Art and Architecture

On 7.5 x 11 cm slip cut from the end of a letter. In fair condition, lightly aged. On one side reads: 'Gentlemen | Your Obt. Servt. | Fred R Pickersgill | 36 Mornington Crescent | 24 May 1853.' and on the other '[...] at the ensuing half yearly distribution of the Funds of the Institution - | Mr. Varrall is not personally known to me but from the representation of Mr WIlliams ARA [...]'.

18.5 x 8.5cm, sl. chipped and stained, but text clear. Signatures of Roberts, C.L. Eastlake and Henry Moseley, adding their addresses in holograph (Eastlake and Roberts both at 7 Fitzroy Square, and Moseley at 52 Upper Charlotte Street), probably clipped from an appeal to the Artists' Benevolent Fund.

4pp., 8vo. Bifolium. In good condition, on lightly-aged paper. Signed 'Salut et fraternité | Renou'. A long and interesting letter, regarding student unrest in the French revolution, and involving a descision taken by the 'Classe des Sciences et Artes de l'Institut, qui acorde un jour de prolongation aux Concurrens pour les prix de Peinture', and the attempts of the Institut National to impose discipline.

1p., 16mo. In good condition. He begins by thanking him for his concern over his health: 'je vais beaucoup mieux et avec des ménagements j'espere que cela n'auras pas de suite'. In the next paragraph he refers to the French architect Julien-David Le Roy, recently deceased: 'je savais le résultat de la tentative faites pour le respectable David le Roi il faut ce consoler avec les bonnes âmes de toute celle que l'on rencontre qui sont seche et aride'. A final paragraph describes his intentions towards 'souscripteurs'. In a postscript he presents his respects to 'Mme Vaudoyer'.

On piece of 38 x 30 cm watermarked paper. In fair condition, lightly aged. In red, green and sepia. Within a border, and with 'OCCIDENT' at the head, 'ORIANT' at the foot, 'MIDY' to the left and 'SEPTENTRION' to the right. Attractive in design, with capital letters in red and simple tree design around the boders of fields.

1p., 8vo. In good condition. The ancient Seminary of St Peter and St Lewis in Paris (now demolished) was being used as barracks at the time Mouchy was writing, having been suppressed the year before. The page begins: 'Au Cy devant Seminaire de St. Louis rue d'Enfer dans L'Eglise sont a distraire de la vente primo tous ce qui Compose le maitre autel en marbre bleux et blanc, et le grand Tableaux [sic] representant St. Pierre guerissant un paralitique, [sic] et autres Secondo les chapelles de cote aussy [sic] de même Couleur avec leurs tableaux bordures dorés, dont l'un est un St.

1p., 4to. In good condition, on lightly-aged paper. Pequignot's spelling is shaky. The document reads: 'Le Sossignez en reconais avoir recu du Citoyen Penkoucke la Some de deux mile franc a Compte dune Copie que je lui fais dune joueuse dosselets | Pequignot | Sculpteur'. He is referring apparently to an engraving of his sculpture "La Joueuse d'Osselets" ["jacks"], or some form or other. The recipient was a member of the notable firm of French printers and publishers, probably Charles-Joseph Panckoucke (1736-1798).

2pp., 16mo. In fair condition, lightly aged and with slight smuding at head of first page. There is nothing he should have liked more than to accept Sladen's invitation to 'what will be a delightful Gathering, at your house at Richmond on the 9th.', but he has a previous engagement. 'Some other time, if you extend the hand of friendship in this charming way I shall be delighted to come and see you.'

The book is xv + 256pp., 8vo. In grey cloth binding with printed cover. In fair condition, on aged paper, with front hinge split. Ownership inscription in blue pencil on front pastedown: 'Bridget Guinness | 8 Washington Sq | 1915'. In same blue pencil on reverse of rear free endpaper is a note of an appointment for a meeting with 'the American Florence Nightingale', Anna C. Maxwell (1851-1929), who was then the Director of the School of Nursing at the Presbyterian Hospital: '4 ock Tuesday Presbyterian 70th N Mad. Miss Maxwell's office -'.

53 items, in remains of folder with 'Documents Modèles' in manuscript on cover. In fair condition, with light signs of age and wear. Mainly comprising tracings and drawings (some coloured) of designs (both original and copied from historical items), in pencil, pen and watercolour, including some on pages torn from notebooks, some of them annotated in French. Mattei's two coloured drawings show bold floral designs for teacups and saucers. Also present is a series of versions of a playing-card design. There are also eleven black and white photographs of pots, vases and snuffboxes.

Studio Photograph, c.15 x 10.5, laid down on slightly larger card with photographers printed at base, faintly speckled, good condition. Image of head and upper body, not found on Google Images.

1p., folio. Good, on a lightly-aged piece of ruled paper. In two columns, with the left-hand column, written out by Roberts with his address at the foot, headed 'Name of Exhibition', and listing twelve international exhibitions between 1862 (Amsterdam) and 1898 (Brussels). The right-hand column, headed 'Picture Exhibition', carries Alma-Tadema's responses, some of which are written in darker ink than others, indicating that they were added at more than one point. Alongside 'Paris (EU) 1867' he writes '13 pictures amongst them.

19pp., 12mo. Stapled. In grey printed wraps. Internally in good condition, on lightly-aged paper; in wraps with stamp and label of the Education Department Library. Marginal headings include: 'Motives for following an Artistic Career', 'Primal Important of Facility of Hand', 'Triumph of Commercialism', 'The Worship of the Ugly', 'Art: Pictorial, Creative, Pot-boiling' and 'Decorum in Decoration'. Uncommon: only four copies recorded on OCLC WorldCat.

10 x 8.5 cm original print of black and white photograph. In frail condition, with slight loss to one corner, and another corner torn away and repaired with archival tape. A full-length view of the elegant artist, in long painter's robes, pointing a brush at a painting on an easel, with three paintings, including a miniature, on the wall behind her, and two paintings leaning against the same wall, and a small sculpture on a painted clock behind the easal. There is no representation of Gottschalk in the National Portrait Gallery collection.

ITEM ONE: 20 May 1911, on letterhead '3, Linnell Close, | Hampstead Garden Suburb, | London, N.W.'; ITEM TWO: 23 Dec. 1912, Granville House, Arundel St., Strand, London, EC..' ITEM THREE: 11 January 1913, 'Granville House. | Arundel St. Strand. | London E.C. ITEM ONE: 3 pages, 12mo. Very good, though slightly discoloured. 'Your very closely written letter would have melted any artist's heart and I did the little sketch [not present] in seperate [sic] envelope with great pleasure, particularly as the object of your collection is to cheer you up in your old age.

Attended by 44 million people, the New York World's Fair was an enormous enterprise, with a vast number of exhibits and pavilions from all over the world spread out over 1216 acres of the Flushing Meadows/Corona Park district. The fair's official 'theme' was 'the demonstration of "a happier way of American living through a recognition of the interdependence of man, and the building of a better world of tomorrow with the tools of today"'.

3 ALsS, all on letterheads of Coombe Bissett, Salisbury; 27 April and 25 May 1947, and 11 Oct. 1949, total 5pp., 12mo and 8vo. The first letter begins 'My sister Dorothy has told me of your idea of having a drawing of your husband. I shall be pleased to undertake this, though I regard it as the most exacting branch of my trade.' Describes in detail what the process would entail. The second cancels a sitting, 'Owing to a muddle about the future to which I am especially liable'.

On 7 x 11 cm slip of paper. In fair condition, aged and creased. The note, all in Beechey's hand, and probably addressed to a bookseller, reads: 'Monsieur - | De Regno Laconico, de Piraeeo. 1687. 2to. | Mr. Beechey | 16th. May'.

2pp., foolscap 8vo. Bifolium. On aged and worn paper, with some repairs to the chipped extremities. Begins: 'I have carefully examined this account and various papers connected therewith: and have received detailed verbal & written explanations thereof from Mr. Wood; I have carefully considered Messrs. Byrne's & Darley's report thereon; [...]'. Concludes: '[...], I am of opinion that Mr.

The lecture, which is unpublished, is an interesting personal statement by a neglected Victorian painter who died tragically young. (A rather impressive example of his work, in Turneresque style, titled 'The Heart of the Hills', is in the Maidstone Museum.) The lecture is 30pp., 8vo, in a ruled notebook with embossed black wraps. In good condition, on aged paper with some wear and discoloration. Ownership inscription of 'W. G. Shrubsole | Bangor Decr. 1886' inside the front wrap. The first page is headed 'The Ideal in Art. | by W. G. Shrubsole Dec.

A significant letter, filling gaps in the provenance of Bellini's Crucifixion, now in the Louvre. All that has been known hitherto about the painting's provenance is that at the beginning of the twentieth century it was in the Paris collection of the banker Rodolphe Kann, and that before the Second World War it was owned by the Florentine dealer Alessandro Contini Bonacossi, from whose heirs it was acquired by the Louvre in 1970.

In addition to his pioneering cinematographic work, Herkomer was a theatrical innovator. As Lynda Nead points out in her 'The Haunted Gallery' (Yale, 2007), it was shortly after the opening of his art school that 'he and his students created an auditorium, modelled on Wagner's Festspielhaus in Bayreuth, for public performances of plays, written, directed and, indeed, performed by Herkomer'. See also M. A. K. Taylor, 'The New Stagecraft' (1953); J. Stokes, 'Resistible Theatres' (1972); and L. M. Edwards, 'Herkomer: A Victorian Artist' (1999). These five items all relate to the project.

1p., 12mo. In good condition, on lightly-aged paper. He writes 'My dear Sir | I have the pleasure to accept your kind Invitation to Dine with you on the 4th March [amended from '28 Inst'] to meet the President and Council of the Royal Academy.' For more information about both men, see their entries in the Oxford DNB.

1p., 12mo. Good, on lightly-aged paper, with water staining to a couple of words. Written in a stylish, calligraphic hand. He begins by thanking the recipient for a letter and postal order, before continuing: 'In case you are interested, I also do paintings of antique weapons. An example of my work can be seen in the August 1962 issue of "Guns Review".' He explains that such illustrations can be in either black and white or full colour, and concludes: 'If you have a particular favourite I shall be pleased to quote.'

2pp., 4to. Aged and creased, mounted in windowpane on leaf removed from album. Liscard Hall was built for the former Mayor of Liverpool and slave-ship captain Sir John Tobin. Allen writes that since arriving there he has 'painted too little subjects', and that he has 'a wish' to 'leave them behind me - but not unframed - size of Pictures 16in: x 12in:' If Cobbett does not have 'two tolerable frames of that size' he asks him to order two: 'I do not require the "best double distilled - extra hyper - superfine" - but something tolerably good looking'.

One page, 12mo, good condition. "Thank you very much for your kind letter & I am delighted that you have elected me. | Gunn had telephoned to me with the good news which was very considerate of him. [...]"

Three cards (bifoliums), 15 x 12.5cm, 11.5 x 18cm, 10 x 12.5, inscribed by Lamb either below image on front or on inside blanks. Images, two b & w, one faintly purple background, presumably by him, are: Madonna and child (inscribed page[3] "With love from | Henry Lamb"); Carol Singers (inside "Best wishes from | Henry Lamb") ; children and teenagers playing cards (under image on front "With love to you both | from | Henry Lam.| Xmas/48"). Image available on my website.

1p., 4to. In very good condition, neatly placed within a windowpane mount. Addressed at head to 'Mr. John Martin'. Laying out, in detail, the 'Terms on which I agree to engrave the Game Keeper after W. Hunt'. The terms are described over twelve lines, beginning: 'The Engraving to be 7 by 5 inches in my best manner, the charge to be seventy Guineas, one third to be paid on the Etching, the remainder on delivery of the work, which I undertake to do in about four months.'

1p., 12mo. Bifolium. Good, on aged paper. The letter reads: 'Dear Daffarn | I will be in any time in the afternoon after 2.30 on Friday, & will be pleased to see you and your friend Watson. | The work goes on slowly but I think I will finish in time.'

1p., 12mo. Bifolium. In good condition, on aged paper. The letter reads: 'Dear Madam | Thank you for your reminder about reading the paper tomorrow night. | I will be at the Guild before 8, and get the slides.' Strang was Master of the Art Workers' Guild.