COLNAGHI

Robin Wallace (1897-1952) was a well-known British painter in oils and watercolours, particularly noted for his landscapes. He was born in Kendal, Westmoreland, descended from a long line of hand-loom weavers. After working for local nurserymen, he served in the Royal Marines in the First World War. Soon after the war he set off for London, where he showed his work to Vicat Cole, principal of the Byam Shaw Vicat Cole School of Art in Kensington, who offered to teach him for nothing. His scholarship was renewed until 1926, the year of his first show, at the Rembrandt Gallery in Liverpool.

Taylor's collecting activities are described in his entry in the Oxford DNB. His collection was sold by his widow in 1912 for the massive sum of £358,500.3pp., folio. Bifolium. In very good condition, on lightly-aged paper. Tastefully-printed billhead, as one might expect, in black and red, with royal crests, boasting that the firm are 'Printsellers by Appointment to her Majesty, | Their Royal Highnesses The Prince Consort, The Prince of Wales, and the Duchess of Kent'. Also the text: 'Established 1760. | Half price allowed for packing cases if returned immediately'.

1p., 4to. In fair condition, lightly aged and creased, with damage to two corners from removal from mount. Attractively printed in a restrained style, it gives the prices of proofs and prints, and boasts that 'The Picture, from which it is intended to take the present Engraving, has the reputation of being a STRIKING LIKENESS of the Poet, as he appeared in 1822, and is the last of any note or which he sat. It was moreover the favourite picture of his Lordship, as may be seen by the accompanying Fac-simile [not present] of one of his Lordship's Letters to Mr.

For a full list of named engravers, artists and publishers, see below. Lumb Stocks was, as the Oxford Dictionary of National Biography points out, 'one of the most influential exponents of steel line engraving, and his death left the Royal Academy without an engraver in its ranks'. He bequeathed his collection of prints to the British Museum;; the present collection was retained by the family, and purchased from the estate of Harold Carpenter Lumb Stocks (1884-1956), organist of St Asaph Cathedral.

On 8 x 17cm piece of paper. In good condition, on aged paper, with small spike hole. Reads: 'To Martin Colnaghi Esqre | Sir | I have the pleasure to send you 60 Proofs from my plate of "Miss Macdonald," 30 of which number are before the Publication. | Saml: Cousins.' Docketted on reverse 'S. Cousins.' Cousins's engraving of Miss Julia Macdonald, from a portrait by Sir Thomas Lawrence, was published in 1830.

2pp., 4to. In good condition, on lightly-aged paper. He will have to forgo meeting Britton, as he the previous evening he received 'a Message from the Horse Guards to attend there on Saturday at 3 O Cl'. He has 'just finished a Whole Length of Ld Hill, & its on that acct. I am summoned, I was yesterday Introduced with it To His Majesty so you see my present situation'. He will send the prints the following Tuesday, 'as they are in my press'. Turner's engraving of Hill is captioned: 'Painted by Henry W. Pickersgill Esq. R.A. Engraved by C. Turner, A.R.A.

On one side of piece of 9 x 14cm paper. In good condition, lightly-aged and with slight spotting, neatly placed in a windowpane mount of 21 x 25cm. Reads: 'Il Bartolozzi fa i suoi complimenti al Sigr. Moltino, [sic] e lo pregha di voler mandare allo stampatore due altre mani di carta di francia, il più presto possible, e di farmi tenere il conto della carta, scusi Il incomodo'.

4pp., 12mo. On bifolium. Good, on lightly-aged paper. The last page docketed in pencil: 'Animal Painter | To D. Colnaghi'. He apologises for the fact that 'the portrait of Sam Darling that I have begun with a view of sending it up to you is but scarcely indicated and I amsure would rather lead you wrong than otherwise. He gave me but a short squint at his mug and went away with a promise to return but did not do so.

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.

2pp., 12mo. 21 lines of text. Good, on aged paper. She lists four 'figures of St Alexis' which she has found among her memoranda (the first: 'By B. Lutti - much praised by Lanzi - but I know not whether engraved'). Following the four is 'St Adrian. Domenichius Engraved by Gregori'. She asks: Have you any of these or could you procure them for me?' She will be in town the following day, and is 'in desperation about the St Alexis because the press is stopped for want of him - pray help me if you can!'

Folio, 1 page. Good, on lightly-aged paper, with an edge of the blank reverse bearing a small strip of the grey mount. A formal letter, attractively presented. He is 'directed by the Trustees of the British Museum, in the absence of the Secretary', to convey their thanks for the 'obliging Present to the Museum Collection of Prints, of a Portrait of the late Paul Colnaghi Esqr. Engraved by R Easton, proof'. Interestingly, the National Portrait Gallery does not possess any portrait of Paul Colnaghi.

On one side of a piece of paper roughly 8 x 12.5 cm. Good, lightly aged. Reads ' Henry Colburn | 13 Gt Marlborough Street | Martin Arthur Shee | Peter North 22 Soho Square | Dominic Colnaghi'. Fragment of docketed manuscript record of the case on the reverse: '<...> 830 | <...>nes O'Connor | <...>ent Case | <...>y 12th. 1841'.

On a piece of aged, creased paper roughly five inches square, with some fraying to extremities. Reads '<...> an artist. & his case as one <...> | Andrew Robertson | D Colnaghi | M. H. Colnaghi | R Ackermann | CTurner | John | Saml Woodin'. Rudolph Ackermann (1764-1834), bookseller; Dominic Paul Colnaghi (1790-1879), print dealer; M. H. Colnaghi (1821-1908), picture dealer and collector; Andrew Robertson (1777-1845), Scottish miniature painter. From a collection of material relating to the Artists' General Benevolent Fund.

The word 'Proof' is engraved in the bottom right-hand corner. Dimensions of paper roughly ten inches by seven and a half. Good clean image on lightly aged paper. Head and shoulders portrait, in which a dolorous old biddy in cap stares vacantly at the viewer. Presumably a companion piece to an engraving in the National Portrait Gallery by Isaac W. Slater of a drawing by Scriven of Henrietta Maria Slater, published by Colnaghi in July 1830. This item is not present in the National Portrait Gallery online catalogue.

English author and politician (1797-1833), whose efforts resulted in the formation of the National Gallery. Colnaghi (1751-1833) was the leading printseller of the period. One page, quarto. Good, on slightly discoloured paper with traces of previous mount adhering to reverse. A formal letter in the third person. 'Mr Agar Ellis would be much obliged to Mr Colnaghi if he would procure for him the German prints in outline for "Ondine", published at Nuremberg - Also the Prints in the same style for the German play of "Faust".

English novelist (1775-1861). One page, 12mo. A frail item in poor condition: on discoloured, frayed paper, with several closed tears and some loss to edges. A formal letter in the third person. 'Lady Charlotte Bury presents Her Comp[limen]ts. to Mr: Colnaghi and would be obliged to Him if He could make it convenient to call upon Her any time this Day, as she wishes to speak to Him respecting Some Drawings which she intends to publish'.

Three noted British painters of the first half of the nineteenth century: Clint (1770-1854), Stanfield (1793-1867), Brockedon (1787-1854), together with the printseller Colnaghi (1790-1879) and the auctioneer Robins (1778-1847). Paper dimensions roughly five inches by four inches. Good, but lightly creased and a touch grubby. From a collection of material relating to the Artists' General Benevolent Fund.

The artist Clint (1770-1854), the printseller Colnaghi (1790-1879) and the engraver Audinet (1766-1837). Paper dimensions roughly four and a half inches by three inches. Good clear signatures, but on paper somewhat grubby and creased. Reads 'D: Colnaghi | Geo Clint ARA | Philip Audinet'. From a collection of material relating to the Artists' General Benevolent Fund.

Colnaghi was a member of the notable family of English printsellers. Hall (1800-89) was an author and editor. Paper dimensions roughly five inches by three inches. Good. From a collection of material relating to the Artists' General Benevolent Fund. Reads '<...> Paul Dominic Colnaghi Esq | | S. C. Hall. | '.

Burnet (1784-1868), Corbould (1787-1844), Hills (1769-1844), Phillips (1770-1845) and Smirke (1752-1845) were artists. Colnaghi (1790-1879) was a print seller. Paper dimensions roughly four inches square. Paper grubby and creased. Reads 'T. Phillips - | R. Hills | D Colnaghi | Henry Corbould | Rob Smirke - | Jno: Burnet.' Reverse reads, tantalisingly, '<...> that his Eldest Son | <...>ilder of Liverpool Road | <...>ledged to call his Creditors | <...>t.