ACADEMY

From the Macqueen-Pope papers. See his entry and hers in the Oxford DNB. Caird was Northcliffe’s right-hand man, and mainly associated with the Daily Mail. The four items are in fair condition, lightly aged and creased, with slight rust spotting from a paper clips. Items Two to Four are on carbon paper. ONE: ACS from Tutin to MP. Small unillustrated postcard, signed ‘Dorothy Tutin’. Reads: ‘I remember you very well - your fascinating letures at the Academy [i.e. London theatre school RADA, the Royal Academy of Dramatic Art] - and shall be very happy to meet you for this article.

See his entry in the Oxford DNB. For Gauntlett see the excellent article on the ‘Semibrevity’ blog: ‘Ambrose Gauntlett, forgotten gamba player and continuo cellist’, beginning: ‘Although Ambrose Gauntlett (1889–1978) spent most of his career as a full-time orchestral principal, he was the most sought-after continuo cellist and gamba player in the UK for many years. In his obituary, published in The Times, Sir Anthony Lewis mentions “his beautiful playing of the important 18th-century viola da gamba obbligato roles”.’ Both items in good condition, lightly aged. ONE: Letter, 1 June 1972.

See his entry in the Oxford DNB. 2pp, 12mo. On a leaf of grey paper. In good condition, lightly aged. The recipient was studying at the Royal Academy Schools. Begins: ‘Dear Miss Towgood / Thanks for your letter and enclosed statement by Mr Percy Young.’ He asks to be sent ‘the names of the authors of the various “Cartoons” and “Creswick”’, so that he may have all his material ‘ready for the Council on Tuesday next’. He intended to ask her for the names in ‘the Schools’ (of the Royal Academy at Burlington House), ‘but a sudden attack of Influenza confines me to my room by the Doctor’s order’.

Pauer, who had studied piano with Mozart’s son, gave daily recitals during the Great Exhibition of 1862, and was later appointed Professor at the newly-formed Royal College of Music (later the Royal College of Music), also working at Cambridge University. 2pp, 16mo. In good condition, lightly aged. Folded twice. Reads: ‘Dear Miss Alain / I do not see any chance of being able to arrange for the lessons you desire to take. I need not tell you that I am sorry that I cannot fulfil your wish. / In haste yrs truly / E Pauer’.

Redgrave’s entry in the Oxford DNB praises his ‘exceptional administrative skill’, and states that ‘Redgrave and Cole supervised the new South Kensington Museum (now the Victoria and Albert Museum), for which Redgrave designed the innovative art gallery to house John Sheepshanks's extensive collection of British art, given to the state in 1857.’ 1p, 12mo. On grey paper. In good condition, laid down on part of a leaf from an autograph album. Pasted down at the head of the letter is a thin strip on which is printed ‘Inspector-General for Art. R. Redgrave, R.A.’ The male recipient is unnamed.

See the entries for Long, Forbes and Burgess in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged, with traces of tape from mount along one edge. Signed ‘Edwin Long’. Begins: ‘Dear Sir Richard / I have just had a chat about your kind enquiry with my friend Burgess, who knows everybody’. While Burgess ‘says Stanhope Forbes is the best man coming on & that he has painted some very good portraits’, from what Long himself remembers of his work, it seems ‘very black’. He concludes: ‘Why not give it to Burgess? he is painting capitally just now & I know he would be very pleased.’

On 9 x 13.5 cm newspaper cutting of photographic portrait of Jarred. In good condition, lightly aged. Reads: ‘Mary Jarred / 1935.’ The photograph shows Jarred posing in a black dress and pearls, with left hand arranging her white fur coat to tastefully emphasize her bust. See image.

See his entry in the Oxford DNB, and that of his brothers the architect Leonard Scott Stokes and the inventor of the ‘Stokes Gun’ Sir Wilfred Scott Stokes. 2pp, 12mo. In good condition, lightly aged. Folded once. Signed ‘Adrian Stokes’. He has added the word ‘at’ above the letterhead, indicating that the residence is not his (it is in fact the house that his brother Leonard designed for himself).

See his entry in the Oxford DNB. 2pp, 12mo. Bifolium. In good condition, lightly aged. Folded once. The recipient is named as ‘J. Pendred Broadhurst Esq’. Boughton begins by thanking him for his ‘kind note’. He is ‘quite out of photos for the moment - there has been such “a run on” me’. His portrait is not ‘in commerce’. He is enclosing ‘a Menu Card (of a dinner given me by Messrs Harper in New York)’, which has ‘a portrait by Mr L. Alma Tadema R.A. which I think is a little out of the Common. There is also an illustration from our book - (E. A.

See his entry in the Oxford DNB. 1p, 12mo. On the first leaf of bifolium. In good condition, lightly aged. Folded once. He begins by thanking him ‘most sincerely for your cheering note of congratulation’. Whilst it is ‘pleasant to be raised to the “Upper Shelf”’, he finds that ‘the position of Associate of the Royal Academy is one that is quite Ideal. To gain that - and to paint a good picture were my two great ambitions’.

See both men’s entries in the Oxford DNB. 4pp, 12mo. Bifolium. In good condition, lightly aged, with slight spot from previous mount at one corner. Folded twice. Signed ‘H. H. Armstead’. In reply to a letter of Dafforne, he reports that ‘the Statues I have made for the “Colonial Office” Niches are not yet in situ - but are now being raised to the niches, and they will be in their places within the next few days.’ He gives the names and positions of the statues, adding: ‘The eight men are there as Secretaries of State for the Colonies’.

In 1867 Starr was the first woman to win a gold medal for painting at the Royal Academy, having won a silver two years before. 2pp, 12mo. On bifolium. In good condition, lightly aged, with minor traces of mount on blank reverse of second leaf. Folded twice. She has ‘just received the ticket for the lecture at the Associated Arts Institute’ which he sent, and is afraid she will not be able to use it herself: ‘as we are going to the Opera’. She wonders whether she ‘may be allowed’ to ‘give it to some friends who I think would like to come very much’.

See Dilke’s entry in the Oxford DNB. Lurid claims of three-in-a-bed adulteries put a paid to his political ambitions (he had been touted as a future prime minister), and rendered him the butt of musical hall jokes. The recipient is not named. On one side of a plain 11.5 x 9 cm postcard. In fair condition, lightly aged, with the two right-hand corners creased.

See Webb's entry in the Oxford DNB. 1p, 4to. In fair condition, aged and worn with traces of glue from mount at head. Folded twice. Addressed to ‘Rev. A. R. F. Hyslop, M.A. / Warden, / Glenalmond College, PERTHSHIRE.’ Following on from previous correspondence, Webb is ‘desired to explain’ that ‘the Board feels strongly the advantage of a training in freehand drawing as a preliminary to architectural training’, and that they do not consider ‘the geometrical drawing of architecture more particularly from plates’ ‘generally helpful’.

See the entries for Robinson and Cooke in the Oxford DNB. 3pp, 12mo. Bifolium. In good condition, folded twice. Addressed to ‘My dear Mr Cooke’. Cooke’s ‘friendly note’ about the time he ‘proposed setting out for Deal’ was received on the Thursday, and the Robinsons are ‘glad indeed to hear that your dear Mother is again restored to her usual health’. The Robinsons think that ‘change of occupation & fresh air together, may have the desired effect both as regards yourself & your son Conrad’.

See his entry in the Oxford DNB. 2pp, 16mo. Bifolium. In good condition, lightly aged, with minor traces of mount to blank reverse of second leaf. Folded twice. Le Jeune’s handwriting is strangely childlike. The recipient is not named. He begins: ‘Dear Sir / Your little picture of “The Bather” has been finished some time, & I should be glad to shew it you at your earliest convenience.’ He briefly suggests arrangements for a showing.

See the entries for Jones and Chantry in the Oxford DNB. 3pp, 12mo. On bifolium. An interesting letter of 39 lines with text intact, in poor condition, aged and with closed tears, and discoloration from tape used in repair, and ink blot to first page. The surname of the recipient is not given, but the close friendship between the two men (Jones published a memoir of Chantrey in 1849) puts Chantrey’s identity beyond doubt.

The present item is the producer Hugh Burnett's own copy, from his papers, of the transcript of John Freeman's interview with John, broadcast in the groundbreaking BBC series 'Face to Face' on 15 May 1960. This single-spaced typed transcript was produced for inclusion in Burnett's book 'Face to Face / Edited and introduced by Hugh Burnett' (London: Jonathan Cape, 1964), and is marked up with printing instructions in pencil and red ink, with a few proof corrections in green ink. 3pp, foolscap 8vo, on three leaves stapled together.

Two pages, 12mo, black-bordered. Text: I think I shall have it in my power to procure you all the autographs you mention, I have enclosed a note of Sir Willm Allans [not present] & intended to hae sent only the signature but as it relates to his last illness it may be interesting to you on that account. I think I have some letters of Sir David Wilkier, and will look out for them.

Twelve pencil portraits executed in the same extremely capable style, probably for the purposes of engraving. Each on a separate piece of 4to paper. All in good condition, with light signs of age and wear, a couple with minor flecking with red paint. All dated in pencil (between 1811 and 1829), and all but two captioned. (Several of the items with watermark date supporting the pencil dating.) Three of the portraits have the tiny signature at bottom left of 'Bestland', and all would appear to be the work of the same artist, although the last appears to be signed with the initials 'C H'.

1p, 8vo. In fair condition, lightly aged and worn. With stub from mount adhering along one edge. From the celebrated manuscript collection of Richard Monckton Milnes (Lord Houghton). In reply to the unnamed recipient's letter, he writes that he has presented to the Berlin Academy 'votre Prospectus que vous les avez deja fait parvenir par M le Directeur Merian [i.e. Johann Bernhard Merian (1723-1807)].' The Academy wishes Formey to thank the writer for his attentions, but as such works do not feature 'dans le plan de la Bibliotheque', the Academy will not be able to profit from the offer.

An interesting correspondence, casting light on the practicalities of early twentieth-century English portrait-painting. The recipient is Colonel Frederick Hugh Langston Oldham, D.S.O., D.L., of Overley Hall, near Wellington, Shropshire, eldest son of the Archdeacon of Ludlow, and the letter concerns Brock's portrait of Oldham's wife Christabel Josephine Oldham. The five letters in good condition, lightly aged. The four dated letters are dated between 25 February and 13 July 1920. The total 9pp (seven in 8vo and two in 12mo).

One page, 20.5 x 17cm, very good condition. "My dear Academicain Extraordinary | May I offer - on hehalf of the whole Academy - our most sincere good wishes to Sir Winston Churchill K.G. | There will be a Guard of Honour - from the 21st S.A.S. Regt. Artists) T.A. which I hope you will be pleased to inspect at 7.55 p.m. before the Dinner on 30th April."

Seventeen lines of text, on both sides of a piece of grey card. In good condition. Written in felt-tip pen, and difficult to decipher in places, as for example the Paris address and name of recipient. Begins: 'Surprise, surprise, dear [?], it is no longer true that I have not answered a single letter. Dear Nadia was so popular a person that I am still struggling with an Everest of condolences, and this far happier event has given me a momentary pause in my labours'.

4pp, 12mo. Bifolium of grey paper. In good condition, lightly aged.

2pp, 12mo. In good condition, lightly aged. Reads: 'I pray your forgiveness. I am sincerely ashamed of my bad behaviours in putting by your letter & forgetting to answer it, especially when it was written for a charitable purpose. With great pleasure I enclose a small donation & am sorry it was not in time for your dinner.'

2pp, 12mo. In good condition, lightly aged. He thanks her for remembering him and sending 'that splendid photograph of yourself – I really think it is the best I have seen'. He continues: 'I have been “slogging” away at water-colours for a shew in Manchester and so have kept pretty busy.' He is sending 'a Nile water colour to the New Gallery', and has sent 'an oil to the Academy – they are sure to kick it out so I shan't mind'. He hopes that she and her sister 'are all right' and 'enjoying this lovely weather'.

1p, 12mo. In good condition, lightly aged, with small trace of glue from mount at foot. Folded twice. Reads: 'Dear Madam | I have much pleasure in complying with your request & beg to remain | Yours faithfully | Charlotte H Sainton Dolby'. See her entry in the Oxford DNB.

1p., 12mo. In fair condition, lightly aged. Presumably written to the governess of a child he had arranged to paint. Reads: 'Madam | I have Mrs. Horsfall's permission to ask if you could make it convenient that I should see her little daughter tomorrow at ¼ past 2 oC – for the purposes of arranging sittings for her portrait.'

ONE: Manuscript pedigree. On one side of a 49 x 38 cm piece of thick laid paper, with no watermark. Folded three times. Discoloured and with light damp staining. The greater part of the pedigree is written in ink in a loose hand, and traces the descent of Sir Thomas Lawrence's mother Lucy (née Read) to William the Conqueror.