PAINTING

On a piece of 8 x 8.5 cm paper. In good condition, lightly-aged, with fold line. The side of the letter with the signature reads '<...> at once signed | believe me - | Very faithfully Yours | Luke Fildes'. The reverse reads: '<...> two other Sums of £150 & £200 which I have had. The forms I have mislaid & cannot find them. <...>'

On piece of 16 x 25.5cm paper. In fair condition, aged and spotted, with slight damp-staining to one corner, and remains of mount adhering to the reverse, on which is written in pencil: 'Sketches by Frederick Lee Bridell | born Southampton | died London 1864'. The three sketches are well finished, and placed alongside one another. The one on the left depicts a nobleman seated on a throne with a coronet on top of its backrest, his feet on a footstool, and left hand on an arm-rest, an animated look on his face.

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'.

The two items in good condition, on lightly-aged paper. ONE: 1p., 4to. Regarding the loan by him to Hubbard of drawings, and delivery options for them. TWO: 1p., 12mo. 'You vanished very suddenly after our Meeting and I did not have the chance of discussing arrangements with you. Will you please let me know what time it passes through Tonbridge on the following Monday.' He hopes to bring two more pictures 'straight to Albany from Charing Cross, arriving about mid-day? If you are not to be there I will take them to the Royal Academy and deliver them in the afternoon.'

1p., 4to. Good, on aged paper. The letter begins: 'Sir | I shew to you my last little effort which is a Copy from Vertues large Print after the Picture by Holbein now hanging in the Council Chamber of Bridewell Hospital'.( A note at the foot of the page reads: 'The above was engraved for the Purpose of Illustrating Pennant Walpole &c'. He notes that the print (not present) was 'engraved as the companion to the last Print I sent you.

1p., 12mo. In fair condition, on aged paper, with traces of mount adhering to the blank reverse. In an apparent attempt to drum up business, Skelton writes:: 'In consequence of your suggestion I presume to request the favor of you to receive a few of my engraved Portraits, to present to the Noblemen & Gentlemen, Members of the Athenaeum Club, and shall be gratified if the enclosed may prove acceptable.'

1p., 12mo. In fair condition, on aged and worn paper. Casting an interesting light on the practicalities of Victorian engraving. Roden begins: 'I have had an answer from Mr. Frith who is willing that I should engrave his picture[,] he cannot however get it me for 3 years, the time I mentioned.' Frith has mentioned a copy to Roden, which will cost him sixty guineas, 'and the purchaser consents to me having the original "now and then"'. He ends with an appeal for the recipient's advice.

1p., 4to. On blue-grey paper. In good condition, lightly-aged. He has been trying to get her a acopy of the print, but will not be able to until the following Tuesday. He hopes that this is not too late, and it will give him 'much pleasure in sending it up'.

3pp., 12mo. Bifolium. Good, on lightly-aged paper, with minor traces of mount to the corners of the blank reverse of the second leaf. The letter begins: 'Dear Gilbert | Thomas told me yesterday - at your gallery - that he had heard you had an attack of rheumatic fever'. He hopes that this is not true, as it is 'a most painful complaint', adding: 'I beg that you will give me a line as soon as you feel well, which we al must [hope] will be very soon'.

2pp., 12mo. Bifolium. In very good condition, neatly placed by the second leaf in a windowpane mount. He has 'received an intimation' that his picture is in Bond Street ('from whence I must fetch it'), and is writing to say that he has 'two Pictures by my Father (one very small but a beautiful little bit) the other the Peak in Derbyshire; a Landscape by Smith of Chichester & a copy of mine after Liverseege all of which I would lend to the Crystal Palace if you would like to have them'. He can deliver these to Bond St on collecting the other.

2pp., 12mo. In good condition, on lightly-aged paper. Scriven begins: 'I am afraid you will have thought I had forgotten to send the plate of Norfolk: the truth is, I decided on doing a few touches to that hand noticed by you & Mr Lackington; and although it was but a very little, I did not like to trust its going without first seeing a proof, as we can never be quite sure, on at all touching the copper, how it may come afterwards.' He ends by sending his 'best respects to Mr Lackington and the rest of your Gentlemen'.

4pp., 12mo. 55 lines of text, written in a neat, clear hand. On bifolium, with second leaf neatly placed in paper windowpane mount. The letter begins: 'I herewith send the electrotype of the Trowel, [not present] which is I think a beautiful specimen of the peculiar but slow process.

The two items in good condition, on lightly-aged paper. ONE: 1p., 4to. Regarding the loan by him to Hubbard of drawings, and delivery options for them. TWO: 1p., 12mo. 'You vanished very suddenly after our Meeting and I did not have the chance of discussing arrangements with you. Will you please let me know what time it passes through Tonbridge on the following Monday.' He hopes to bring two more pictures 'straight to Albany from Charing Cross, arriving about mid-day? If you are not to be there I will take them to the Royal Academy and deliver them in the afternoon.'

On piece of 21 x 13 cm India paper, laid down on a piece of thick paper, 33 x 24cm. The engraving is small in comparison, measuring around 8 x 6 cm, and showing a formally dressed and bearded Baxter's head and shoulders, facing to his right. Aged and dusty, with crease line to the mount at the foot. Stodart has signed in pencil in the bottom right-hand corner of the engraving paper, and the crease line bissects the signature and its underlining. At bottom right of mount, in pencil: 'Dr Baxter | Kings College'.

Letter: 2pp., 4to. In good condition, on lightly-aged paper, in a windowpane mount. Addressed to 'Mr Georges | East Beach St | Hastings'. He begins by explaining that he did not call on Georges while in town as he was indisposed, and goes on: 'with respect to the drawing it is a portrait of a game keeper in the service of Charles Dixon Esqre Stanstead Park the identical drawing was never exhibited but about five years since I had a longer drawing of the same figure with more game dog and other matter, painted for the above gentleman'.

1p., 4to. In good conditon, on aged paper. He begins: 'As both the pictures you bought are to be taken without the frames, I can't take upon me to displace them, without either you or the Artists were present, and more especially Mr. Daniell's, which is framed in a particular way.' Consequently he will keep the paintings, till either the recipient or artists take them away, 'and give me a proper discharge for them'. He ends with his hours of attendance.

On one side of a piece of cm blue paper. Reads: 'April 25, 1855. | 33 Gloucester Place in the new Road | Received of Messrs Crace | The favour of loan of two spear axe pikes, and a body & helmet suit of armour, to be returned. | George Hayter | with Thanks & Compliments.'

Both items are in an envelope addressed to the Duchess at 3 Belgrave Square. The envelope and its contents are on aged and creased paper. LETTER: 2pp., 12mo. Bifolium. Knowing that the Duchess is 'a well-known artist', she is offering her 'services as a model'. 'I was permanent model to the late Lord Plunket [sic] and have been painted by Cathleen Mann, Simon Elwes, Sir John Lavery, T. C. Dugdale, David Jagger and several other well-known painters.' She describes her appearance and asks to be granted an interview. POEM: 2pp., 12mo. In pencil. Unsigned, but clearly by Maitland.

Both letters in very good condition, neatly written out on lightly-aged paper. ONE: 2pp., 4to.

1p., 4to. Bifolium. Very good, on lightly-aged paper. Addressed on reverse of second leaf to 'James Elmes Esqre.' At the head of the letter Elmes has written: 'From J. Raphael Smith the celebrated mezzotinto Engraver | J Elmes', and down the bottom right-hand corner: 'From J. Raphael Smith, Painter in Crayons & Mezzotinto Engraver to Mr Elmes, with 2 proof prints | J. E'. At the foot of the page Elmes has identified 'Mr. Tooke' in the letter as 'Horne Tooke J.E.' Smith writes: 'Sir | I have sent you an impression of Sr.

1p., 4to. In good condition, on aged paper, with wafer. Addressed on reverse to 'William Jerdan Esqr. | Brompton'. The letter reads: 'My dear Sir, | A particular friend of Vandyk [sic] has hastily drawn up the enclosed. you have made what use of them you require, perhaps our friend Watts would like to see them.'

Both in good condition, on lightly-aged paper, and both with a mourning border (the first thick and the second thin). ONE: 3pp., 16mo. He apologises for 'having neglected to answer' her 'too kind and pretty note'. 'And really such neglect does great injusticce to my feeling, for your note brought back to me in vivid recollection, a visit to when we were both in great sorrow, which I am sure was a bond between us, though we had our games of Whist in the Evening with your Aunt Laura & Mrs. Buchanan!' TWO: 2pp., 16mo. He is glad she likes 'both print & frame'.

1p., 16mo. In good condition, on aged paper. Addressed to 'David Roberts Esqre. R.A.' The letter reads: 'Sir | I will relinquish all claim on and interest in the plate I am engraving fom your picture of Jerusalem and make it over unconditionally to you on your paying me the sum of Fifty pounds. I hereby bind myself to this offer until tomorrow'.

4pp., 12mo. Bifolium with mourning border. In good condition, on lightly-aged paper, with slight traces of glue from mount along one edge. A hurried letter, illegible at points. 'You will see the name of yr. respectable at the end of the enclosed Petition from My Own Hand. She has no right to refer to me for any further knowledge of herself and her husband, or his position of art - than that of my having understood him to be an artist in a state of much distress, labouring under loss or decay of sight, & that I for some years I might almost , I gave him occasional relief.

Letter: 2pp., 8vo. In very good condition, on lightly-aged paper. Addressing his letter to 'Dear Sir Albert', Petingale thanks Richardson for his letter 'arising out of your visit to the Ealing Arts and Crafts Exhibition', which has encouraged Petingale to send him 'the latest number of "Miscellany", which is the contribution of the Literature Group to the Ealing Arts Club, and which my wife and myself have been editing for the last nine years'. He discusses a visit to Holy Cross Church, designed by Richardson.

1p., 12mo. Good, on lightly-aged paper, with slight traces of glue from mount on reverse, which is docketed 'Phillips the Portrait Painter'. The note reads: 'Dear Sir | Your Picture is now varnished & ready to be sent away. Pray be so good as to favour me with the Direction for the Case'.

4pp., 12mo. Bifolium. In good condition, aged and with spike hole through the two leaves. According to Woodville's entry in the Oxford DNB he 'had expensive tastes, moved with a fast bohemian and sporting set, and enjoyed big-game hunting, pig-sticking, fishing, and, it is said, many extramarital affairs', and the present item supports that evaluation. After requesting the three double rooms he states: 'Our party is: Ourselfs. [sic] Mr. & Mrs. A. Broadwood Col. & Mrs. Holman'. He asks to be informed 'if it is allright [sic]' at his London address of 107 Queen's Gate, SW.

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.

49 photographic prints, laid down on 48pp. of a small (16.5 x 13 cm) contemporary 4to album, quarter-bound with brown leather spine and brown cloth boards, with yellow endpapers. No captions: the only manuscript in the volume being the ownership inscription of 'Sybil M. Hubert | 1883' on the front free endpaper. A fragile survival: aged and discoloured, with occasional staining from damp, which also caused some of the photographs to stick to one another, with slight damage occurring on their being detached; binding also in poor condition, with boards detached and leaves loose.

On 20 x 24 cm piece of thick laid paper. A spirited and highly-finished cartoon, apparently unpublished. The two photographers have emerged from neighbouring doorways to solicit a portly Englishman, attired like John Bull, who holds his hands up in a gesture of exasperation or refusal. He is accompanied by a young boy, hands in pockets. The photographer on the left is dressed in the French or Italian style, back to the viewer, waving his cartes de visite around.