Nicolette Devas [née Macnamara; other married name Shephard] (1911-1987), author and artist [Antony Brett-James (1920-1984), military historian and Sandhurst lecturer]
[1960-74?] All from West London. Card postmarked 11 October 1960, on cancelled letterhead of Anthony Devas, 12 Carlisle Square. Three items (none with year) on letterhead 18 Wetherby Gardens; seven (two from 1974) on letterhead 68 Limerston Street.
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.
Alfred Purchase [Henry Weekes (1807-1877), Royal Academy; Tredegar and Newport, Gwent, Wales]
'Tredegar Sunday' [1850s?].
12mo, 4 pp. Bifolium. 57 lines. Text clear and complete. Fair, on aged and lightly-creased paper. Weekes is by far the most likely of the four Royal Academicians whose initials correspond to those of the recipient of this letter, the others being Henry Tamworth Wells (1828-1903); Henry Woods (1846-1921); Hubert Worthington (1886-1963). Well-written and entertaining letter, addressed to 'Dearest old Boy'. Begins with a discussions of the merits of 'Scilly as a sketching ground'.
Ellis Silas (1883-1972), Anglo-Australian artist, official war artist with ANZAC forces in the First World War [British poster art]
[1930s? Place and publisher not stated.]
The five posters, presumably produced for the classroom, are scarce, with no reference to them on the internet or elsewhere. They are attractively painted in a bold and vivid panoramic frieze style. Each carries a single illustration showing two (counting the Cabot brothers as one) explorers in front of groups of men, with a merged background behind them.
Bernard Rackham, sometime Keeper of the Dept of Ceramics at the Victoria and Albert Museum i
[Headed notepaper] Victoria and Albert Museum, South Kensington, London, SW7, 22 & 29 December 1920
Total 5pp., 12mo, minimal marking, good condition. [Letter One, 22nd] He discusses his correspondent's offer of a gift through the [National Art Collection] Fund three Chinese ridge-tiles of the Ming Dynasty. He says that they would like to examine the tiles before formal acceptance and would send a packer from Marlow. He suggests a time. [Letter Two, 29] He apologises for not having understood the nature of the tiles (blaming the Secretary of the Fund), and anticipates their being brought in as suggested. Two items.
pp.1-10 text, 15 detached plates with tissue-guards (as called for), text (concluding mid-sentence, bound in to grey-blue printed wraps, reinforced spine, 2 closed tear, chipped and sunned. Full quotation of title om front wrap: Specimen copy for the Plates only | The Marchioness of Brinvilliers | By | Albert Smith | Illustrated by John Leech | [Bentley insignia] | With fifteen spirited full-page Etchings on Steel, only once before printed from,* onthe first publication of the story, in its serial | form, about 1842. | *Besides twenty-seven impressions for the Leech Catalogue.
'E. W.', artist [Saccone & Speed Ltd, London wine and spirit merchants]
Paper dimensions roughly 33 x 25 cm. The dimensions of the black and white pencil drawing are 30 x 21.5 cm. Very good, on lightly-aged paper. Stamped on otherwise-blank reverse: 'SACCONE & SPEED, LTD | 32, SACKVILLE STREET, | PICCADILLY, W.1'. Initialed 'E. W.' by the artist in bottom right-hand corner. Caption beneath drawing reads 'SILENT TESTIMONY.
Jan Both [Jan Dirksz Both] (c. 1614-1652), Dutch engraver and painter, brother of Andries Both (c. 1612-1642)
[Dutch, seventeenth century.]
On a piece of watermarked laid paper, roughly 26.5 x 20 cm. Dimensions of image 18 x 13.5 cm. The image and text are clear and complete. Fair, on foxed and aged paper, with fraying to margin at edges. Complete text reads 'Seecker dat is geen Roy, wat mach dat varcken drincken | Die Reuck is niet heel moy, gans velten is dat stincken.' Depicts a group of five peasants in the countryside, one sitting on a tree stump vomiting, while another puts her hand on his head, and two hold their noses. The attribution is in the entry on the copy in the Wellcome Library (no.
Thomas Stevens, Coventry & London, Inventor and Manufacturer of Pure Silk Woven Book Markers [Stevengraph]
In excellent condition. Pinned to grey printed backing label, headed with engravings of a row of 'the highest prize medals & diplomas' awarded to Stevens, and of the 'Stevengraph Works' in Coventry, and Stevens' trade mark. Folded horizontally three times. The bookmark is headed 'A BLESSING' and carries a picture of Jesus with arms outstretched, ascending over Holy Land rooftops. A scriptural passage follows (Matt. 28.5-6), with 'IHS' within a decorative pattern at the foot, which carries a yellow tassel. In rich colours: purple, lilac, green, blue and yellow.
C. W. Furse [Charles Wellington Furse (1868-1904); Hercules Brabazon Brabazon (1821-1906), English painter]
Dated as part of the design 25 January 1892 and 'C. W. FURSE ./ 92'.
Portrait: 34.5 x 20 cm. Laid down on a piece of paper of the same size. Good: a little dusty and with unobtrusive 1.5 cm closed tear to left margin, and minor traces of previous mounting on reverse. Very good reproduction, on photographic paper of a complex, ghostly scene in a moonlit graveyard, with a number of supernatural figures among the graves. Decorative border with elongated skeletons.
Two pages, folio, 3 small closed tears, small part of a corner torn off, some marginal staining, mainly good condition. The article states that Trench some years since proposed forming a continuous quay along the nothern shore of the Thames, has published other proposals: A Proposition for the Disposal of Buckingham House, for a National Picture Gallery, A National Statue Gallery, and for the King's College; leaving one entire end of the Palace and one Wing, with the whole of the other Attics, for other public purposes.
Cecil Harcourt Smith, sometime Director and Secretary of the Victoria and Albert Museum.
Victoria and Albert Museum, 1917-1919.
Total (Smith letters) 7pp., 8vo, RSA stamp on all, good condition. Subjects: (1917) letter from a Mr. W. Foxton; a word with a Mr. Kendrick about judging; reception of parcels for the Owen Jones Competition; (1918) measures taken because of possible increase of risk from attack by hostile aircraft; need for the RSA to take back some works deposited by them to make room in the basement for withdrawals from exhibition (pencil note attached about the deposit); arrangements for Mr.
[An album of strikingly original illustrations of teddy bears]
The album dates from the 1930s; the drawings are undated, and would appear to be slightly later.
4to album, with the 29 pages of drawings on 28 leaves (on the rectos, except on one leaf, where they are on both sides). The album gives evidence of having been re-used, but gives no evidence as to the identity of the artist. While the covers of the album are worn, with the spine becoming detached, and with its leaves of discoloured high-acidity paper, all the drawings are clear and complete, consisting of twenty-eight full-page studies, and the remaining page (the first) with three studies on it. A few of the illustrations are lightly- and tastefully-coloured in pastel watercolour.
[Daniel Maclise; William Maginn; John Nichols; Theodore Hook; William Jerdan; Percival Bankes; Count D'Orsay; David Moir; James Fraser]
London; 1820s and 1830s?
Fraser's Magazine launched in London in February 1830, and to begin with its most popular feature was Maginn's 'Gallery of Illustrious Literary Characters', with illlustrations by Maclise (collected in book form in 1873). The four portraits, all busts, are somewhat reminiscent of those in that work, but must be earlier if the identification of John Nichol, who died in 1828, is correct. The four are on separate pieces of paper, laid down 2 X 2 (with the four sitters looking inwards towards the centre of the page) on a leaf torn from an album.
Arthur F. E. Poley [Arthur Frederick Edward Poley, c. 1886-1968, English illustrator and engraver], RIBA
Undated, but all English, and from the early part of the twentieth century, and mainly the 1920s.
Poley was awarded the Royal Institute of British Architects Silver Medal for the 'Measured Drawings' which formed the basis of his book on St Paul's Cathedral in London, and his work is notable for its attention to detail. This collection (with very few exceptions his own work) gives a splendid indication of the nature and range of English commercial engraved illustration at the beginning of the twentieth-century. Around 150 loose 'pulls', varying in size from 18.5 x 14.5 cm to 4 x 6 cm. Including trade marks (The Cork Hat Company; Cook's World Travel Service; The Swifan; A. C.
Charles Estienne [Jessie Kennett, illustrator; Canterbury College of Art]
Canterbury College of Art, 1949.
Small 4to, 4 pp. Stitched. In original brown and black decorative wraps. Good, on lightly-aged paper. A pretty piece of printing, with the title-page printed in light blue and black, and the vignette on illustration on the reverse of the title leaf in the same light blue. The text covers two pages. Scarce: no copy on COPAC.
Paper, 11 x 4cm, incudes name of address, To Mrs Warner., formerly laid down in an album, some remnants of process on reverse, showing through faintly not impinging on the signature, mainly good condition.
Gaspard Farrer, Merchant Banker (Barings) and Art Patron.
7 St James's Square, SW1 (3) and The Salutation, Sandwich (2), 17 & 29 July and 15 Nov.1933.
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.
Adrian Allinson (1890-1959), English artist [Jean Inglis]
29 March 1956. Postmark of St John's Wood, London.
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.
Balliol Holloway (1883-1967), English stage and screen actor, specialising in Shakespeare
24 June 1924; King's Theatre, Hammersmith.
4to, 1 p. Fourteen lines, in pencil. Text clear and complete. Good, on aged paper. In envelope addressed by Holloway to Inglis. He apologises for his 'rudeness' in not answering earlier: 'I plead rush of work'. He would be delighted to sit for her, but 'the trouble is that I may have to leave town on Monday to produce a play in the country and then on to S[tratford]-on-A[von] for the 7 weeks Festival'. Suggests a later meeting.
Henry Lamb (1883-1960), R.A. English artist of the Camden Town Group [Jean Inglis]
4 July 1944; St John's Cottage, Cambridge.
Landscape 12mo. 12 lines. Text clear and complete. Good, on aged paper, in envelope addressed by Lamb to Inglis. On 'seeing the picture after that long interval' he was 'not ashamed of it', but 'when it was new my friends used to rag me about my "Morgue" pictures', there being 'a few others of similar gruesome import'. Now that he is 'far past youth' he is 'painting mostly scenes of sweetness & serenity'. He is sorry that she is 'denied the priviledge [sic] I have enjoyed all these sinister times', that of being able to paint.
Slade and Ruskin Schools of Art, Ashmolean Museum, Oxford [stamp], 
C.14 x 9cm, calligraphic writing style, good condition. "Of course it's allright about the reference for the Pilgrims. I hope it comes off. W.M. Rothenstein, Walter Bayes and Hagedon have all worked for the Trust. | All pretty well here. It looks as if Alice and Bish may get married about Easter: no details yet. Our love to you -" Note: Entries referring to the Schwabes in Jean Inglis's diaries indicate a strong friendship involving meals, films and plays.
Christina Nilsson (1843-1921), Countess de Casa Miranda, Swedish opera singer, inspiration for the character of Christine Daaé in Gaston Leroux's novel Phantom of the Opera [Nadar; 'Mr Monteguani']
"Edinburgh le 6 Décembre 1869.' On Nadar's carte de visite, 'Nadar | 35, Boulevart [sic] des Capucines | PARIS.'
Albumen printh, 8.5 x 5.5 cm, laid down on card, 10.5 x 6 cm. In fair condition: lightly faded on slightly-aged card. Card printed in red on both sides, with Nadar's address and facsimile signature on reverse, and his initial within the border containing the photograph on the other side. Head and shoulders shot of the singer, staring at the viewer in a dark dress attached at the neck.
Francis H. Newbery [Fra. H. Newbery], Director, The Glasgow School of Art
[Headed] The Glasgow School of Art, 67 Renfrew Street, [Glasgow], 11 March 1914.
One page, folio, fold marks, good condition. With RSA stamp. He's received a circular asking if I would like my name to be added to the list of the supporters of the Society. | In reply I beg to state that I am perfectly aware of the long and useful services rendered to the public by the Society but as I am not now a resident in London, and therefore should have but little opportunity of taking part in the transactions of the Society, I would rather not at present time, consider the question of Membership.
[Prince of Wales; Albert Edward; Edward VII] W.Knollys, Private Secretary to the Prince of Wales
Place and date not present.
Two pages, 12mo, one stain, fold marks, sl. grubby, text clear, as follows: The Prince of Wales has at the same time desired Sir W. Knollys to tell My Dighton that H.R.H. thinks the likeness of the King of the Belgians would be much improved if he could make the nose a little longer and the beard a little darker -- The portrait shall therefore remain in Sir W. Knollys's room should nr Dighton wish to take it away with the view of making the improvements which the Prince has suggested. A list of names in pencil (Dighton's hand) has been added, including Thomas Baring and Combermere.
"for private circulation only", Leonard Jay 
Colophon: "Here endeth the story of Hand & Soul by Dante Gabrile Rossetti which has been set in eighteen-point Garamond type. Designed and printed by Leonard Jay; assisted by Vernon S. Ganderton, presswork; Henry S. Sands, decorative title page; A. Michael Fletcher and Frances Woof, lettering. Sixty-five copies only have been printed on an Hayle Milltoned paper in black, red, and green, for private circulation only." It's followed by Jay's Phoenix device.
[Headed] National Portrait Gallery Offices, 20 Great George Street, Westminster, S.W. [London], 4 April 1889
One page, 8vo, some marking but text clear and complete. "Iam glad that your messenger caught me here, & that the picture could at once be returned. There is nothing to bid fo. It is a wothless painting, clumsily touched upon to make high lights &c. & is in miserable condition might be any child of the period".
Edward Le Bas (1904-1966), English painter and collector [Jean Winifred Inglis (1884-1959), artist]
Letter One: 14 January 1934; 6 Fitzroy Square, London. Letter Two:4 August [1945?]; on letterhead of 53 Bedford Square, London.
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'.