artist

Both items are in an envelope addressed to the Duchess at 3 Belgrave Square. The envelope and its contents are on aged and creased paper. LETTER: 2pp., 12mo. Bifolium. Knowing that the Duchess is 'a well-known artist', she is offering her 'services as a model'. 'I was permanent model to the late Lord Plunket [sic] and have been painted by Cathleen Mann, Simon Elwes, Sir John Lavery, T. C. Dugdale, David Jagger and several other well-known painters.' She describes her appearance and asks to be granted an interview. POEM: 2pp., 12mo. In pencil. Unsigned, but clearly by Maitland.

1p., 4to. Bifolium. Very good, on lightly-aged paper. Addressed on reverse of second leaf to 'James Elmes Esqre.' At the head of the letter Elmes has written: 'From J. Raphael Smith the celebrated mezzotinto Engraver | J Elmes', and down the bottom right-hand corner: 'From J. Raphael Smith, Painter in Crayons & Mezzotinto Engraver to Mr Elmes, with 2 proof prints | J. E'. At the foot of the page Elmes has identified 'Mr. Tooke' in the letter as 'Horne Tooke J.E.' Smith writes: 'Sir | I have sent you an impression of Sr.

1p., 12mo. Good, on lightly-aged paper, with slight traces of glue from mount on reverse, which is docketed 'Phillips the Portrait Painter'. The note reads: 'Dear Sir | Your Picture is now varnished & ready to be sent away. Pray be so good as to favour me with the Direction for the Case'.

ALS, on letterhead of 28 Mallord Street, Chelsea; 11 March 1923. Regarding an invitation, he cannot 'promise to come' as he is 'going to America very soon and in consequence my time is very crowded; - in addition, I am preparing for an exhibition at the end of the month'. With note by MG concerning the Lynd's home at 32 Queen's Gate.

1p., 12mo. Good, on lightly-aged paper. The letter is addressed to 'T. Hellier Denselow Esq.', but the accompanying envelope (with stamp and postmark) is addressed by him to 'D. [sic] Hellier Denselow Esqre | 137 Hurlingham Road | London S.W.' Owen thanks Denselow 'for all the nice things in your letter', adding that he is 'glad you like the sketches. I do myself occasionally - not often.' Denselow would himself appear to have been a commercial artist, with a studio in Gunnersbury Lane in west London.

One page, 12mo, bifolium, fold mark, mainly good condition. "I am quite ashamed of my blunder in having sent you the letter of Mrs May's so curiously addressed [to me?] & thank you for this trouble of forwarding it. The [?] misled me - pray excuse me, & let me welcome you [?] Sunday in my New House - a house that is the dream of three generations of craftsmen (practically) now realized."

Item One: Autograph Letter Signed from Richter to Swan. 1p., 12mo. In good condition, on lightly spotted paper. From the letter it would appear that in 1946 Richter was acting as one of the selectors for the 59th Exhibition of the Royal Institute of Oil Painters, at the Royal Academy of Arts, Piccadilly, London. He writes that he is enclosing 'the mighty deed [a book, as the letter explains], also the invitation for the exhibition at the Royal Academy valid from Feb. 13 to March 17.

On one side of a 5.5 x 20 cm strip of laid paper, cut away from the bottom of a letter. In good condition, on lightly-aged paper, with traces of mount adhering to the reverse. Reads, in a firm attractive hand: 'Yours very sincerely | John Hassall.'

2pp., 12mo. Good, on lightly-aged paper with small pin-holes to one corner. 'Mr. H. Clarence Whaite is a part time art master in this School. [...] He succeeds in stimulating an interest in art & has conducted parties of boys over the Dulwich Gallery with that end in view. Of course the post he holds here does not offer much opportunity for the exercise of his powers either as an artist or a teacher of art & he is therefore justified in seeking a position more in accordance with his qualifications.' From the Whaite papers. Whaite was first cousin twice removed of his more famous namesake.

2pp., 12mo. Bifolium. 28 lines of text. In fair condition: aged and a little ruckled. Docketed 'The Woodcutters' (a theme around which Linnell produced several paintings). Linnell writes that he has just received Lawrie's 'half note for £5 - and will not fail to attend to your wishes about The Verification'. He explains that he usually requires, in addition to the fee, 'an assurance that I shall not be called upon personally to give evidence respecting the work said to be mine.

Three pages, 12mo, bifolium, sl. staining ( remnants of laying down process on album leaf), good condition. He has sent a copy of his latest book to Gurney ("A Salad of Stray Leaves" (pub. 1882), with illustrations by his friend Phiz, Hablot K. Browne, who died in the year of publication). It's "to be published on Monday. | I find so little todo with the chisel that I am fain to employ my pen." The family is holidaying in Margate, and the air is having a beneficial effect on his son's health.

Two pages, 12mo, bifolium, ford marks, good condition. "I have at last done what you wished to the picture & hope you will like it. I have directed it to be packed & sent to you at once, & shall be glad to have a line from you to say it is all right. [...]" Note: George Gurney's art collection was auctioned in 1903. It contained two pictures by Vicat Cole, including a "View of the Thames".

Total 3pp., 12mo, fold marks, pinholes in two,good condition. The letters illustrate how difficult it was to get money out of Driberg. [28 May] Ayrton is about to go to America and must "gather all available resources to keep things going here [...] Could I therefore have some of the money owing for the portrait of Constant? All of it would be splendid but even some would help." [7 June] He thanks Mrs Driberg for payment of half. [6 Feb.] "Forgive my bothering you but I am a bit pressed for money at the moment and you still owe me half the price of the Lambert portrait whihc is Twenty Pounds.

One page, 16mo, spike-hole, mainly good, complete and clear. "I believe the copyright of my drawings which appeared in the P.M.B. [Pall Mall Budget] belongs to us. I made a distinct arrangement to that effect with regrad to drawings I made for the P.M.[Pall Mall] Magazine, altho' I made no agreement (in writing) either way with the 'Budget', the Manager would, no doubt' be able to tell you."

1p., folio. Fair, on lightly-aged paper; with staple- and punch-holes in left-hand margin. Docketed in pencil, at head 'file Oliver MESSEL', and at foot '2/XII/52'. He thanks him for 'your charming messages [...] about the designs for the Glyndebourne brochure', which were 'given me by Vagn' (Messel's partner Vagn Riis-Hansen). 'For the one design ie.

3pp., 12mo. Bifolium. Watermarked 'JOYNSON | 1876'. Fair, on lightly-aged paper, with minor staining from mount at foot of second leaf. Written in a hasty, untidy hand. The recipient appears to be 'My dear Hornby', 'Horley' or 'Howley'. Faed writes that he is 'slaving away chopping and changing sometimes worse and sometimes better (I hope) on Saturday, Sunday, and Monday. 7th.

4pp., 12mo. Good, on lightly-aged paper. He gives his 'best thanks' for his correspondent's 'watchful kindness'. As his 'acquaintance with Academicians is very limited', he has 'not yet solicited any one to propose me at the R.A.', and he 'would gladly accept Mr. E. M. Ward's obliging offer - and think Mr. G. D. Leslie or Mr Dobson would second me'. He made 'such a mistake' the previous evening, by going to the Vestry Hall, Chelsea. He found, 'on reading the circular again how I had erred'.

3pp., 12mo. Bifolium with mourning border. Good, on lightly-aged paper, with thin neat strip of paper mount at head of third page.

12mo, 3 pp. On bifolium. Clear and complete. Good, on lightly-aged paper. She has 'finished the brown drawing of elves, & birds singing', and, as she is going into the country for a few days, will leave it, 'in a portfolio', at Stratton St. She asks him to 'kindly take care of it', as he has been 'good enough to do with the others. It is, as you know, a very careful & highly-finished drawing'. She asks him to have 'the delicacy of the lines reproduced, & the drawing of the limbs of the little elves, etc. very carefully & exactly rendered, otherwise the drawing wd.

Dimensions of card 14.5 x 11 cm. Bifolium. Good, on lightly-aged paper. Cloudy print of landscape on recto of second leaf, signed in pencil 'R Macaulay Stevenson'. Neat pen inscription on recto of first leaf: 'My dear brother-artist Sassoon and dear Madame Sassoon this is just from Stansmore and myself to wish you a Merrie Christmas and a Happy New Year | [signed] R Macaulay Stevenson | Kirkcudbright | Yuletide 1934'.

The collection is in very good condition, containing four items of autograph correspondence from Ruszkowski to Shaw, all signed 'Zdzis'. One: Autograph Letter Signed. Undated. 8vo, 3 pp. Expressing his extreme disappointment with 'the proposed arrangement of the double-page and the suggested treatment of the illustrations. 'Nearly one third of the drawing [sic] is left out and alters the sense of the theme. Each illustration is composed to stress the situation and can't be mutilated at the will to suit the arrangement at the page.

Not bound, 27pp., folio, first and last leaf, and another, loose, others conjoined, somewhat stained, main body presumably lacking leaves but covering the period 18 September 1933 to 24 May 1934, typed title and headings for columnised pages, c.39 entries per page (many names repeated, visitors and members signing in): Date | Visitor's Name | Address | Members Name. A club which catered to the theatre and arts, but usually at the level of people whose fame has not survived them But there are a few interesting names.

Apart from the card (12mo, 1 p), totalling 4to, 10 pp; 12mo, 2 pp. All items in good condition, with text clear and complete, on lightly-aged paper. All post-1960. Two of the eleven (20 January and 13 June 1974) are fully dated by Devas; another four have day and month. The card from 1960 is the earliest item; the three from Wetherby Gardens date from between this point and Devas's second marriage to Rupert Shephard in 1965, and the seven from Limerston Street from after the marriage. A good-natured correspondence, written in a chatty style.

Paper, 11 x 3cm, formerly laid down in an album, some remnants of process on reverse, otherwise good condition.

Total 10pp, 12mo, good condition. Subjects: (1) as executor of a lady who by her will directs that a copy should be made of the portrait of her husband by the late Sir George Reid to the Aberdeen Infirmary . . .; National Gallery suggested her; he wants to fix up appointment to discuss; (2) agrees to her terms; discusses the house being locked up by Sothebys who are conducting the sale; (3) commission discussed; (4) discusses the circumstances which lead to his asking he to copy the picture in his house; (5) Aberdeen Infirmary happy with her work.

4to, 2 pp. 46 lines. Clear and complete. Good, on aged paper. He thanks her for putting the commission of 'Mr Proger' his way, discussing the circumstances. 'Just 3 days before I received his letter, while Molly & I were making some sort of order in the Augean Stable which is my lower studio, workshop & general storage place I came across this little panel (a view of Burleigh) which I had thrown asside [sic] as a dud.

Letter One: 12mo, 2 pp. Good on lightly-aged paper. The 'delightful drawing' she left for him is a 'wonderful surprise'. He has been 'trying some life drawing direct with the brush' and is surprised that she was able 'to put it down like that!' Letter Two: 4to, 2 pp. Fair, on lightly-aged and creased paper. He apologizes for the delay in answering her letter and thanking her for sending one on by 'Bloggins'. He is 'an abominable letter writer though that does not mean a change of feelings to one's old friends'. He has received a letter f'rom C. B. himself about the Academy'.

12mo, 2 pp. Twenty lines. Text clear and complete. In bifolium. On aged and discoloured paper, with small closed tears along central fold lines of both leaves. A reference, 'bearing testimony to your perfect efficiency as a teacher of landscape painting possessing, as you do, the first and greatest requisite, namely a power to sketch beautifully from nature, your success should not be short of great. [last word underlined]' Apologises for not answering sooner, caused by 'the loss of your card'. From a small archive of Walter F. Stocks's correspondence.

16mo, 1 p. Bifolium. Eight lines. Text clear and complete. On stained, aged paper. An uncommon autograph, written in a distinctive stylised hand in purple ink. Reluctantly announcing his inability to go on 'the Barge trip', which he had looked upon 'as the pleasantest excursion of the year, & alas & alas (not that a lass has any thing to do with my engagement) I shall be unable to be with you'.

4to, 2 pp. Twenty-three lines of text, clear and complete. In fair condition, creased and lightly-worn. With stamped envelope addressed by Flint. In reply to a question from Carpenter ('I very, very freqently receive letters such as yours') Flint writes: 'Dont worry about not receiving art instruction in painting because I never had a lesson in my life.' He believes he inherited the skill he 'started with', but constant study of the works of masters & constant practice have brought me (with the aid of a kindly Providence) to my present position'.