St George's, Hanover Square, scene of many carol concerts at the moment (the painting is for sale). This is the last Post for ten days. A Very Happy Christmas to all Persephone Readers!

The Whites lived and worked in Hampstead, at 14 Hampstead Grove (should anyone be going tobogganing on the Heath they could go and look at the house and report back). Young Cricketers on Hampstead Heath was painted in 1915. If it's still there, that newly-planted tree must be very large by now; and the painting is a reminder that one day, one day we will again be going out in shirt sleeves...

Paddington Barn 1923. There are other examples of Ethelbert White's wood engravings here. For those who want to know more about him there is a book called Ethelbert White 1891-1972: Painter-Printmaker by Hilary Chapman 2003. And here is a page all about his wood engraving.

We discovered the magnificently named Ethelbert White at the beginning of November when his 'Live in Kent and Be Content' poster was sold at auction and went up on the Post: over the next few days we shall feature more examples of his work (after that, the doer-of-the-Post will be in Leipzig and Sicily and will not resume posting until January 4th). Here is Ethelbert White's appropriately festive Scene from the Ballet Russes.

And here is 33 Fitzroy Square, which is worth a pilgrimage. Since this photograph was taken, in May this year, a blue plaque was put up on the house.

This painting by Vanessa Bell was painted between 1913 and 1916, so the window could be one at Fitzroy Square. Conversation can be seen at the Courtauld. Gillian Beer talks about it here.

This is 'Pamela', one of the fabrics designed in Fitzroy Square by the Omega Workshop in 1913 (but manufactured in France), in a different colourway from the one we used for William – an Englishman.

One of the women in the photograph below may be Winifred Gill (1891-1981), who was crucial in the establishment of the Omega Workshop along with Jesse Etchells, Nina Hamnett and of course Vanessa Bell. This is Winifred Gill's 1916 sketch of dancers which is at the Bodleian Library, Oxford.

Back to Omega with a photograph of Roger Fry at work in the Omega Workshop. So why was it so important, to English culture generally and still is to so many people, and to us at Persephone Books? Well, in some ways, it was where everything began: its opening in 1913 was the equivalent of Virginia Woolf's 'On or around December 1910, human character changed.' She was writing about the arrival of Modernism (and cf. an article in the Guardian which sees a profound political change in December 2010), we are interested in the kind of change which Omega encapsulated which – glibly – was a move away from Victorian and Edwardian values towards the values we care about at Persephone. (Here is a good article about the 2009 Omega exhibition.)

And when we're in Paris we always try to go to the spot where Emma Smith was photographed by Robert Doisneau in 1948. It's at the Quai du Vert Galant by the Pont Neuf. The Far Cry, largely written here, is one of our quiet bestsellers, nine thousand copies sold.

It's oddly difficult to find good, unpretentious food in Paris, but as we left to walk to St Pancras Chiara and Miki recommended this, at 30 rue Vieille du Temple – go through to the back to find a traditional (but tiny) French bistro.

The Librairie des Femmes is here in rue Jacob, at number 35. One reason for a weekend in Paris was to try and bring back some novels by French women writers. But these are incredibly hard to find, apart from the 'usual suspects' (George Sand, de Beauvoir, Helene Cixous, Sagan, Yourcenar). In particular, are there any domestic French women writers? And if not why not?

In the Marais, at the new French Holocaust Museum (Shoah Memorial), there is an extraordinary exhibition (which is on until March 8th) of photographs, press cuttings and letters relating to Nemirovsky - and the suitcase. It's smaller than one might imagine, it's shut, and Nemirovsky's father's initials are on the lid; but although more of a large hat-box than a suitcase, it is unbelievable that the daughters managed to take it with them from place to place and that it survived. Emily Ridge, who used to work at Persephone Books, is completing a PhD on luggage on literature; this must be the most iconic piece of luggage in world literature.

So much for efficiently announcing that this week the Post would be devoted to the Omega Workshop: the reason it is late (someone may have noticed...) is that Paris, and more specifically the Marais, has been a temporary Persephone outpost this weekend; and the first port of call our favourite Paris bookshop, The Red Wheelbarrow. (So it will be Omega next week.)

The 1913 invitation to the opening of the Omega Workshop at 33 Fitzroy Square. Here three of our fabrics were designed, those for William - an Englishman, Katherine Mansfield's Journal and The Wise Virgins (surely excuse enough for five days of Omega on the Post next week).

And not so far from Canonbury, in that bit of Islington which merges into Farringdon and King's Cross, is Riceyman Steps (the title of a 1923 novel by Arnold Bennett, so this photograph was taken a year later) just south of Percy Circus. It's now rather ruined by the Travel Lodge in King's Cross Road but Percy Circus (where Lenin stayed for a while) is still atmospheric.

A house on the corner of Canonbury Square, that Molly Hughes would have passed every day on the way to and from her home in Canonbury Park. The 1954 drawing is by Adrian Daintrey (1902-88), a painter who would be a splendid subject for a biographer – he knew Augustus John and Anthony Powell, in fact he probably knew 'everyone', he illustrated Elizabeth David's cookery books (along with John Minton), he did a Shell poster for Jack Beddington. Or, another way of putting it, he should have a walk-on part in Any Human Heart (which can be watched here).