ACADEMY

12mo, 1 p. 10 lines. Text clear and complete. Good, on lightly-aged paper. The recipient 'had better be in Town for the Choral Meeting on the 4th. June'. Gives details of when the recipient will 'generally find' Hullah there.

Oval sepia photograph of the head and shoulders of Hullah, looking to his right in double-breasted jacket. Faded and on aged card, with traces of mount adhering to reverse. The sitter - who by comparison with other photographs is definitely Hullah - is named as 'JOHN HULLAH' in a contemporary hand on the card beneath the laid-down photograph, and as 'Mr Hullah' in pencil on the reverse. Not present in the collection of the National Portrait Gallery, which only holds three images of the composer.

4to, 2 pp. 46 lines. Clear and complete. Good, on aged paper. He thanks her for putting the commission of 'Mr Proger' his way, discussing the circumstances. 'Just 3 days before I received his letter, while Molly & I were making some sort of order in the Augean Stable which is my lower studio, workshop & general storage place I came across this little panel (a view of Burleigh) which I had thrown asside [sic] as a dud.

Landscape 12mo. 12 lines. Text clear and complete. Good, on aged paper, in envelope addressed by Lamb to Inglis. On 'seeing the picture after that long interval' he was 'not ashamed of it', but 'when it was new my friends used to rag me about my "Morgue" pictures', there being 'a few others of similar gruesome import'. Now that he is 'far past youth' he is 'painting mostly scenes of sweetness & serenity'. He is sorry that she is 'denied the priviledge [sic] I have enjoyed all these sinister times', that of being able to paint.

12mo, 2 pp. Bifolium. Written out in one hand, and signed 'Bradley & Co' in another. Addressed to 'W. F. Stocks Esqre | Glen Elwy | St Asaph. | Flint[shire]'. Thirteen lines. Text clear and complete. On foxed and lightly-aged paper. Giving the firm's 'charge for receiving unpacking & delivering pictures to the R.A. or other London Exhibitions' and for 'collecting repacking & forwarding', as well as the dimensions of pictures for which these charges apply.

12mo, 2 pp. 15 lines. Text clear and complete. Good, on aged paper. Providing a 'recommendation as a teacher' for his correspondent, 'in the neighbourhood of Leamington'. 'My observation of the progress you have made, during your studentship at the Royal Academy enables me to state, that, you are, in my opinion fully competent to undertake the teaching of the elementary branches of art'. From a small archive of Walter F. Stocks's correspondence.

12mo, 1 p. Ten lines. Clear and complete. On bifolium with mourning border. Fair, on aged and discoloured paper. Endorsing the application of Walter F. Stocks for 'the vacant professorship of landscape painting in Queen's College'. Stocks 'has been an exhibitor at the Royal Academy for many years' and Calderon 'has admired his paintings on our walls'.

12mo, 2 pp. Twenty lines. Text clear and complete. In bifolium. On aged and discoloured paper, with small closed tears along central fold lines of both leaves. A reference, 'bearing testimony to your perfect efficiency as a teacher of landscape painting possessing, as you do, the first and greatest requisite, namely a power to sketch beautifully from nature, your success should not be short of great. [last word underlined]' Apologises for not answering sooner, caused by 'the loss of your card'. From a small archive of Walter F. Stocks's correspondence.

8vo, 2 pp. Leaf dimensions 21 x 16.5 cm. On good wove paper. 29 lines. Text clear and complete. On the first leaf of the bifolium, with the transcription, presumably by Twining, on the recto of the second. Addressed by Parr to Twining at Devereux Court in the Strand, on the reverse of the second leaf, which carries Parr's broken seal in red wax, and a postmark. In good condition, though a little grubby. Parr's handwriting is legendarily bad (he received a flogging at Harrow because of it, and never reformed), and although the transcriber has made a game effort, there are a few lacunae.

12mo, 1 p. Bifolium. Good, on lightly-aged paper. From the context of other items in the same collection, this letter relates to an 'Artists general Benevolent Banquet' (for which Dollman was acting as steward). Blomfield would be pleased to join Dollman, but has 'already promised my subscription to Pomeroy' (presumably acting as steward for a rival dinner). Addressed to Dollman at Hove House, Newton Grove, Bedford Park.

Steel-engraving, on a piece of thick laid paper, 12.5 x 17.5 cm. Fair, on lightly-aged and foxed paper. Never mounted, and so with no glue staining or other marking to blank reverse. Depicts Camelford's armorial crest, flanked by two birds, with motto 'PER . ARDUA . LIBERI .' At foot, in copperplate, 'Camelford.', with 'C. Catton R.A. del. F. Chesham Sculp.'

Dimensions roughly two and a half inches by four and a half wide. Clear, bold signature on aged paper. Reads '<...> believe me Gill's friend as well as your own | [signature] Charlotte H Dolby'. Reverse reads '<...> says, because I get mixed up with such a lot of people, and lose my individuality in the <...>'.

Foolscap (31.5 x 20.5 cm): 1 p. 24 lines of text. Address, with postmark, on reverse. Good, on lightly aged and creased paper. Discussing a picture he has been painting of 'Captain Tonyn', which 'is within one days work of being finished'. Points out that there has been a misunderstanding about the price: 'fifty five pounds [...] could not be the case because I never yet reced from any body pounds, but always Guinneas'. Because of 'the great work that so large a Canvas wod. require (it being bigger than a whole length for which I had at that time 50 Gs. and now 60 Gs.

4to: xxxii + 568 pp. Very good, on lightly spotted and discoloured paper. In heavily-worn original boards, consisting of quarter-binding with grey boards and cream spine, with slight staining at head of spine. Foxed endpapers. Lacking plates. Fifty-four papers, by James Bowdoin, Edward Augustus Holyoke, Benjamin Lincoln, Joseph Willard, Mannaseh Cutler, Caleb Gannett, Eli Forbes, Edward Wigglesworth, Jeremy Belknap and others.

On both sides of a piece of paper, roughly 18 x 23.5 cm, taken from an album. Very good, on lightly-aged paper. Thirty-two grand staff bars, in black ink, with title and signature in blue. Signature, following the score, reads 'Douglas Hopkins | September 2nd. 1926'.

On one side of a leaf, roughly 18 x 24 cm, removed from an album. Good, on lightly aged paper. Sixteen grand staff bars, followed by 'from Minueta Trio for pianoforte | [signed] Leslie Regan | 10 July 1919.'

On one side of a piece of pink paper, roughly 18 x 23.5 cm, removed from an autograph album. Good, on lightly aged paper. Eight bars of music and libretto, with staves for 'Soprani', 'Alti', 'Tenori' and 'Bassi'. Covering most of the page, and followed by 'From "The Waters of Babylon" (Psalm 137) | (May 1935.) | E. Phyllis Roberts. | June 15th, 1935.' Twenty-nine line poem 'To the Gentle Owner of this Album' on the reverse, signed 'Moir Carnegie | 21-6-10'. (in whose name a "prestigious" prize was given).

On one side of a pink leaf, roughly 18 x 23.5 cm, removed from an album. Good, on lightly aged paper. Staves ruled out in red, with notes and text in black. Seventeen bars, with staves for soprano, alto, tenor and bass.Titled 'Quartet (unaccompanied)' at head, with 'from "The Lord is King" | Stanley Marchant. | Jan: 10: 1909.' at foot. Beside this, in a larger, looser hand, in green ink, is a later signature: 'Stanley Marchant | Sept: 20: 1936'.

On one side of a piece of paper roughly 8 x 12.5 cm. Good, lightly aged. Reads ' Henry Colburn | 13 Gt Marlborough Street | Martin Arthur Shee | Peter North 22 Soho Square | Dominic Colnaghi'. Fragment of docketed manuscript record of the case on the reverse: '<...> 830 | <...>nes O'Connor | <...>ent Case | <...>y 12th. 1841'.

8vo: 224 pp. Errata on last page. Frontispiece and portrait of the author on p.65 by Lodge. In original brown calf binding, with red label with 'Kisses of Secundus' in gilt, on spine. A tight copy, with the flyleaves becoming detached, the frontispiece foxed and with a closed tear at the head of the hinge, and a 4mm ink stain spreading upwards along the leaves along the bottom edge. Elegantly printed, with a four-page preface by the unnamed translator, followed by a 32-page 'Essay on the Life and Writings of Secundus'.The poems are on the versos, with the translations on the facing rectos.

On piece of laid paper (roughly 8.5 x 16 cm) cut from diary. On aged paper with wear and 1 cm closed tear at head. Clear and clean signature, beneath the heading 'July 17'.

Folio bifolium (dimensions of leaf roughly 32 x 20 cm): one page, with the reverse of the leaf and the whole of the second leaf of the bifolium blank. Unbound. Good, on lightly aged and creased laid paper with a Britannia watermark. Eighteen lines of text, mostly taken up with comments on the teaching at the College of Latin and Greek, followed by an 'Extract from the General Report transmitted to the Admiralty Office' with room for the Student's name, his date of admission, and progress in mathematics, English, Latin and Greek, History and Geography, French and Drawing.

16mo (11.5 x 9 cm): 1 p. On aged paper with a diagonal crease towards top right-hand corner. In a shaky hand. Reads 'With much pleasure I accept your hospitable invitation for Nov. 20, at 1/4 to 8; - and am | Very truly Your's | [signed] J. Doran'.

Both items concern John Littlejohn's 'British Watercolour Painting and Painters of Today' (Pitman, 1931). Note of 18 December 1930: 12mo, 1 p. Five lines. Good on lightly aged paper. Thanking the publishers for sending 'the prints of my drawings [...] they are really very well done!' Letter of 13 February 1931: 12mo,1 p. Eight lines. Good, on lightly creased paper. Thanking the publishers for four presentation copies of the book. 'It is a handsome book and the drawings are well reproduced: I am particularly pleased with those of my own drawings.' Two items,

All three items concern Littlejohns' 'British Watercolour Painting and Painters of Today' (London: Pitman, 1931)'. First Letter: 12mo, 3 pp. 43 lines. Text clear and entire. On two leaves attached to one another in a corner by a pin. Good, on lightly-creased paper. Interesting and informative letter concerning 'two watercolours' which Williams would 'like to be 'reproduced in [Littlejohn's] work on water colours'. Gives details of the titles of the works and the name and address of the owner, 'who has consented to send them'.

12mo, 2 pp. 12 lines of text. Creased and ruckled, with a little smudging. Difficult hand. Asking the recipient 'd'aller passer une soirée avec nous'. Laid down on a piece of paper which is attached to the blank reverse of the second leaf of the bifolium is a slip of paper (roughly 2 x 9 cm) carrying Eastlake's signature ('always truly yours | [signed] C. L. Eastlake').

12mo, 1 p. Good, on lightly aged and ruckled paper. Laid down on a piece of grey paper removed from an autograph album. Accepting an invitation, and informing the recipient that 'Mrs Callcott has recovered from her last attack - but she is still slightly affected at times, and is very weak.'

Seven lines on one side of a piece of aged wove paper, roughly 12.5 x 10 cm. A hurried, smudged communication. Reads 'My Dear Sir | I have the ill luck to be obliged to attend a Council of the Royal Academy. We commence business punctually [last word underlined] at 8 oClock - Confound the R.A.!!! | Truly yrs | [signed] F Chantrey | Tuesday Morng'.

4to, 1 p, 22 lines. On aged paper, with chipping at extremities neatly repaired with archival tape. Text clear and entire. He thanks him for his 'interesting paper', commenting on the 'Lucretian passage'. Postgate's 're-arrangement [...] is undoubtedly more attractive & logical than the ordinary arrangment, and as such I welcome it: but must we suppose always that artists do as well instinctively as they might if they had taken counsel?' 'Ex silentio I judge that all is well with you, as far as anything can be well for any of us these terrible times.

12mo, 2 pp, 18 lines. Good, on lightly aged and creased paper. 'Mr. Westmacott presents his Compts and has to acknowledge Mr Twinings polite letter'. Its delivery has been delayed 'owing to its incorrect address', 'Mr W. having left Wilton <& Co.?>. (and quitted the practice of his profession) for some years'. As for 'Engravings and Photographs' of Westmacott's works, 'very few were made'. Most of these were 'ill done', although he does name one with which he was satisfied. Consequently Westmacott cannot 'assist Mr. Twining in his object'.