CAMDEN

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.

Richard Colley Wellesley (1760-1842), 1st Marquess Wellesley [as Earl of Mornington]; John Jeffreys Pratt (1759-1840), 1st Marquess Camden [as Viscount Bayham]; John Thomas Townshend (1764-1831), 2nd Viscount Sydney of St Leonards. See their entries in the Oxford DNB. On 5.5 x 15.5 cm strip extracted from a document, and laid down on 8 x 21.5 cm part of gilt-edged leaf from an album. In good condition, lightly aged on aged and creased mount. The signatures are written above one another: 'Mornington / Bayham / J. Th. Townshend'.

See his entries in the Oxford DNB (where his edition of Pepys is described as ‘an amateurish travesty’ of the transcript) and the History of Parliament. 2pp, 12mo. In good condition, lightly aged and folded twice. Good neat signature: ‘Braybrooke’. The recipient is not named, but the name of the editor of the work mentioned by Braybrooke is given as 'C.

See his entry in the Oxford DNB. The present item is not in the best of condition: it is aged and creased (including dog-eared corner on which the signature ‘Camden’ is written), with contemporary repair to two long tears by the laying down on the blank reverse of strips from a contemporary manuscript. Docketed on the otherwise blank second leaf: ‘25th July 1824 / Marquis Camden’.

3pp, 12mo. Bifolium. With the cover of the letter's envelope, addressed to H. A. Bright at Trinity Collrge, Cambridge. Both letter and cover in fair condition, lightly aged and worn.

On the half-title of his self-published anonymous 'Literary copyright: seven Letters addressed by Permission to the Right Hon. the Earl Stanhope' (1871), now a loose leaf in 12mo. In fair condition, lightly aged and worn. Printed in the centre of the page are the words 'Literary Copyright.' Above this Hotten has written, in his stylised hand: 'To Charles Welford | with the respects of | Jno Camden Hotten | 24 Oct. 1871.'

124 + [4] pp., 12mo. Four hand-coloured plates including frontispiece. A four-page publisher's advertisement at rear, for 'A New and Attractive Series of Juvenile Books'. In fair condition, on lightly aged and worn paper. In worn brown-cloth binding with decorative design featuring titles in gilt on cover; split hinge at rear. Stirling's story continues to p.50, and is followed by Templer's collection of 27 'improving' poems, from 'The Invitation' and 'The Holly Tree's Tale - Christmas' to 'Heartsease - Thoughts of Peace' and 'The Misseltoe - A Missionary Tale'.

On one side of a 10 x 12.5 cm piece of card. In fair condition, lightly aged and worn. Signed 'C C Wakefield' and granting admission to 'the representative of the [ Pall Mall ]', the trial beginning on 12 December 1907. Annotated around Wakefield's signature: 'For the trial of Robert Wood for the murder of Emily Dimmock, of St Paul's Road, Camden Town | Judge - W Justice Grantham | Leading Conuncil - Sir Charles Mathews for the prosecution; Mr Marshall Halll for the defence. | Verdict - Not guilty.'

The diary is 66pp., 4to. In red buckram binding with 'Diary Oct-Dec 1907 Plowden Wardlaw' in gilt on spine. In very good condition, on lightly-aged paper, in good tight binding. Plowden Wardlaw's devoutness is apparent throughout. For example, on 17 October, he appears to be consecrating his own private chapel: 'At home to-day. Most of the day was spent in cleaning and preparing the Chapel for the dedication tomorrow. Father Maturin the former

A cultured man (an authority on numismatics), Fewster worked for the family firm of Thomas Fewster of Hull, paint, colour and varnish manufacturers. The present item is an attractive example of his professional interest in the developments in late nineteenth-century design (another is his collection of the designs of Christopher Dresser, in two albums, is now in the Victoria and Albert Museum, London). It is a small 4to (21 x 17 cm) album of green cloth, with embossed design of birds and foliage around the words 'Scrap Album' on front cover, and printed illustrated title by Marcus Ward & Co.

1p., 4to. 22 lines of text. In very good condition, on lightly-aged paper, with traces of mount on reverse.

Three cards (bifoliums), 15 x 12.5cm, 11.5 x 18cm, 10 x 12.5, inscribed by Lamb either below image on front or on inside blanks. Images, two b & w, one faintly purple background, presumably by him, are: Madonna and child (inscribed page[3] "With love from | Henry Lamb"); Carol Singers (inside "Best wishes from | Henry Lamb") ; children and teenagers playing cards (under image on front "With love to you both | from | Henry Lam.| Xmas/48"). Image available on my website.

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.

2pp., 12mo. Good, on lightly-aged paper. Considering the fact that Mrs Harford states that she is staying at the home of Mrs Martin, and that Mr Martin died in 1832, it seems probable that the letter refers to the preparations for the coronation of Queen Victoria, which occurred on 28 June 1838. The letter reads: 'Mrs Harford understanding that people are admitted to see the Preparations in the Abbey & thinking it probable that Mr Gillen may have been employed in the decoration, will be very much obliged to Mr Wilson if he could procure her a Ticket to see them.

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: [ii] + ii + 390 pp. In contemporary quarter-binding with burgundy leather spine ('CARTES A JOUER' in gilt) and red paper boards. Top edge gilt. Binder's ticket of Bone & Son, Fleet Street. Tight copy, on aged and spotted paper, in worn binding with damage and loss to spine. In French, with Boiteau's preface dated 'Juin 1854'. Evidently the sheets of the French edition, with Hotten's new title-leaf. An interesting and informative work, with attractive engravings in text by Coppin. Scarce: the only copies on COPAC at the British Library and the National Library of Wales.

8vo: [ii] + 70 pp. Internally sound and tight, on lightly-aged paper. In worn contemporary burgundy quarter-binding with heavily-worn spine, recased with repair to rear endpapers. COPAC lists an entry for a copy in Cambridge University Library described as 'Probably the Lithographic facsimile by H.J. Bellars. London, reprinted 1861'.

Poet and biographer (La Jeunesse de Swinburne, 1837-1867. [With a bibliography.]) Four pages, 8vo, good condition. A very detailed defence of his work on Swinburne. For example, "[I] want first to assure you that there is here some misunderstanding: in my opinion, you have no real justification for speaking of" the unfair treatment I have meted out to your Father". If I have had to quote contemporary documents in which unfavourable comments are made, it's always clear that I do not profess to share those views". He has in fact suppressed material in Swinburne's correspondence with W.M.