by the National Trust.

Bloomsbury prevailed on all its high society contacts to patronise the workshop, and some commissions for interior house designs were forthcoming from people such as Mary Hutchinson – who was Clive Bell’s mistress. But the reputation of the workshops was not helped by the fact that many of its products were poorly constructed. The biggest commercial success of the Omega was its final closing down sale in 1919, when everything went for half price.

It was a venture which was launched with disastrous timing and foundered on a combination of amateurism and poor management. Yet it established interior design as a legitimate artistic activity, and its influence continued from the 1920s onwards. As Virginia Nicholson in her study Among the Bohemians observes:

Many of the late twentieth-century and contemporary trends are in themselves tributes to the influence of the Charleston artists, to the Diaghilev ballet designers, to the aesthetes, to Omega, and to the members of the Arts and Crafts movement. The modern fashionable interior pays homage to a creative urge amongst a relatively small sub-section of society in the early decades of the twentieth century. So much of what those artists did has been assimilated and re-assimilated, that one should not be surprised that their tastes are yet again being re-cycled for the World of Interiors readership, even if their origins are not always acknowledged.

Omega cabinet – designed by Roger Fry

Omega and After is a beautifully illustrated account of the workshops and their aftermath. It focuses on the three principals – Roger Fry, Vanessa Bell, and Duncan Grant, tracing their artistic production (and their tangled personal relationships) from 1913 to the interwar years. Even when the workshops closed, Grant and Bell continued their interior design work in their decorated house at Charleston. The Omega Workshops had a lasting influence on interior design in the post-war years. This is a rich collection of quite rare pictures, portraits and sketches.
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Vanessa Bell a biography

July 19, 2009 by Roy Johnson

Bloomsbury painter, matriarch, and bohemian

Vanessa Bell is best known as the sister of Virginia Woolf, but she was a distinguished artist in her own right, and her reputation has risen in recent years, along with other women artists such as Dora Carrington and Gwen John. Her father Leslie Stephen was a literary figure (editor of the Dictionary of National Biography but he encouraged Vanessa’s early enthusiasm for painting and drawing, and in 1901 she entered to study at the Royal Academy. Then following her father’s death she moved with her sister Virginia and their younger brother Adrian to live in Gordon Square.

When their elder brother Thoby brought home his friends Lytton Strachey, Leonard Woolf and Saxon Sydney-Turner from Cambridge, it was there that the Bloomsbury Group began. She married Clive Bell in 1906 and achieved what seemed like immediate happiness with him – yet within two years she was completely taken up with her son Julian, and Clive had resumed an affair with his previous lover Mrs Craven-Hill.

As a biographer, Frances Spalding is frank and explicit regarding the behaviour of secondary characters, but she protects her principal subject behind a smokescreen of evasion and omission. Even though she documents the movements and actions of her characters on what is often a day-to-day basis, Vanessa has been engaged in a sexual relationship with Roger Fry for several months before it is even mentioned, and then obliquely, as if it is solely his decision:

Roger Fry was still legally married. Discretion necessarily surrounded his affair with Vanessa which at first was kept from Clive

She is on much stronger ground when discussing the development of Vanessa Bell’s painting. The influence of Roger Fry, the Post-Impressionists, and her exposure to French art (Gaugin, Derain, Picasso, Braque) are traced quite intelligently and linked well to the illustrations in the book which have been selected to represent some of her most important works.

Despite Frances Spalding’s efforts to turn her into a saint, Vanessa Bell emerges as a fairly scheming egoist – quite content to keep both the legal and sexual connection with her husband intact, whilst developing her affair with Roger Fry, then replacing him with Duncan Grant, and keeping all three in her orbit – which Spalding interprets as an example of generosity of spirit. On their part maybe, but on hers?

When Duncan Grant (who was a homosexual) makes her pregnant, the resulting child (Angelica) is passed off as Clive Bell’s for the sake of propriety and probably economics (given the amount of money which Bell’s family was pumping into hers). It was something which had fairly dire consequences for the girl, as she documents in her own version of events, Deceived with Kindness. But all this is passed over with very little comment.

Despite all the bohemianism, everything is based on a foundation of rock-solid middle-class economics: multiple property ownerships; a permanent retinue of servants (cook, housemaid, nurse, housekeeper); and stock-market investments carefully managed by John Maynard Keynes. Since he was at the time was an advisor to the Treasury, this is something we would today call insider trading. It’s is a world where bells (not Bells) rang at one for lunch, five for tea, and dinner at eight.

In the 1920s and 1930s Vanessa divided her time between Charleston (the much decorated house that she shared with Duncan Grant) and Cassis in France, where she helped to popularise the Cote d’Azur amongst artists. Her exhibitions were quite successful, and she had commissions for decorative work.

It’s often said that she retreated into a reclusive lifestyle at this time, but she flits from Paris to Rome, and back to London and Sussex at a dizzying rate, and Spalding’s pages are dense with the names of writers, artists, and upper-class socialites, plus Duncan Grant’s gay hangers-on (who presented a constant threat to their partnership).

Then there comes a period of personal loss: the death of Lytton Strachey, followed by Roger Fry, and most damaging of all her son Julian (killed in the Spanish Civil War) and her sister Virginia’s suicide. Further losses were sustained in the post-war years, but she continued to paint and complete decorative commissions.

But the later years of her life were dominated by her pleasure at being a grandparent [always much easier than being a parent] and though she became something of an establishment figure (sitting on artistic committees) her retreat in the last two decades of her life was into the pleasures of what was left of her family and friends.

Despite my reservations about the picture created here, this is a thorough and a scholarly biography, with all its sources fully documented. It’s simultaneously the complete account of a life, a rich documentary on the Bloomsbury Group, and a historical account which begins in the Victorian era and ends in modern post-war Britain.

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Frances Spalding, Vanessa Bell, London: Macmillan, 1987, pp.399, ISBN 0333372255

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Vanessa Bell biography

September 22, 2009 by Roy Johnson

artist, lover, matriarch

Vanessa Bell (1879-1961) is best known as the sister of Virginia Woolf – but in fact she was a talented artist in her own right. She was born in May 1879 at Hyde Park Gate, in central London, the eldest of four children of Leslie Stephen, a Victorian scholar and writer, and his second wife Julia Duckworth. Vanessa like her sister was largely educated at home, but they were both encouraged to develop their individual talents. Vanessa started having drawing lessons, and in 1899 she entered the Royal Academy.

Following her mother’s death in 1895, Vanessa took on the role of housekeeper for the family. Her father, Sir Leslie Stephen, was rather demanding, and Vanessa struggled to balance this domestic role with trying to develop her artistic interests. However, her father died in 1904, so she was released from this responsibility. The family home was sold and she moved with her sister and two brothers, Adrian and Thoby, to a start a new and emotionally more liberated life at 46 Gordon Square, Bloomsbury.

The move to their new home enabled Vanessa and her sister and brothers to entertain their own friends. On Thursday nights Thoby invited his literary friends from Trinity College, Cambridge University to the house, and Vanessa started the ‘Friday Club’, a meeting for artists. The Bloomsbury Group grew out of these meetings of artists and writers.

Vanessa Bell, Frances Spalding’s excellent biography, records the effects of this liberating move. One of Thoby Stephen’s friends at university was Clive Bell. In 1905 he asked Vanessa to marry him, but she declined. She also rejected a second proposal from him a year later. (Virginia did the same with Leonard Woolf.) Her reasons were that although she valued his friendship, she did not want to be married.

However, after the sudden death of her brother Thoby from typhoid fever in 1907, she changed her mind and accepted him. They had two sons – Julian and Quentin – both of whom went on to become writers. Vanessa continued to paint, but her time was increasingly taken up with looking after the children. In 1910 they met Roger Fry when he came to speak at the ‘Friday Club’, and the following year they went on holiday with him to Greece and Turkey.

When she became ill on holiday, Fry nursed her through the illness, and they started an affair. She and Clive nevertheless remained friends, and Clive continued to support her financially, but he resumed a relationship with a previous mistress. Such is Bloomsbury, and there is more to come.

Another artist who joined the Bloomsbury Group was Duncan Grant. Vanessa admired his work and bought one of his paintings. The Art of Bloomsbury shows via beautiful colour reproductions how Bell, Fry, and Grant influenced each other. In time she became close to Grant, and despite the fact that he was a promiscuous homosexual, she started an affair with him. This displaced Roger Fry, who was miffed but remained friends and part of the Bloomsbury Group.

She and Duncan Grant were devoted to each other and lived together for the rest of her life. They had a daughter, Angelica, who they pretended was the daughter of Vanessa’s husband Clive Bell. This deceit was maintained until the girl was nineteen years old. She records her own account of this dubious episode in her memoir Deceived with Kindness.

During the First World War, Vanessa and Duncan Grant moved to the Sussex countryside, so he could avoid conscription. They rented Charleston Farmhouse, and moved there in October 1916 with Vanessa’s children and also the writer David Garnett, who was Duncan’s current lover.

Duncan and Vanessa chose rooms for their studios at Charleston and immediately started to decorate the house. The walls, fireplaces, door panels, and furniture were all decorated to harmonise with their paintings, and Omega fabrics and ceramics were incorporated into the overall décor.

Clive Bell came to visit his sons, and Virginia and Leonard Woolf lived only four miles away. Other guests included Maynard Keynes and his wife the Russian dancer Lydia Lopokova and Lytton Strachey and his sisters. Amateur dramatics were a popular form of entertainment at Charleston. There were a number of pageants and drama shows put on between the wars – what came to be called ‘The Long Weekend’. Virginia Woolf satirises a country house pageant in her last novel Between the Acts.

The thirties were a time of personal difficulty for Vanessa. Roger Fry, with whom Vanessa had remained close, died after a fall in 1934, and in 1937 her son Julian was killed while serving as an ambulance driver in the Spanish Civil War. More unhappiness followed with the suicide of her sister Virginia in 1941, and estrangement from her daughter Angelica in 1942. This was caused by a twist which illustrates the complex personal relationships amongst the Bloomsbury Group.

Angelica discovered the truth about the identity of her real father only when she was nineteen, and then much against her mother’s wishes, and in a manoeuvre which you do not need a brass plaque on your front door to understand, she married David Garnett, her father’s former lover, who was twenty-six years older than her.

Charleston became a full-time home again during the Second World War as it was safely out of reach of the bombs falling on London, and Vanessa continued to live there for part of each year until her death in 1961. Duncan kept the house on for a few years longer but it was too large for him and he eventually moved out. The house is now maintained by The Charleston Trust who have renovated and opened it to the public.

Bloomsbury Group – web links

Hogarth Press first editions
Annotated gallery of original first edition book jacket covers from the Hogarth Press, featuring designs by Vanessa Bell, Roger Fry, and others.

The Omega Workshops
A brief history of Roger Fry’s experimental Omega Workshops, which had a lasting influence on interior design in post First World War Britain.

The Bloomsbury Group and War
An essay on the largely pacifist and internationalist stance taken by Bloomsbury Group members towards the First World War.

Tate Gallery Archive Journeys: Bloomsbury
Mini web site featuring photos, paintings, a timeline, sub-sections on the Omega Workshops, Roger Fry, and Duncan Grant, and biographical notes.

Bloomsbury: Books, Art and Design
Exhibition of paintings, designs, and ceramics at Toronto University featuring Hogarth Press, Vanessa Bell, Dora Carrington, Quentin Bell, and Stephen Tomlin.

Blogging Woolf
A rich enthusiast site featuring news of events, exhibitions, new book reviews, relevant links, study resources, and anything related to Bloomsbury and Virginia Woolf

Hyper-Concordance to Virginia Woolf
Search the texts of all Woolf’s major works, and track down phrases, quotes, and even individual words in their original context.

A Mrs Dalloway Walk in London
An annotated description of Clarissa Dalloway’s walk from Westminster to Regent’s Park, with historical updates and a bibliography.

Women’s History Walk in Bloomsbury
Annotated tour of literary and political homes in Bloomsbury, including Gordon Square, University College, Bedford Square, Doughty Street, and Tavistock Square.

Virginia Woolf Society of Great Britain
News of events, regular bulletins, study materials, publications, and related links. Largely the work of Virginia Woolf specialist Stuart N. Clarke.

BBC Audio Essay – A Eulogy to Words
A charming sound recording of a BBC radio talk broadcast in 1937 – accompanied by a slideshow of photographs of Virginia Woolf.

A Family Photograph Albumn
Leslie Stephens’ collection of family photographs which became known as the Mausoleum Book, collected at Smith College – Massachusetts.

Bloomsbury at Duke University
A collection of book jacket covers, Fry’s Twelve Woodcuts, Strachey’s ‘Elizabeth and Essex’.

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restoring a Bloomsbury decorated house

The private lives of Virginia Woolf and Vanessa Bell

modernist culture and arts 1900-1950

Bloomsbury graphic and interior design

Bloomsbury painter, matriarch, and bohemian

artist, lover, matriarch

Bloomsbury Group – web links

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