ART

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.

1p., 12mo. In fair condition, on lightly-aged paper. The receipt reads: 'Pour l'exposition de M. Gambart: | un tableau par T. Schmitson de Vienne representant des chevaux sortant de l'abreuvoir | prix (nette) frcs. 1500. - | Londre, le 30: Juin 862 | Charles Sedelmeyer | m[archan]d. de tableaux de Vienne'. Sedelmeyer has written some calculations in the bottom right-hand corner, and at the foot: 'Received back the above | Sedelmeyer'.

An interesting and scarce item. There are no copies of any issues of this magazine on either OCLC WorldCat or COPAC, and there is no record whatsoever of 'Group IV' itself. Now acknowledged as one of Britain's finest landscape painters, Keith Grant joined the Working Men's College on finishing his National Service with the RAF; he then enrolled at Willesden Art School, before joining the Royal College of Art, where he studied under Colin Hayes, John Minton and Kenneth Rowntree. 22pp., 4to.

Part of page, 10 x 7cm, edges a little ragged, mainly good condition. Full text preserved: We have thought & spoken much of you music & of your kindness. | Your's obliged | Eliz. Eastlake".

4pp., 12mo. Bifolium with mourning border. In fair condition, on lightly aged and worn paper. He begins: 'My dear Mrs. Roper - | I have been rather long in fulfilling my promise to write - but I must lay all the blame on this most attractive International from which I can hardly tear myself away! My journey was a very pleasant one on Tuesday with agreeable fellow-passengers, there was another Bouquet besides mine in the carriage - but tell dear Annie it would bear no comparison with mine!

Both items in fair condition, on lightly-aged and worn paper, each with pin holes in one corner. Both items in a hurried, difficult hand. ONE: To 'Dear Madam', dated 19 March 1893. Docketed 'Mr. B. Joy | 29/3/93'. 2pp., 12mo. Bifolium. He begins by apologising that 'your letter should not have been replied to you [sic]', as he has been 'laid up'. He asks her to inform him when 'the busts' will be needed, '& I will see whether I can send anything'. TWO: Incomplete letter, signed 'A. Bruce Joy'. 4pp., 12mo. Bifolium. Numbered by Bruce-Joy '2'.

2pp., 12mo. Bifolium. Very good, on lightly-aged paper, with small hole through both leaves at top inner corner. The letter begins: 'As far as I can remember I keep the Copyright of my late drawings in the Pall Mall Budget'. He refers Brodhurst to the magazine's editors, and apologises for his alte response.

8pp., 12mo. Two bifoliums, one loosely inserted in the other. Printed in red. In fair condition, on aged and lightly-stained paper. A tasteful Italianate design, with thick decorative borders containing flowers, birds, a cherub and a monkey. The last page ends with commendatory quotations from the Spectator and Times.

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.

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?

ALS, on letterhead of the City Art Gallery, Leeds; 10 March 1916. He offers to review 'Rebecca West's forthcoming little book on "Henry James"', being 'particularly interested in both author & subject'. Asks for contact details of a relative of Walter Riddall's: 'I lent him before his death one of my "To-Day" volumes which I can't replace & don't want to lose.'

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. 2pp., 12mo. Fair, on aged, creased paper with slight rust spotting. Mawson begins: 'Mr. H. Clarence Whaite first came under my notice a few years ago when attending my lecture on Decoration & Ornamental Design at the Slade School - and from the first I was much struck with his understanding and grasp of the principles[.] This enabled him to carry out work of exceptional merit.

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.

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. 2pp., 8vo. In good condition, on lightly aged and creased paper. The testimonial begins: 'Mr. H. C. Whaite has been on my Staff as visiting Art Master since January 1929, and I am very glad to write in support of his application for an Inspectorship of Art. Mr. Whaite has had wide experience of Art teaching, and has done remarkably successful work here with boys of 14 to 18 years of age.

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. 1p., 4to. In fair condition, on aged and dusty paper. 'Mr. H. C. Whaite, after attending at the Slade School, joined this School as an evening student in September 1925, since which time he has studied Pottery, Design and Decoration.

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.

Two pages, 12mo, bifolium, ford marks, good condition. "I have at last done what you wished to the picture & hope you will like it. I have directed it to be packed & sent to you at once, & shall be glad to have a line from you to say it is all right. [...]" Note: George Gurney's art collection was auctioned in 1903. It contained two pictures by Vicat Cole, including a "View of the Thames".

One page, 16mo, spike-hole, mainly good, complete and clear. "I believe the copyright of my drawings which appeared in the P.M.B. [Pall Mall Budget] belongs to us. I made a distinct arrangement to that effect with regrad to drawings I made for the P.M.[Pall Mall] Magazine, altho' I made no agreement (in writing) either way with the 'Budget', the Manager would, no doubt' be able to tell you."

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. 14 lines. With the address and date on the second leaf of the bifolium, the top part of which is lacking. Fair, on aged paper. Writing to an unnamed male correspondent, Mrs Combe states that if he should arrive during her absence, he will find his lodgings 'at Mrs. Capel 7. St. Giles's, Pastry Cook'. She describes the terms as '£1 a week including attendance, plate, cooking linen, with a gratuity to the servant at the end of the term'. She concludes: 'I hope Mr.

All four items in fair condition, on lightly-aged paper. All written in Murray's distinctive wavy hand. Letter One: 15 December 1898. 3pp., 12mo. He begins by asking Mann to 'send the proceeds for the enclosed cheque into the proper hands to discharge my debt for the pencils'. He 'had to run down by night mail on Sunday night & back on Monday night, to attend the funeral of my dear old friend James Muir who died after a very short illness'. He expresses sympathy for 'Poor Brough'.

1p., 8vo. Good, on lightl-aged paper. He thanks her for her telephone call, and hopes to give 'an illustrated talk about my work from 1980 onwards and culmination of themes towards sculptures for Victoria Square'. He will 'touch upon my conscious concerns for outdoor pieces in public, and working with others'. He ends by giving the title of the talk, 'If it is not too late'.

1p., 8vo. Good, on lightly-creased paper. He writes that he was 'very interested' to get Brill's letter. 'I will certainly work on something: I have many ideas, and you will probably be able to select something from what I will show you.' He suggests 'a drink at the Chelsea Arts Club one evening? I now have an answering machine, so you can leave a message there - or even with Monica at the College'.

ONE: Typed Letter Signed ('Henry') from Moore to Juda ('Dear Hans'). On letterhead of Hoglands, Perry Green, Much Hadham, Herts. 29 March 1973. 1p., 12mo.

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.'

Circular Letter, mimeographed, awaiting a signature, one page, 4to, good condition. It commences, We, the undersigned Irish Artists and Writers venture to appeal ... The circumstances surrounding the disposition of Hugh Lane’s Pictures are retailed, and an appeal for the codicil by which they were to go to Dublin to be respected.

4pp., 12mo. Good, on lightly-aged paper. He gives his 'best thanks' for his correspondent's 'watchful kindness'. As his 'acquaintance with Academicians is very limited', he has 'not yet solicited any one to propose me at the R.A.', and he 'would gladly accept Mr. E. M. Ward's obliging offer - and think Mr. G. D. Leslie or Mr Dobson would second me'. He made 'such a mistake' the previous evening, by going to the Vestry Hall, Chelsea. He found, 'on reading the circular again how I had erred'.