PAINTING

1p., 4to. Neatly written out in a contemporary hand (presumably the recipient's), with 'Copy' at the head. In very good condition, on lightly-aged laid paper with watermark of 'W D WELLS'. Signature transcribed as 'Wm. Lock'. Lock has just received Murray's letter of 18 May, 'giving me an Account of the Sales of my Books and Prints which is so much below what I had reason to expect, that I must beg you to apply only One thousand to the Payment of my Debt to my Fathers Executors'.

1p., 12mo. In fair condition, on aged and lightly-creased paper. Clearly responding to an enquiry regarding what books had had a formative influence on his life, Piper writes: 'Vollard's Life of Cézanne, because it showed me, in my teens, that an artist can be dedicated, unbohemian, unworldly, against the tide and absolutely true to his instincts, which happened to be right. The book - by a dealer, too!

1p., 12mo. 25 lines, neatly and tightly written. In good condition, lightly-aged, and with pin hole to one corner. Blashfield declares himself 'much disappointed' that Thomas will not be presiding 'at the joint meeting on the 17th. Nov.', stating that he has been urging 'from the beginning' that Thomas should 'so preside'.

79pp., 8vo. In stout, thumb-indexed diary for 1930. In fair condition, on aged paper, in heavily worn binding, lacking spine and bowed by the excess material it contains. Ownership inscription by Richardson on flyleaf: 'A E Richardson ARA | Avenue House, | Ampthill Beds. | St. Catherine's College Cambridge, | 1939-1940 | University College, London.' Richardson published a number of works on architectural matters, but nothing on the history of art.

1p., 12mo. Good, on lightly-aged paper. He has been 'requested by Mr. L. Veneaux to desire you to return the Picture (Boulonaise) which was delivered at your Gallery at the last Winter Exhibition but being a French Picture was not Exhibited, but allowed to remain for the French one'. He has already made an application 'in Berners Street and Mr. Gambart said the proper place to apply to was at the Gallery.' Graves claims 'L. Veneaux' as a misprint for 'V. Vemaux' of 30 Piccadilly, who exhibited 'Souvenir of Eguihen, near Boulogne-sur-mer' at the Royal Academy in 1853.

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.

Letter: 6pp., 12mo, on bifolium and single leaf. An vivid and entertaining letter, shedding light on Victorian valuation and auctioneering practices. Barling wastes no time in passing on the bad news. 'I am very glad you have written to me about the B[awdeswe]ll. pictures & I can tell you [last world underlined] plainly what the 2 Christie's opinion was which I cd. not do to poor old C[larke]. S[toughto]n. The inspection in issue was a grievous disappointment. So far worse than I cd. have possibly believed, and then coming the question cd. two such Men as the Christies be wrong?

Both prints in very good condition. David Teniers the Elder: Dimensions of paper 22 x 17.5; dimensions of plate 18 x 14 cm. Captioned 'DAVID TENIERS SENIOR' and numbered 26. Brief biography in French beneath image, and 'P. V. Mol pinxit P. V. Leysebetten sculp'. David Teniers the Younger: Dimensions of page 20.5 x 15.5 cm; dimensions of plate 16.5 x 11.5 cm. Captioned 'DAVID TENIERS' and numbered 58. Short biography in French, followed by: 'Dav. Teniers pinxit Pet. de Iode sculpsit Io. Meyssens excudie.'

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.

Two extraordinarily positive testimonials, especially significant coming from one of the leading educationalists of his age, and also of interest considering the fact that Whaite would follow Nunn to the London Institute. (Whaite was first cousin twice removed of his more famous namesake. He was himself an excellent artist and teacher, and there is a large collection of his work at the Whitworth Gallery in Manchester.) ONE: Written by Nunn as Principal, London County Council, London Day Training College (University of London), Southampton Row, London, WC1. On College letterhead; 28 June 1928.

4pp., 12mo. Bifolium. Very good, on lightly-aged paper. Untidily-written by Taylor, with several ink smudges. The letter begins: 'Dear Col: Cunningham | I find recorded, in my catalogues, no other portrait of Eliz: Countess of Pembroke & her son, except the one in the Earl of Pembroke's possession at Wilton House. There is a repetition of the group of mother & son in that picture, with the Earl in it, in Wilton House. Lord Normanton has a head of the Lady, painted at the same time, apparently'.

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.

2pp., 4to. 29 lines of text. Bifolium. In very good condition, on lightly-aged mourning paper, with broken black wax seal. Reverse of second leaf addressed to 'E Magrath Esq | Athenaeum | Pall Mall'. The letter begins: 'Yes, Truth, (as you say) is better than a thousand apologies. | From the Evng I was last in town (when I met your respected & kind friend Mr. J.

4pp., 12mo. Bifolium. Aged and ruckled. Doré's huge painting 'The Triumph of Christianity over Paganism' was first exhibited in the Egyptian Hall in Piccadilly in 1867.

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.

1p., 12mo. Good, on lightly-aged paper, with thin strip from mount adhering to blank reverse. Addressed to 'W. G. Herdman Esqr. | Liverpool'. If his brother's picture ('Mr J. E. Lauder') and his own 'are not by this time sent off'', he would like this done immediately, 'as they must be in Edinh. by the 1st of Feby.'

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.

1p., 12mo. In good condition, with slight discolouration from glue. Reads: 'Mr Eastlake presents his compliments to Mr. Mauld & begs to enclose a half sovereign for the young lady on whose behalf Mr. Mauld has applied to him. | 7. Fitzroy Square | Octr. 28. 1850.'

1p., 12mo. Good, with the blank second leaf of the bifolium having slight staining from mount, and having laid down on it a newspaper cutting headed 'DEATH OF SIR C. EASTLAKE', docketd 'E & T Dec 26/65'. The note reads: 'Sir Chas Eastlake presents his compts. to Mr Whitaker & begs to inform him that Mr Millais' address is No. 7. Cromwell Place | Kensington. S.W. | 7. Fitzroy Sqr. (London) | Feby 5 1863.'

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

1p., 12mo. Good, on lightly-aged paper. A circular, with Blashford adding the names of the recipients in manuscript, together with the words 'and Thursday, April 25' and 'and a pastiche poster'. An invitation on 22 and 25 April 1918, to 'a very few friends (as my studio will only hold a few) to come to me on the eighth floor of Carnegie Hall, 57th Street and 7th Avenue, to see several decorative canvases, and a pastiche poster, some of which will probably not be exhibited again in New York'. Blashfield's papers are in the Archives of American Art at the Smithsonian.

Measuring 9 x 6 cm. With 'Mrs.. Byam Shaw' in larger type in centre, with '62, Addison Road, W.' in bottom left-hand corner, and '2nd. Wednesday &| 2nd. Thursday' diagonally in top left-hand corner. On aged paper, with the address '21 Wilton Street | S. W. 1 | Wednesday' in ink at head, and '88 Brook Green' in pencil on the reverse. A pencil name and telephone number ('Vic. 3583') have been erased.

8 pp, 12mo. In very good condition, on lightly-aged paper. Addressed to 'Dear Ernest'. He begins by congratulating Gye on his promotion and 'on going to Tangier - a delightful spot'. It is however 'very sad' that Gye's 'guiding hand over our destinies will no longer be there in the Office'. He thanks Gye for his 'kindness' and 'sympathy': 'My path has lain along uneventful ways and it has been an untold solace to feel you did not despise those who had mearly [sic] to 'stand & wait''.

The seven items in fair condition, on lightly-aged paper and with the last two with wear to extremities. ONE: 15 June 1929; on letterhead of Lansdowne House, Lansdowne Road, Holland Park. 1 p, 4to. Accepting a dinner invitiation. 'I wish we did not meet so seldom, and after this long gap I hope we shall see each other more often'. TWO: 10 January 1931; on letterhead as One. 2 pp, 12mo. He is 'going to work in Paris a good deal this year - and shall often have occasion to take unfinished - or finished - things - pictures drawings - small sculpture to & fro between here & Paris'.

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'.

On one side of piece of thick wove paper, 36 x 28 cm. The design is clearly and neatly drawn, coloured in orange, gold, red, blue, brown, black, grey and pink. The banner, casting a grey shadow, is shown tied by ribbon with black, yellow and red stripes onto a spearheaded flagpole, with carved horizontal branch. The banner has a bright red ground, and is of irregular rectangular shape (curved outer lower corner), with gold tassels along the lower edge.

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.

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.

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.