[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'.
On eight pieces of 8vo paper, one of which has ha d a 3 cm horizontal strip cut away at the foot (not affecting the image). On a variety of different paper types, all wove. Good, on aged paper. Attractive images, ranging in height from 7 to 9 cm, of four women and four men, all clearly belonging to the eighteenth-century middle-classes. Executed in black ink using both pen and brush. Not full silhouettes: in some cases the hair is picked out in white. One of the images, of a young woman with curls and a bow, treated twice in slightly different styles.
H. Du Chene de Vere [H. Duchene de Vere], French nineteenth-century painter
All undated [1850s?]. Captions may indicate that the drawings were executed in France, Italy and England.
4to album of 33 leaves, with the 112 illustrations each on a separate piece of paper, and all laid down on 59 of the album's 66 leaves (the blank leaves of the album bearing traces of other illustrations having been removed). The illustrations range in size from 19 x 15.5 cm to 6 x 3 cm, with the average around 15 x 11 cm. The album's brown cloth covers are faded and worn, but internally the album is sound, with the illustrations themselves in good condition, on lightly-aged paper. Around twenty are signed, half with the spelling 'Duchene' and the other half 'Du Chene'.
Arthur Aikin, Secretary, Society for the Encouragement of Arts, Manufactures, and Commerce [Augustus Frederick, Duke of Sussex, President; Royal Society of Arts]
Printed by T. WOODFALL, (Assistant Secretary to the Society,) 10, Taylor's Buildings, Chandos Street. [Adelphi, May 27, 1817.]
Folio, 1 p. Text clear and complete. Fair, on lightly-aged paper. The heading states that the presentation will take place 'at Free Masons' Hall, Great Queen Street, to the respective Candidates by His Royal Highness the Duke of Sussex, President, in the following order.' The text, laid out in double column, lists a total of sixty-four successful candidates, numbered under five headings: Agriculture, Chemistry, Polite Arts, Manufactures, Mechanics.
The Aesthetic Gallery, 55 New Bond Street (F. B. Goodyer, proprietor) [Arts and Crafts Movement; funiture; fabrics; silk]
From the firm's foundation in 1889 to 1947.
Goodyer has long been recognised as a significant figure in the arts and crafts movement (see Adburgham's 'Shops and Shopping' and Aslin's 'Aesthetic Movement, Prelude to Art Nouveau'), but surprisingly little is known about him. A former partner in the firm of Liberty's, he founded his Aesthetic Gallery at 55 Bond Street in 1889. It specialized in 'English silks, cashmeres, velveteens, fans, cushions, handkerchiefs, table covers, and other dainty manufactures', and numbered Voysey among its suppliers.
Arthur Elliot, English illustrator [Swiss door knockers; Switzerland; architectural hardware]
The majority of the illustrations dated, and all those to 1907. Mainly taken at Berne and other Swiss cities.
Elliot's illustrations, attractively executed in great detail, recall the style of those in the volumes produced by the publisher B. T. Batsford during the same period. All in excellent condition, the majority with tissue guards; album in good good condition. Fifty-eight of the illustrations, all of Swiss knockers, on paper ranging in size from 21 x 5 cm to 23.5 x 16 cm (the latter the majority), are laid down on the rectos of the first 45 leaves of a 47-leaf landscape folio album (leaf dimensions 36 x 16 cm). All have tissue guards.
Richard Savage, Secretary and Librarian to the Trustees, Shakespeare Memorial, Stratford-upon-Avon [Ann Hathaway's Cottage; William Shakespeare]
The first three items dated 1895-6. All items dated in hand 25 October 1895. ['Description' by Edward Fox, Printer, 1, High Street, Stratford-upon-Avon.]
A nice collection of Victorian Shakespeare ephemera. All four items with text clear and complete, on lightly-aged and worn paper. The 'Description' is printed in red, on both sides of a piece of paper 13.5 x 18 cm, with both vertical edges perforated. 'This may be retained as a Souvenir' along one edge. Dated at end 'RICHARD SAVAGE, Secretary and Librarian to the Trustees. | 1896-6.' Along head of first page: 'The Committee request that no Gratuities be offered to the Attendants.' Numbered 22989 in black.
Each illustration signed 'GZ', and dated between January and April 1966.
Each drawing 22 x 16 cm, and each neatly mounted on card 31.5 x 22 cm. In good condition, in slightly discoloured mounts and folder. The mounts numbered in pencil in top left-hand corner. In cream folder, with blue cloth spine. Title in blue pencil on front of folder, together with image of hand holding glasses. Illustration of hand painting with brush, surrounded by ink pots, on back of folder. First illustration signed 'GZ | 5.3.66' and last 'GZ 7.4.66' Folder dated 'GZ. | 20.7.66'. Pleasant compositions, with something of an Edward Ardizzone feel about them.
Daniel Lysons (1762-1834), antiquary [Samuel Pipe-Wolferstan (1751-1820)]
27 February 1817; Rodmarton.
4to, 4 pp. Bifolium. 105 lines of text. Clear and complete. Good, on lightly-aged paper. Black wax seal with impression of 'D L' adhering to reverse of second leaf, which is postmarked 'LOUGHBOROUGH | 109' and franked '1817 | Loughborough March Eight | S. Pipe Wolferston [sic] Esqr | Stotfold Hall | Tamworth | [signed] P. Gell'. Begins 'I have recd. your obliging communication of the 22d.
Société des Beaux-Arts, Malines [Mechelen; Mechlen; Belgium; P. J. Hanicq; art catalogue; Belgian painting]
[1814.] A Malines, De l'imprimerie de P. J. Hanicq.
12mo, 22 pp (followed by final blank leaf). Stitched pamphlet. Text clear and complete. On discoloured and worn paper. 152 'ouvrages d'arts' arranged in alphabetical order under the names of the artists, from 'François Alewaters, peintre à Malines' and 'Henri Adams, à Malines' to 'G. P. Wuyts, de Lierre' and 'L. Zwitzer, de Malines'. Preliminary notice headed 'Police du Salon'. Scarce: no copy on WorldCat or COPAC.
Auction Mary, Bartholomew Lane, [London] 13 January 1843.
pp., 8vo, unbound, formerly sewn (sewing not present), chipped, outer pages (and inner in parts) grubby and (front) worn at fold mark with minor loss of text, text otherwise complete. Title continued from above "..."in fine condition among which may be names, A MAGDALEN, CARACCI, A Grand Gallery Picture, Landscape and Figures, Very fine, VERMULEN, A Sea Storm, Vernet . . .". Pencil NOTE on front cover "Call for | letters | Herald | Office | James" (perhaps James = James Izod but I don't see why he should have written such a note on somebody's catalogue).
John Bell (1811-1895), sculptor [Egyptology; Egyptian obelisks; Sir Gardner Wilkinson; Sir John Rennie]
[London:] (From the Journal of the Society of Arts, March 16, 1860.)
8vo, 12 pp. Stitched as issued. Good, on lightly-aged paper. Two engravings ('Egyptian Obelisks' and 'Egyptian Sarcophagus') in text. Begins 'The subject on which I am about to make a few remarks this evening is the Sculptural Art Treatment of Granitic Surface, or the Surface of Granite.
Bradley & Co., Picture Frame Makers, Packers & Conveyancers, Exhibition Agents, of London [The Royal Academy]
London, 14 March 1903; on Bradley & Co. letterhead, 81 Charlotte Street, Fitzroy Square, London.
12mo, 2 pp. Bifolium. Written out in one hand, and signed 'Bradley & Co' in another. Addressed to 'W. F. Stocks Esqre | Glen Elwy | St Asaph. | Flint[shire]'. Thirteen lines. Text clear and complete. On foxed and lightly-aged paper. Giving the firm's 'charge for receiving unpacking & delivering pictures to the R.A. or other London Exhibitions' and for 'collecting repacking & forwarding', as well as the dimensions of pictures for which these charges apply.
The proof itself is in good condition, on lightly-aged paper, 22 x 14 cm. Dimensions of image roughly 10.5 x 7 cm. Mounted on the original foxed and aged paper, 43 x 29 cm, with wear to extremities, carrying Fisher's inscription in pencil: 'L Stocks Esqr with S Fisher's Comts'. Oval vignette, showing what appears to be a ruined Norman abbey, with stone staircase and high window, a skull, a sword, a helmet, a stork and a key in rushes on water in foreground. Possibly one of the enravings from Leitch Ritchie's 'Ireland, Picturesque and Romantic' (London: Longmans, 1837-8).
Samuel Fisher (c.1802-1855), British engraver [Thomas Creswick]
London. Undated (c. 1837).
The proof itself is in good condition, on lightly-aged paper, 24 x 16 cm. Dimensions of image roughly 12 x 10 cm. Mounted on the original foxed and aged paper, 43 x 29 cm, with Fisher's inscription in pencil: 'Bantry Bay Cork. L Stocks Esqr with S Fisher's Comts'. Oval vignette, giving tasteful view from hill, with soldiers and women, down into the bay, with mountains behind. The engraving appeared in Leitch Ritchie's 'Ireland, Picturesque and Romantic' (London: Longmans, 1837-8).
Charles Landseer (1799-1879), R.A., English artist, elder brother of Sir Edwin Landseer
30 January [1870?]; Royal Academy, on letterhead of the Athenaeum Club.
12mo, 2 pp. 15 lines. Text clear and complete. Good, on aged paper. Providing a 'recommendation as a teacher' for his correspondent, 'in the neighbourhood of Leamington'. 'My observation of the progress you have made, during your studentship at the Royal Academy enables me to state, that, you are, in my opinion fully competent to undertake the teaching of the elementary branches of art'. From a small archive of Walter F. Stocks's correspondence.
Philip Hermogenes Calderon (1833-1898), RA, English painter of Franco-Spanish parentage [Walter F. Stocks]
15 June 1898; on letterhead of Weston Lodge, 16 Grove End Road, London NW.
12mo, 1 p. Ten lines. Clear and complete. On bifolium with mourning border. Fair, on aged and discoloured paper. Endorsing the application of Walter F. Stocks for 'the vacant professorship of landscape painting in Queen's College'. Stocks 'has been an exhibitor at the Royal Academy for many years' and Calderon 'has admired his paintings on our walls'.
Thomas Faed (1826-1900), R.A., Scottish artist [Walter F. Stocks]
31 January 1870; Sussex Villa, Campden Hill, London.
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.
Liverpool: T. Brakell, Printer, Cook Street. 1863.
8vo, 40 pp. Five plates (numbered I to V and with p.40 numbered VI) and thirty illustrations in text. In original brown cloth wraps, with cover bearing white paper label printed in red and black reading 'HUME | METAL ON LEATHER. | 1863.' Tight, on aged paper, in rebacked wraps. Inscribed on front free endpaper 'To W. W. F. Hume Esquire from his the writer 3rd March 1863. Title-page also in red and black. Note on reverse of title: 'This Paper is printed in the Transactions of the Historic Society of Lancashire and Cheshire, Vol. XIV, for Session 1861-62.
Leonard Walker (1877-1964), Principal of the St John's Wood School of Art, and member of the Art Workers Guild [Cecil Reginald Grundy (1870-1944), editor of the Connoisseur]
16, 17 and 31 December 1935; all three items on letterhead of Walker's studio in King Henry's Road, London.
All three items 8vo. The first of two pages, and the other two of one page each. Texts clear and complete. Fair on aged, creased and slightly-discoloured paper. Discussing his disagreement with the architect of a building over the width of two proposed uprights. Walker considers that these 'would handicap the fullest expression'. The first letter carries a simple pencil diagram of the window. He feels 'we shall all have forgotten this point' when the window is seen 'in all its glory'.
Sir Thomas Lawrence (1769-1830), portrait painter, President of the Royal Academy [Captain Robert Melville Grindlay (1786-1877)]
12mo, 2 pp. First leaf of letter only. On worn aged paper, with slight loss and chpping to extremities. Docketed by Melville in red at head of first page with date 'Feby 1829'. Begins 'Sir Thos. Lawrence presents his Compts to Captn. Melville Grindlay, [...]'. Thanking Grindlay for the gift of 'his Works from the Scenery and Architecture of India; and from the Sculpture in the Cave Temples of Ellora'. Lawrence has 'received great pleasure from the frequent inspection' of the works. Ends abruptly, at foot of second page, 'and very particularly, from the view <...>'.
[James Tod, Secretary, Society of Arts for Scotland; William Murray of Henderland; W. H. Lizars, engraver]
Edinburgh; 22 January 1834.
Printed on the recto of the first leaf of a bifolium. Leaf dimensions 29 x 23.5 cm. Clear and complete. Grubby, and with closed tears to folds and slight damp staining. An attractive production. Ornate heading, with engraved portrait of Minerva in circular medallion (5.5 cm diameter) surrounded by laurel leaves, 'Drawn & Engd. by W. H. Lizars'. Text engraved in copperplate. Reads (with manuscript part in square brackets): 'Edinburgh [23d. January] 18[34,] | At a meeting of the Society held here on the [22d.
Kate Perugini (1839-1929), English painter, daughter of Charles Dickens
24 October [no year].
On one side of piece of paper, irregularly-cut from bottom of letter, and measuring approximately 3.5 x 11 cm. Lightly-aged, spotted and creased, with thin strip from mount adhering to the left. Reads 'Yours sincerely, | [signed] Kate Perugini | 24th. Oct.'
Bushy House, Bushy Park, Teddington, SW, 28 Nov. 1866
Two pages, 8vo, bifolium, blank second leaf laid don on stiff paper, c.21 x 27cm, good condition.. He asks Disderi de lui envoyer deux collections des huit vues de Claremont [an earlier refuge in England] & Weybridge qu'il a fait en avril dernier, et un exemplaire du groupe general sur la pelouse de Claremont." He doesn't want the latter mounted but "l'autre collection doit etre montee sur carton." He asks for a "note au compte" made out to him. Note@ Apparently Disderi pioneered the carte de visite.
John Chamberlaine (c.1745-1812), antiquary [John Simco (c.1749-1824), London bookseller]
Brompton. Friday Morng' [c.1812?].
12mo, 1 p. On bifolium. Good, on aged paper. Addressed, on reverse of second leaf, to 'Mr. Simco | Warwick St. | Golden Square.' Asking Simco to send a book 'by the Bearer', as well as ' a remittance upon his account of Holbein', as 'he has some large payments to make at the beginning of next week'.
Sir Frank Baines (1877-1933), British architect, Director of Works, Her Majesty's Office of Works [Stanley Baldwin]
1927 to 1928; on letterheads of the Director of Works, H.M. Office of Works, and 34, Henrietta Street, Covent Garden, W.C.2. [London].
The collection is in very good condition, on slightly aged and dusty paper. Several items bear the Society's stamp. An interesting and significant correspondence. The letters, in a variety of formats from 12mo to foolscap, are often long, and are written in an informal tone. Indicating Baines's deep involvement in the Society's affairs, they most significantly concern an appeal, organised by Baines on behalf of the Society, 'for the preservation of the cottage architecture of Great Britain', with the backing and involvement of Prime Minister Stanley Baldwin.
Robert George Cecil Fane (1796-1864), English Judge, as Commissioner of the Court of Bankruptcy [Court of Chancery]
19 August 1844; Court of Bankruptcy.
12mo, 3 pp. Thirty-three lines. Text clear and complete. Fair, on lightly-aged paper, with traces of mount on reverse of second leaf, which is docketed 'C. Fane to G. Joy | 19 Augt. 1844'. A significant and interesting letter, on a topic later tackled by Dickens in 'Bleak House', by a judge who was an active member of the Law Amendment Society, and whose decisions, according to his entry in the Oxford DNB, 'were frequently the subject of comment', although 'very few of his judgments were reversed on appeal'.