Three manuscript letters written to the Anglo-American artist Dorothy Brett (1883-1977) from Roger Fry, Gilbert Spencer and Albert Rothenstein. A graduate of the Slade School of Art, friend of Dora Carrington, and an established member of the London artistic scene, Brett exhibited in London in the 1920s with the New English Art Club (NEAC), and associated with the Bloomsbury Group before moving to New Mexico in 1924 where she shared a ranch with D H Lawrence and his wife Frieda Lawrence. Together, the letters reveal the growing role of a woman painter in Britain during this period.
1. Roger Fry - 1p. 8vo. One sided letter dated April 1921 sent by art critic Roger Fry from 7 Dalmeny Avenue N7. Mounted on an album page. Fry arranges to meet with Miss Brett to see her recent work with a view to exhibiting it at an upcoming exhibition at the Grosvenor Gallery (the ‘Nameless Exhibition’, May 1921, artists chosen by Fry, Henry Tonks and Charles Sims). ‘I have only a certain number of pictures which I am to produce for the exhibition and the question arises simply of what are in my opinion the best. There is no other mystery than that about it’. But adds perhaps he could come and see her work? Fry shows his support in the letter for women artists within his circle and particularly those aligned with modernism. In very good condition.
2. Gilbert Spencer - 2pp. 8vo. Lacking large fragment of p.1 but very readable between the lines. Mounted on album page. Undated [circa 1921] letter sent from Gilbert Spencer, artist and brother to Stanley Spencer. Sent to Mrs Brett c/o Mrs T S Nash, 278 Hemdean Rd, Caversham, Reading. An affectionate, chatty, gossipy letter reporting that the sender has been ‘to the International to see Chiles’ portrait of you. Candidly I was completely disappointed in it.’ Alvaro ‘Chile’ Guevara’s portrait of Brett showing at the International Society’s exhibition at the Grafton Galleries in April–May 1921 was the subject of some comment – The Times described it as ‘a very precise piece of still life’ but ‘the sitter seems to be protesting against the competing vividness of her surroundings’.
3. Albert Rothenstein - Rutherston, 1p. 8vo. Sent circa 1912. Mounted on album page. Letter headed ‘5 Thurloe Square, SW’, signed Albert Rothenstein (Rutherston post 1916) of the artistic, talented Rothenstein family. A fellow graduate of the Slade School of Art and member of the NEAC, Albert writes to Miss Brett inviting her to lunch. ‘I’ve just finished a “poster” for the play [surely Harley Granville Barker’s September 1912 production of The Winter’s Tale] and now realise how difficult they are to do’.......’ I saw Bakst’s designs yesterday [a Fine Art Society exhibition, June–July 1912, of Léon Bakst’s designs for the Russian Ballets]. He can only do one thing well – steal from Indian & Burmese things [?] direct. The rest are... disappointing & I think mediocre.’ In very good condition.
Dorothy Brett’s three letters appear to derive from her nephew Anthony (or Antony), father of the wood-engraver Simon Brett. Dorothy moved to Taos, New Mexico, in 1924 where she had further success as an artist.
Brett’s archive is now somewhat dispersed but much of her correspondence is held at the Harry Ransom Center, University of Texas at Austin and the University of Cincinnati and her body of work is held by the Tate Archive, the Smithsonian American Art Museum and the National Portrait Gallery.
PHYSICAL DESCRIPTION: All 3 letters are pasted to the verso and recto of a cream piece of card possibly from an album with a couple of lines of biography on each writer written below by ‘Anthony Brett’. Other than the letter from Gilbert Spencer which suffers loss from a tear approx. 12 cm x 3 cm along the fore edge the letters are complete, in very good condition and legible.
