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. In fair condition, on aged paper, attached by a stub to a piece of brown paper cut from an album. A fine, firm signature, employing an alternative spelling of the surname (the Oxford DNB notes that it was in 1835 that Maclise abandoned 'other forms' of it). Trimmed down from a letter, and addressed by Maclise on the reverse to 'Henry Howard Esqr. | R.A. | Secy.' The note simply gives the title, with Maclise's signature and address, as follows, of the painting he entered in the Royal Academy exhibtion of 1835.

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.

The present item is a puzzle. Farington joined the Incorporated Society of Artists at the age of twenty-one, and played an active part in its affairs until his resignation in 1773.

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?

On one side of an 8 x 10 cm piece of paper, cut from the bottom of a letter. In good condition, on lightly-aged paper. Reads: '[...] being that very many things demand my attention that have already waited too long. | Yrs. sincerely | Frank Dicksee'.

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.

The note is Item Three below, and the testimonial is Item Six. Items One and Six refer to Tonks's 'large wall decoration at University College', 'The Four Founders', on which Whaite assisted Tonks. (Whaite, who was first cousin twice removed of his more famous namesake, was an excellent artist and tutor, and there is a large collection of his work at the Whitworth Gallery in Manchester.) One: Vale Studio B, Vale Avenue, Chelsea; 22 July 1932. 1p., 16mo. Good, on aged and spotted paper. 'I enclose you a Cheque for £5.

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.

44 + [i] + [iii], 8vo. In original grey printed wraps. Fair: on aged paper, in worn wraps separating at spine (as is the bifolium carrying the first and last leaves). Ownership inscription at head of front wrap: 'C. L. F.' Numerous amusing illustrations in text, which is followed by a spoof 'Blank Page for School Boys and others to Sketch upon.' and three pages of advertisements. Further advertisements on inside of front wrap, and on both sides of back wrap. Scarce: the only copy of this undated first edition on COPAC at the V&A.

2pp., 4to. Fair, on lightly-aged paper. He thanks her for her 'kind letter and transcription letters', and will be 'grateful to receive prints of your drawings by William Havell. Truly, those at the V. & A. are not very good, and I feel sure that there are much finer ones in existence.' He was 'amused by Auntie Jane's letter to her nephew', and will 'try and come down to Reading to see your Havells later on'. He would also like to see those of 'Mrs. Wilson'. He considers 'Luke Havell's children - a very gifted family'.

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. Good, on lightly-aged grey paper. Fildes explains that he has just returned from Paris to find his correspondents' letter of 19 May, inviting him 'to hear Mr Du Maurier's discourse to-morrow night'. He cannot avail himself of the 'great pleasure', and of their' 'courtesy', as he has 'an engagement which cannot possibly be put off'. He ends by apologising for not answering sooner. On 25 May 1892 The Times reports a lecture that day at 'Prince's Hall: Mr. Du Maurier on "Social Pictorial Satire," Mr. Alma-Tadema, R.A., in the chair, 9.'

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 lightl-aged paper. He regrets that 'absence from London' will prevent him from 'attending the lecture' of his 'old friend Dumaurier', to whom he wishes 'every possible success'. He thanks the recipient for 'the compliment implied' in his invitation. On 25 May 1892 The Times reports a lecture that day at 'Prince's Hall: Mr. Du Maurier on "Social Pictorial Satire," Mr. Alma-Tadema, R.A., in the chair, 9.'

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!'

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.