ART

English portrait painter (1782-1875). In good condition. Dimensions approximately 4 1/2 inches square, cropped and with some loss of text after signature. Attached to larger piece of grey paper. Reads 'My dear Sir Martin | I accept with great pleasure your kind invitation for Wednesday the 29 Inst. | Ever yours faithfully | H. W. Pickersgill'.

Art dealer (1825-1910; DNB). 2 pages. 16mo biofoliate. In good condition. The recipients name is spelt 'Bewick' at the beginning of the letter and 'Bewicke' at the end. 'Dear Mrs Bewick | I came up from Southampton on Saturday. I am starting for Lancashire in a few minutes | I shall be back on Wednesday and off the following day | I can see you here if you can call about 5.30 | Yours sincerely | Wm Agnew'.

Director of the Tate Gallery (1869-1936). 1 page, 8vo, grubby and creased, with otherwise-blank verso docketed and attached to piece of card. 'Both our funds and our space are extremely limited and Mr Warne Browne's 'Catch of Pilchards', though a pleasant subject picture, is scarcely of national importance and my Board would not consider purchasing it. | It might possibly be of interest for a local Museum such as the Truro Gallery or the Passmore Edwards Art Gallery, Newlyn. I am returning the reproduction | Yours very truly | Charles Aitken | Director'.

English painter and President of the Royal Academy. 'It was kind of you to feel indignant that some young modern went out of his way to be critical of my work. I do not think that it is very important; he doesn't like my pictures and probably I shouldn't like his! | I think it is awkward for the Hertford Art Society, who have gone out of their way to invite certain people to exhibit on the grounds that [this] would increase the number of people who would visit the exhibition. I don't think they can have it both ways. | I will not mention your name to anybody.'

Collector (1760-1830). One page, 8vo, good, giving himpermission to view his pictures.

Art Critic and author. Two pages, 8vo, partly laid downm fold mark, good condition. He says he can do nothing "about the pictures" of which O'Donnell had sent a list. "They are not of sufficient interest and, I fear, of little value. Anyway they would not do for the man for whom I am forming a collection." He anticipates lunch.

Anglo-Russian collector of paintings whose collection formed the basis of the National Gallery collection. Clipped signature, c.3.5 x 1", "I am Sir Your [?] / J.J. Angerstein"

Sculptor (1847-1922). 3 pp, 12mo, on mourning paper. "I have just returned from a short stay in the Country and find your letter of the 29th ult With regard to the proposed Statuette in silver I need scarcely say I shall have much pleasure in assisting you in any way I can. / Your letter however leaves me a little in the dark. Do you wihs me to recommend some young Sculptor for the task or would you like me to undertake it?" Signed "Thos Brock".

Subject and portrait painter (1817-1867). He discusses a possible visit.

English actor manager (1841-1926), knighted in 1926. 2 pp, 12mo. "Let me thank you very heartily for all the valuable work you have done for the young people in Gower Street, with a hope that it may long continue." The reference is clearly to the Royal Academy of Dramatic Art, in Gower Street.

Actor and teacher of elocution (1829-1910). Small publicity portrait of a stern-looking Vezin, glowering in an open-necked white shirt. Printed on thin art paper, 2¾ by 1¾ inches, with large white border, on which, "Yours truly / Hermann Vezin." Not in the best of condition: creased, grubby, and with tears to the borders.

Antiquarian and dramatist (1796-1880), disbound article, [12] pages, in homemade blue wraps, contents partly detached, manuscript title on front "J.R. Planche on a battlepiece in the National Gallery, July. 1878".

Painter, President of the Royal Academy (1836-1919). Four pages, 8vo. As follows: " I never thanked you for your postcard & its information which adds greatly to the interest of the drawing. " is puzzling certainly, but so unlike "canonico" that I can hardly think it can have been an error in the transcript of that word. I have not yet discovered the other two sketches I possess . . .

Sculptor (1799-1872). Clipped signature from an appeal to the Artists' Benevolent Fund. Thomas Phillips, portrait painter (1770-1845), signature is on the same piece of paper

Politician and art collector (d.1854). He thanks him for the tract on the Militia Bill, giving his opinion of its cogent argument against the measure.

Naturalist (1826-1888). 2pp., 8vo, signs of having been laid down, thanking Draper for "the Japanese book on Birds, commenting on the drawings ("wonderfully instinct with life", "suggestion of movement about their portraits of animals or human beings"). he mentions another Japanese book he has "full of grotesque pantomime figures". He goes on to discuss the "Hippocampus" Draper has given him, asking for further information. He concludes with news about the por health of a mutual friend, W.O. Whiteside ("one of the 'wigwams'"(?)).

Artist. One and 2pp., 8vo. (1899) He suggests the steps she must take to arrange the loan a a "miniature table" from the Royal Academy. (1904) He gives permission for his "Diploma Picture" to be reproduced in the "Windsor Magazine", revealing its history (an illustration to Tennyson's lines in "Break, break!"). He later appears to allude to a collection of moutaineering pictures(?). 2 items,