Art and Architecture

Sambourne (1844-1910) contributed illustrations to Punch for more than forty years. On good laid paper, dimensions roughly 22 inches by 17 1/2. With facsimile signature and date. Folded twice. Slightly discoloured and a little creased, but suitable for framing. Depicts Mr Punch, with his dog Toby, sitting atop a pile of the 'evolutions of the century' (including a bicycle and typewriter), and waving to 116 of the century's worthies, including Bismark, General Tom Thumb and the jockey Fred Archer, but without Karl Marx.

On India paper roughly three and a half inches by six and a half wide, mounted on a thick piece of wove paper ten inches by fourteen and a half. Cooke's name is engraved on the illustration, and printed on the mount are the title, Lewis's name and a double ruled border. Good clear impression. The mount is a tad grubby, with foxing to the extremities. Atmospheric representation of a populated pier snaking to the left, with a number of sailing ships and a row boat taking advantage of the low tide nearby. No reference found.

Four pages, on four A4 leaves. Entirely legible, though dogeared and with some wear to extremities. Rust staining from paperclip. Complete from 1066 to 1937, beginning with the Cuneators and giving dates of Chief and Under Gravers together with Remarks on each individual. Dated and signed by Anthony.

One page, quarto. On lightly creased, aged paper with a few closed tears. Rust marks from paperclip at head. Reads 'Il triangolo della perfezione arte scienza ad amore | [signed] F Matania'.

Dimensions of plate roughly four and a half inches by six and a half wide. Dimensions of paper roughly five inches by seven wide. Clear image on stained, grubby laid paper. Shows mythological figure with helmet and shield holding up a book, within a monumental border with coins, ivy, statuary, etc. This bookplate has been found in conjunction with another reading "Ex Libris Alexandri Torrigiani Med. Doct. Coll. Parmensis", and this may provide a clue to the provenance.

Dimensions of paper roughly eleven and a half inches by eight wide. A good clean impression on grubby and lightly foxed paper. A meticulous head and shoulders view of a seated Hearne, in profile, facing to his left. One of the 72 engravings from chalk portraits by Dance of his friends which were published between 1808 and 1814.

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.

On both sides of a piece of paper nine inches by six and a half wide. The main picture, highly finished and roughly six inches by five wide, shows six flowers with five cut stems and leaves in green, white and purple. On the reverse are the detail of the flower, roughly four inches by two wide, in white and greenish yellow, and the drawing of branches, roughly six inches by five wide. On thick paper approaching card, and perhaps cut away from a larger piece. At the head of the reverse, in a mid-nineteenth-century hand, 'Drawn by the late Mr. Joseph Stannard -'.

On piece of paper roughly eleven inches by eight wide. 'Col[oure]d 2/6' engraved in bottom right-hand corner above caption. On aged paper, creased and with two closed tears of one and a half inches apiece, and one of half an inch, none of the three affecting the image. Full-length portrait of a somewhat simian Harrison, in black top hat and brown cut away jacket, clutching his arms in front of his belly with one glove removed, standing on a grassy hill (in front of Chester Castle?]. Two small ink docketings on reverse.

Dimensions of print roughly ten inches by six and a half wide. Mounted on a slightly larger piece of laid paper. Rubbed, worn and heavily aged, with small wormhole at foot. Ornate tomb with sphinxes, ivy, masks, palette, laurel wreath, etc. Central head and shoulders image of Carracci, above caption 'ANNIBALI CARRACCIO BONON. AETATIS SVAE ANN.XLIX Romae MDCXLVI'. 'A. Del.' in bottom left-hand corner. This is NOT the engraving by Pietro Aquila, after Carlo Maratta, in Aquila's 'Galeriae Farnesianae Icones' (1674).

Plate size roughly four and a half inches by four and a quarter wide, on paper six inches by five wide. 'Kay fecit' in bottom left-hand corner and date in bottom right. Good clean image on aged paper with some wear to blank border. The figures are identified in pencil at foot as 'McNab, K. McKenzie, Easton [^surgeon in the army] & Stabilini'. They are named as Eiston, Stabilini, McNab and McKenzie' by the National Portrait Gallery.

EXCESSIVELY RARE. Apparently not present in the National Portrait Gallery collection. The portrait is on a piece of India paper roughly four and a half inches by three and a half wide, mounted on a piece of thick wove paper roughly eleven inches by eight and a half wide. The mount bears the text. Good, though somewhat grubby, and with the mount lightly creased and foxed. While Sayers is best-known as a Pittite caricaturist this image is certainly not a caricature.

Postcard with painting of Rialto Bridge by Canaletto. Postmarked 1970. Ruckled with damp but entirely legible. An amusing communication, beginning 'Thought I would let you know that we were not involved in the great tornado that sunk a voporetto [sic] on Lirica 4, and that the Hotel alla Fava is still very comfortable.' Refers to the Lambs' 'self-contained eyrie' and 'the weak fast coffee which tastes of mud; but clearly and obviously isn't'.

On paper roughly four and a quarter inches by three and a quarter wide, with corners snipped to make an irregular octohedron. Good clear illustration on ruckled, aged paper. Tipped onto a larger piece of aged glue-stained paper. An amusing caricature showing Haggard astride Rozinante, in a full suit of armour, with an inkpot and quill pen as hat, holding a lance inscribed 'LITERATURE' in one hand, and a baby wrapped in a large roll of paper inscribed 'SHE M.S.' in the other. Unsigned, and attributed to Furniss in pencil on mount.

One page, 12mo. Very good; lightly creased with staple holes to one corner. 'I beg you to publish the letter which I have addressed to the Journal. There is no point in withholding it.' Horder, who designed Lloyd George's house, as well as Mallory Court and Greys, is, according to one authority, 'one of a group of early twentieth century architects who were highly influential in re-introducing the romantic vernacular styles of the Elizabethan period. Many of his homes were in the style of Edwin Lutyens, having gables, stone dressings, mullioned windows and inglenooks.'

One page, quarto. Very good, with staple holes in one corner. He thanks Samson for his letter 'about the enquiry from the Esso Petroleum Company concerning a sculptured commemorative tablet. I should be pleased to take part in any limited competition for this project and could carry out the work this year if I were commissioned to do so within the scheme of my existing commitments.' The context is explained by an accompanying photocopy of a carbon of a typed letter (one page, quarto) of 5 May 1960 from Samson to the sculptor Professor R. Y.

Three pages, 12mo. Good. He did not receive the letter till his return from the continent the previous week. '"The Grove" is a comfortable mansion but there is nothing in any way remarkable about it - Clutterbuck's history of Hertfordshire contains all that is known respecting the persons who have possessed it. There is a fine collection of pictures, many of them by Vandyke & Sir P. Lely, wch. belonged to the Chancellor Clarendon & of them you will find an accurate description in the 3d. Vol. of the "Clarendon Gallery" published a few months ago by my sister Lady Theresa Lewis.

One page, 12mo. Good, if a little aged and lightly creased. He apologises for the delay in 'sending the drawing that now I ask you to please me by accepting' (not present). He asks her to accept it as a present for 'that almost superannuated festivity' of Christmas. 'I send you a coat-of-arms as that includes a certain amount of letterpress which you will I think prefer to a simple drawing'. He has delivered all the drawings bought by Mrs Samuel's friend and has received his thanks.' Signed 'E. T. Rees'.

"Histoire - Construction - Inauguration - Description detaillee des palais, des Annexes et des parcs - Les Chefs d'Oeuvre de l'art de tous les Pays - Les Machines - Les Arts Indystriels - Les Produits Manufactures - Les Exposition Speciales - La Tour Eiffel Ouvrage Redige par des Ecrivains Speciaux et des Ingenieurs. 1083pp., folding paltes and illustrated throughout, thick 4to, hf. leather with raised bands, worn, marbled boards worn, pages yellowed at edge, hinge strain at front (recasing or reback would be desirable, contents otherwise good. COPAC records one copy only

The collection is in very good condition, with a few staple and pin holes. Gray's letters are signed 'Milner Gray' and occasionally 'Milner'. All but the first two, which are on Society of Industrial Artists letterheads, are on Design Research Unit letterheads. An early letter (5 April 1949), to Kenneth Luckhurst, Secretary, Royal Society of Arts, apologises for and explains a 'difficulty' which has arisen 'over the fees we estimated for completing the necessary working drawings and supervising construction of the permanent display screens for the Society's headquarters'.

English artist (1855-1934) of the oriental school, a member of a family whose papers are in the Bodleian Library, Oxford. Two pages, 12mo. Very good, though grubby and on paper discoloured with age. He thanks her for her note and is sorry that she 'should have had any trouble about the bundles' Has heard 'on all hands that the Bargain went off extremely well', and hopes 'it was as financially successful'. 'The Egyptian called on me to-day and seemed much pleased with himself.' Hopes he 'behaved and acquitted himself well.' Signed 'Walter C Horsley'.

Museum Curator and Authority on Ceramics (see DNS). Total, two pages, good condition. (5 May 1925) "I have handed on your enquiry to Mr. A.J. Koop, my colleague who deals with cloisonne enamels. My own concern with enamelling is limited to painted enamels." (20 May) He expresses pleasure at being invited to judge "the designs for pottery and glass at the forthcoming competition of the Society of Arts. . ." Two items,

British stage designer (died 1971), painter, writer and lecturer. Both items one page, octavo, and very good, though lightly creased. Both signed 'Maxwell Armfield'. LETTER ONE (docketed and bearing R.S.A. stamp): He has read the lecture by 'Mr. Davis', 'with great interest [...] our opinions on the subject seem to be identical! I should like to meet him some time if he is an accessible sort of person. [...] a series of such lectures issued as pamphlets with attractive titles would do a great deal towards a better understanding of the problem'.

Wood-engraver. Two pages, 8vo, good condition. "I have just received yr last two drawings. / I will have these drawn I think, for photography gives a coat to the wood and when you think your tints are too light - you find them too dark. / With regard to the Beach cut I am persuaded that in printing it will now come very near the original, the colours of which I think you must have forgotten, and I have written to Mr Smiles (who seems to wish to get on without the subject) to try it at press - now it has been more finished - which I trust you will also approve. . . . PS.

Architectural historian (1904-92) and curator of Sir John Soane's Museum, 1945-84. Seven leaves, all very good, though some lightly creased and all with staple holes in top left-hand corner. The first three letters to Mercer and the last three to Samson. Three letters docketed. ITEM ONE (two pages, 12mo, 7 August 1958): He is 'much attracted' by the Society's invitation 'to give three Cantor lectures on Country Houses', 'especially as I understand the text of the lectures would be published'. There is however 'one rather grave difficulty.

Architectural historian and one of the editors of 'Country Life' (1876-1930). The thirteen items are in good condition, although grubby and with occasional creasing. Two items have minor rust staining from paperclips to corners. All but one item one page, quarto. Often docketed or bearing the R.S.A. stamp. Primarily concerned with lectures at the R.S.A. by Weaver, and their proofs in the Society's journal.

Artist and illustrator. Two pages, minor defects, mainly good. He thanks him for a letter and cheque for thirty guneas. "I shall be most delighted to see your Morocco sketches, they must be most interesting." He'll call by the next week and appreciates his kindness in offering one of the sketches. Note: autograph letters by Brangwyn appear to be scarce.

Artist and astronomer (1802-1866). One page, bottom edge curled but text clear and complete. He is sending two "tableaux which Charadam had seen at his house. He would like him to display them that evening "ayant l'intention de les envoyer a un exposition [?] a Amsterdam . . .".

Noé, Amédée-Charles-Henry de (1818-1879). French cartoonist.. - caricaturist. One page, 8vo, laid down, sl. damaged but text clear and complete. He says that Madame de Noe [avec accent] is fully recovered from illness and wonders if his correspondent can dine next sunday. "Un mot de reponse s.v.p." He concludes with formal best wishes. The conjoint blank leaf is laid down - on the recto of this blank is a draft acceptance signed [Paggi?].

English Camden Town Group Painter (1878-1914). Dimensions seven inches by ten inches. Grubby, but in good condition. From the Mark Bonham Carter collection. Captioned 'Spencer Gore | Freddy', with an arrow pointing to impressionistic representation of figure, nine inches high, of the artist in a suit, with high-collared shirt, holding a palette in his left hand and with his right hand outstretched and painting onto a canvas. Around the figure dabs of watercolour and a representation of a foot. Crude drawing of seascape on reverse. Together with scrap of paper reading 'MR.