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194819690Poughkeepsie 1948-1951. Very good . Oblong 16mo. Commercial string-tied album white boards. 225 gelatin-silver prints 2.5" by 3.25" corner-mounted on black paper with captions in white ink. Apparently complete. Very good plus. Mild touches of wear along page edges; many captions a bit smudged; else clean and sound. <br/><br/>A evocative collection of photographs taken and compiled by Robert H. Tucker while he was a student at MIT of his high school career at Poughkeepsie's Arlington High School where he graduated with the class of 1950. Tucker called this album his "own yearbook" and it indeed shares a great deal with conventional yearbook style with humorous captions "A test Oh no!" and attention to a wide range of faculty staff and student activities both in and out of the classroom. Subjects include track meets baseball games cheerleaders teachers at the blackboard students at work in the library a special event including donkey-riding in the gym commencement and other activities. More than mere yearbook however the album reveals Tucker to be a natural photographer with an eye for both composition and POV; his sports shots are especially vibrant often crisply capturing athletes in the midst of the action. A detailed album capturing the dawn of the post-war American teenager. Indeed quintessentially so; we are tempted to call this an almost Platonically ideal example of the high school album. hardcover books
189013411890. Ink and gouache with gold heightening on fibrous brown laid paper with a Jaipur Court Fee tax stamp in purple ink on the recto 13 1/4 x 8 7/8 inches 336 x 226 mm. Toning handling creases and minor scattered surface soiling throughout. There are scattered coeval inscriptions in ink on the recto and verso. A traditional Indian butter churn is operated by rapidly pulling a rope which turns a paddled spindle. The paddles churn cows milk inside a large jar until milk solids form. Ghee is made from cow milk butter which is treated with low heat until the water evaporates leaving behind milk solids. The solids are skimmed off or strained if needed. Ghee is a staple food on the Indian subcontinent and as a cooking oil it is the most widely used food in India apart from wheat and rice. Because of its exalted status at Hindu weddings ghee is expensive and in high demand. Male wedding guests are expected to compete with each other to see who can eat the most of it; consuming two pounds or more at a sitting is considered a proof of virility. <br /> <br /> On the stamp:<br /> <br /> The first revenue stamps in India were issued in the mid-nineteenth century during the Raj and they are still being issued to this day. Apart from issues for the whole of India many princely states provinces and other states also had or still have their own revenue stamp issues. Before independence Indian revenue stamps were closely modeled on similar designs from Great Britain as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations including rupees and annas. An anna or Änna was a currency unit formerly used in British India equal to 1â„16 of a rupee. It was subdivided into four old Paisa or twelve pies thus there were 192 pies in a rupee. When the rupee was decimalized and subdivided into 100 new paise one anna was therefore equivalent to 6.25 paise. This particular stamp was used as evidence of court taxes remitted for property dealings. unknown
189013331890. Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink 13 3/8 x 8 3/4 inches 340 x 222 mm. Toning handling creases and minor scattered surface soiling throughout. Scattered coeval Hindi inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj and they are still being issued to this day. Apart from issues for the whole of India many princely states provinces and other states also had or still have their own revenue stamp issues. <br /> <br /> Before independence Indian revenue stamps were closely modeled on similar designs from Great Britain as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations including rupees and annas. An anna or Änna was a currency unit formerly used in British India equal to 1â„16 of a rupee. It was subdivided into four old Paisa or twelve pies thus there were 192 pies in a rupee. When the rupee was decimalized and subdivided into 100 new paise one anna was therefore equivalent to 6.25 paise. This particular stamp was used as evidence of court taxes remitted for property dealings. unknown
189013341890. Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink 12 5/8 x 8 9/16 inches 320 x 217 mm. Toning handling creases and minor scattered surface soiling throughout. Scattered coeval Hindi inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj and they are still being issued to this day. Apart from issues for the whole of India many princely states provinces and other states also had or still have their own revenue stamp issues. <br /> <br /> Before independence Indian revenue stamps were closely modeled on similar designs from Great Britain as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations including rupees and annas. An anna or Änna was a currency unit formerly used in British India equal to 1â„16 of a rupee. It was subdivided into four old Paisa or twelve pies thus there were 192 pies in a rupee. When the rupee was decimalized and subdivided into 100 new paise one anna was therefore equivalent to 6.25 paise. This particular stamp was used as evidence of court taxes remitted for property dealings. unknown
196926325Watford England: Watford School of Art / Edition Hansjorg Mayer 1969. Light foxing to the text block and some scratching and wear to the mounted tin covers else very good in cloth wrappers. Limited edition. Quarto. Number 100 of an edition of 100 copies. Includes copies of works by Richard Buckley Ian Burton Elliott Frank Challenger Veronica Loveless Hansjörg Mayer Graham Pow Kathryn Wallbridge Cilla Weeks and John Wells printed with a Rotaprint R 70. Covers are original works of art on tin attributed to Watford School of Art on the colophon page. Watford, England: Watford School of Art / Edition Hansjorg Mayer unknown books
1939ZB393096University of Southern California Press 1939. Volumes 10-29 lacks volume 12 1939-1958 ; partly bound library markings textually clean & tight price is for the lot. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. University of Southern California Press unknown
1995SONG1880366185Brand: Texas School for the Blind 1995-08-31. 2. spiral_bound. Used: Good. 0.00x0.00x0.00. Buy with confidence. Excellent Customer Service & Return policy. Brand: Texas School for the Blind unknown
SONG1601590385School Zone 0000-00-00. paperback. Used: Good. 0.00x0.00x0.00. Buy with confidence. Excellent Customer Service & Return policy. School Zone paperback
SONG088743794XSchool Zone 2017-07-31. Inspired Learning Series. paperback. Used: Good. 7.50x0.13x10.63. Buy with confidence. Excellent Customer Service & Return policy. School Zone paperback
1887000311Paris Hurtrel 1887
167334321Zaragoca: : Por Agustin Verges Y Iuan De Ybar. Very Good with no dust jacket. 1673. Vellum. 4to 11" - 13" tall; El cordero vivo y muerto : vestigios sangrientos. By Jeromimo Escuela El cordero vivo y muerto : vestigios sangrientos del Redentor con la Cruz mansiones del Agnus Dei en su jornada al sacrificio passos a la vida por el camino de la muerte enpleos seraficos de la tercera orden de N. S. P. S. Francisco en la Estaciones de la Via Sacra. Provenance- Michael A Spencer small bookplate. 11" x 8.5". Collation: title 7 other prelim leaves a-e4 A-2B4 2C-2E8 2F-3H4 3L-3P4 3Q6 10 index leaves. Text portion of the volume is paginated from page 1-432 and 445-496 except for the 3 8-leaf signatures 2C 2D and 2E which are numbered by leaf from 201 to 224. Page 432 is the last page of "Via Crucis XI" and p445 is the first page of "Via Crucis XII." Despite the gap in signings the catchword between p432 and p445 matches "Via". Pages 149 353-354 459 mis-paginated 349 343 344 and 229. 3H2 and 3H4 mis-signed. Woodcut letters several woodcut tailpieces printed marginalia. Old limp vellum. Wrinkled owners rubber stamp and notation at lower corner of front pastedown front hinge cracked. Corners of prelims and last leaves and lower corner of front cover have some dog-earing/creasing also occuring in the text thereafter some edgewear to first/least leaves. Minor worming to lower margin resulting in chipping to base of a few leaves inner margin. Occasional old ink marks. Old neatly written paragraph of commentary on back fly leaf in Spanish. Presumed 1st as I can locate no earlier copies. WorldCat locates but 6 copies of this book. Contemporary and possibly original covers. Jesucristo ---Pasión Via Crucis . : Por Agustin Verges Y Iuan De Ybar, hardcover
20112081502111905944China Chunghwa Book Bureau/Tianjin Ancient Books Publishing House 2011. Soft Cover. Fine. Number of pages: 2490p Size: A5 Hardcover Number of books: 4 China Chunghwa Book Bureau/Tianjin Ancient Books Publishing House paperback
20122092902144101012Kishin Shobo 2012. Soft Cover. Fine. Size: A5 Kishin Shobo paperback
0229QUPE6CPPamphlet. Good. ORIGINAL Prospectus for the first year at Swarthmore College. A little edgeworn and creased. Please see our photos. Scarce. $300 /year included wash room board AND books! unknown
1918209506England : printed for Harrow School by Philip Lee Warner publisher to the Medici Society 1918-1921 1918. First Edition. Hardback. Very good copies bound in cloth-backed boards. Printed title labels on spines and front panels. Title labels are slightly worn in places. Top edges gilt. Spine bands and panel edges slightly dust-toned and rubbed as with age. Remains particularly well-preserved overall; tight bright clean and strong. ; 8vo 8"" - 9"" tall; 0 pages; Physical description: 6v : mounted ports ; 28 cm. Obituary notices of Old Harrovians killed in the Great War. With portraits. Subjects: World War 1914-1918 -- Registers of dead -- Death register -- Great Britain. Notes: Each volume contains 100 memorils with the exception of vol. 6 which contains 116. Each portrait has a short biography on the facing page. Editing committee: W.F. Fladgate E.M. Buttler A. Wyatt-Smith. [England] : printed for Harrow School by Philip Lee Warner, publisher to the Medici Society, 1918-1921 hardcover
18192110502151100336Not Available 1819. Soft Cover. Fine. Number of books: 1 Not Available paperback
R1278/1-2*<p>Etutes Asiatiques Vol. 1-2 PRINT Paris 1924 WL CODE R1278/1-2 SIZE 383438 pp. fully illus. 190 x 285 mm BOOK WEIGHT 3.300 Kg PACKING WEIGHT 0.200 Kg</p> paperback
Natura morta da tavolo con rose e altri fiori in un ampio vaso di vetro bombato, illuminata da sinistra. Da un dipinto di Jean Baptiste Le Monnoyer. Mezzotinto, 1691 circa, firmato sotto l'immagine "J Baptiste Monnoyer pinxit" e "J Smith fecit & excudit". Esemplare del secondo stato di tre, prima della rielaborazione con i ritocchi alla lastra. Buona impressione su carta vergata, con margini molto sottili, una piega obliqua della carta nell'angolo superiore sinistro, per il resto buone condizioni. Nagler indica per questa lastra la data del 1691. John Smith (1652-1743) fu un editore e stampatore dotato e ambizioso, la cui lunga carriera iniziò sotto il regno di Carlo II e si concluse dopo l'ascesa di Giorgio II. Nato nel Northamptonshire, lavorò a Londra, specializzandosi nella tecnica relativamente nuova del mezzotinto. Tra il 1683 e il 1729 produsse oltre trecento stampe. La raffinatezza e la "modernità" delle sue stampe gli procurarono fama e poi prosperità materiale. Smith apprese la tecnica del mezzotinto dal tipografo Isaac Beckett (1653-88 circa) e dall'artista olandese Jan Van der Vaart (1653-1727). Riprodusse anche opere di alcuni artisti contemporanei britannici e stranieri. Secondo il curatore del British Museum questo è la sequenza degli stati: (i) con la scritta "J Baptiste Monnoyer pinxit". (ii) scritta "J Baptiste Monnoyer pinxit // J Smith fecit & excudit". (iii) come sopra, ma con lastra ritoccata. L'opera è molto rara; le altre impressioni conosciute sono: Londra BM, 1876,1111.21 (ii); Parigi BN (i, ii); Chatsworth (ii, 2 impressioni); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); Londra NPG (ii); New York PL (riedizione Boydell; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); Londra V&A (ii); CLB (3 impressioni, ii). Al verso della stampa firma della collezione di Giuseppe Storck (Lugt 2291), più altro timbro di collezione sconosciuto a Lugt. Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500. Table-top still-life with roses and other flowers in a wide, rounded glass vase, lit from the left; after Monnoyer. Mezzotint, circa 1691, lettered below image with 'J Baptiste Monnoyer pinxit' and 'J Smith fecit & excudit.' Example of the second state of three, before the plate reworked. A good impression on laid paper, with very thin margins, an oblique paper crease at upper left corner, otherwise good condition. Nagler gives the date 1691 for this plate. John Smith (1652-1743) was a gifted and ambitious printmaker and publisher whose long career began in the reign of Charles II and closed after the accession of George II. He was born in Northamptonshire and worked in London, specializing in the relatively new technique of mezzotint printing. Between 1683 and 1729 he produced over three hundred prints. Trained as a printmaker he was able to retain a controlling hand when, in the early 1690s, he turned from pure printmaking to printmaking and publishing. The refinement and 'modernity' of his prints brought him fame and then material prosperity and Smith's career, largely independent of interference from outside publishers, must have been an inspiration to William Hogarth (1697-1764) and the next generation of printmakers. Smith learnt the technique of mezzotinting from the printmaker Isaac Beckett (c.1653-88) and the Dutch artist Jan Van der Vaart (1653-1727). Smith also reproduced works of a number of contemporary British and foreign artists. According to the curator of The British Museum this is the list of states: (i) lettered 'J Baptiste Monnoyer pinxit' (ii) lettered 'J Baptiste Monnoyer pinxit // J Smith fecit & excudit.' (iii) lettering as above; plate reworked.). The work is very rare; the other known impressions are: London BM, 1876,1111.21 (ii); Paris BN (i, ii); Chatsworth (ii, 2 impressions); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); London NPG (ii); New York PL (Boydell reissue; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); London V&A (ii); CLB (3 impressions, ii). Collection mark of Giuseppe Storck (Lugt 2291). Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500.
1976mon0000083355The School 1976-01-01. Paperback. Acceptable. in x in x in. Ex-library book usual markings. Hardback rebound by library. Well read copy with some spine wear. Colouring of page edges due to age. The School paperback
1882ZB981331NY: Columbia University Press 1882-1915. volumes 4-36 lacks volume 10 an uninterrupted run of complete volumes bound ex library else text clean & bindings tight. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. NY: Columbia University Press unknown
239121916 to 1919 each a ‘Charles Letts School-Boy’s Diary’. At front of diaries for 1916 and 1917 he writes: ‘C L. Harris / 120 Gladstone St / Bedford’. See Fry’s entry by Michael Billington in the Dictonary of National Biography. His brother survives as a rather shadowy figure: he was certainly alive in 1978 when Fry referred to him in the account of his family background ‘Can You Find Me / A Family History’ OUP. In that volume Fry describes his ‘brother Leslie’ as a baby ‘growing sturdily’ noting that ‘though he was later called by his first name Charles he was Leslie for many years to come’. The four years of diary entries that are present here are short and factual and rather uneventful but they have a double interest: at once casting light on the family background of one of England’s finest twentieth-century playwrights and giving a picture of the development of an average English middle-class schoolboy around the period of the First World War as he rises to position of ‘Head of School’ at Bedford. The four volumes are in fair condition aged and worn with the 1916 diary sprung from its covers at the gutter of the rear endpapers. The four volumes are uniform in embossed brown cloth described by the publisher as ‘Art Linen’ each with back loop for pencil. Each volume provides space for four days’ entries per page with numerous preliminary printed pages with the customary useful information including endpapers and other matter reflective of the conflict with maps of the Europe theatre illustrations of medals and of a ‘soldier-’ and ‘sailor-boy hero of the Great War’ the last volume carrying a ‘Message from Admiral Sir John Jellicoe to the Readers of “The Schoolboys’ Diary’. In the first three volumes Harris writes in pencil filling in the diary assiduously from 1 January 1916. In the final volume by May of 1919 the entries become intermittent and on 15 August 1919 they cease entirely. In additional to the daily record Harris also provides details of ‘Pocket Money’ personal information including ‘Size in Hats’ and memoranda dates of significant events such as ‘Promoted to Lance-Corporal in the O.T.C.’ ‘Received 1st XV colours’ and on 24 July 1919 ‘Made HEAD OF SCHOOL.’. Loosely inserted are a few postal order counterfoils and Chatham bus tickets. The entries begin in 1916 with Harris on his school holidays doing errands for his widowed mother and reading to her and entertaining his brother ‘Arthur’ i.e. Christopher Fry for example by taking him on walks to town for a haircut and helping him with his stamp collection. The monotony of school begins repeated entries in early volumes start with ‘School as usual’ and the entries reflect the rounds of sport he is captain of the ‘Wasps’ cricket team in 1916 cadet corps bible classes exams trips to London 2 January 1919: ‘Went over St Dunstans in morning with Jack / Uncle Walter took Jack girl Madeleine & myself up to the “Old Vic†to see Shakespear’s “Macbeth†2.0-5.0. Jolly fine performance though a bit tragic / Left & returned by train took 1 hr each way.’ his health recurring toothache mumps etc the weather involvement for the war effort in agriculture 11 September 1918: ‘Another dismal day all by myself. Have quite made up my mind to chuck farming if this goes on especially as when I was happily walking home at 4.30 I ran into more work & had to load wheat till 7.9.’. By 1918 the entries begin to loosen up a little. On 19 March for example: ‘Rotten wet beastly muddy miserable day with a boil on my chin about the size of an egg & a Corps Inspection 2.30 by Lieut Col Pilkington on top of that. The rest may speak for itself. Also EII beat WII by 1/4 length.’ And on 10 September; ‘G his friend Gerald often referred to & I shocked barley all the morning & then ditched until 5.30. Shocking barley is qute a decent job.’ The signing of the armistice 11 November 1918 is greeted with ‘Flags all over the town bells etc. Bands in afternoon; town packed.’ And on the following day ‘Whole Holiday for Armistice / Thanksgiving Service in Hall instead of Prayers.’ Final entry 14 August 1919: ‘Went over St Mary Redcliffe Church in morn. More wonderful even than the Cathedral. Employed myself immensely. Went on to Downs by myself in even to hear band.’ 1916 to 1919, each a ‘Charles Letts School-Boy’s Diary’. At front of diaries for 1916 and 1917 he writes: ‘C L. Harris / hardcover
21234Bedford Modern School. Nos 1-11 Feb. 1925 to July 1927: Printed by the "Bedfordshire Standard" Newspaper Co. 1913 Ltd Bedford. Nos 16 Oct. 1928 and 17 Dec. 1928: Printed by the County Press Bedford Limited. Supplement: 30 March 1926. Fourteen items all 8vo. Seven numbers 4-9 and 16 are 16pp; number 17 is 26pp; other numbers range from 8 to 12pp except for the 'B.M.S. Gazette Supplement' 30 March 1926 which has 4pp. The first five numbers on cheap newspaper stock; from the sixth number onwards the paper quality improves. Number 17 'Special Christmas Number' has lost its back cover. The other thirteen numbers are complete. A frail survival in fair overall condition on aged and worn paper. Numbers 4-11 with 'Eagle' masthead otherwise no settled layout. Becoming more professional as it proceeds with advertisements to the later numbers. Numbers 1-8 are edited by 'A. H. Harris' i.e. Fry 9-11 by W. L. Davis; 16 and 17 by B. W. R. Mooring. The usual mishmash of school news 'Holiday Camp 1928' photographs sports results and reports 'B.M.S. Regatta Victory. - The Winning Eight' stories cartoons and jokes editorial. Fry's entry in the Oxford DNB says nothing of his school years apart from the fact that he attended the school. [Bedford Modern School.] Nos 1-11 (Feb. 1925 to July 1927): Printed by the "Bedfordshire Standard" Newspaper Co. (1913), Ltd, Be unknown
22281Several of White's letters on letterheads of The Reedbeds Shoreham Nr. Sevenoaks Kent. Between 1921 and 1968. Two years after arriving in England from Australia in 1913 Franklin White entered the Slade School. His studies were interrupted by the First World War during which he worked as a draughtsman at the Admiralty. In 1919 he re-entered the Slade and was soon invited by Tonks to join the teaching staff. On his retirement in 1957 he devoted his full energies to the Samuel Palmer School of Art which he had run from his home in Shoreham since 1924 when he first held summer classes in landscape painting for his Slade students. In the 1950s the school expanded to take in residential students and despite ill-health White continued his teaching through his later years. White's work is to be found in the permanent collections of a number of major galleries in Britain and Australia including the British Museum Victoria and Albert Museum the Ashmolean and the National Gallery of Australia. The present collection of material from White's papers mainly consists of drafts and copies of letters although at least one addressed to Thelma Cazalet-Keir Item Ten below would appear to be the original letter and White admitted in Item One below to a habit of writing letters and not sending them. The draft letters contain material of biographical interest with FW discussing his home and studio business affairs teaching methods. A number of items concern the setting up of his residential school at Shoreham see Items Two and Three to 'Fleming' and Eight and Nine. In the 1920s Shoreham – previously the home of William Blake's disciple Samuel Palmer – had become something of an artistic enclave along the lines of St Ives. The collection is in good condition with light signs of age and wear. The following description is divided into fourteen parts the first nine of which describe material in FW's autograph. ONE: Autograph draft or copy of letter to 'Mr. Holland'. 15 February 1921. On Reedbeds letterhead. 2pp. 4to. FW and his wife are 'comfortably settled' in their new home 'the new “Reedbedsâ€' which dates from the fifteenth century: 'In sorting out and arranging letters accounts & papers I found no less than five written to you and never posted. Mr. Syrett would say he quite expected as much from me however my business methods are improving now that I have my place to arrange as suits me. I am getting on well with my work at the Slade School London University I like the work and it brings me in touch with the top people in the art world. I am selling work and get an occasional commission for a portrait and this summer I am taking a pupil at £4 a week and with my £225 a year from the Slade you see I am now able to do a little for myself. The Slade is a good thing for me as it brings me in contact with people and only takes up three days of the week the rest of the week I can devote to producing work for exhibitions & selling.' After a reference to 'Miss Fricker' he discusses his 'visits to the class': 'I should like it clearly understood that I cannot have outside people coming in while the class is in progress whether it is anyone connected with art the Education Board or Sevenoaks Counsellors or anyone else. We must treat the class with absolute seriousness or I cannot afford to give the time to it.' TWO: Part of autograph draft of letter to 'Fleming' originally 'Mr Syret'. 2 May 1921; on Reedbeds letterhead. 2pp. 4to. In what appears to be a response to a proposal from Fleming that FW find London artists to teach a class at Sevenoaks he writes: 'I am afraid you would not be able to get anyone of any standing to give up the time it would require to come all the way from town. I ventured it at the Slade the fee etc but although a desire for a better feeling in art should be encouraged they could not see how anyone could afford to give up the time. … The class of students would be very distasteful to me then of course I partly imagine & partly judge from the visit to Sevenoaks'. Nevertheless he gives conditions which would have to met for him to consider the engagement. THREE: Autograph draft or copy of letter to 'Dear Fleming'. 11 June 1921. On Reedbeds letterhead. 2pp. 4to. 'The days of Gold Medallists at the Slade were days long before the present Slade tradition and it goes for nothing at all in fact you might say that ithas nothing to do with the Slade and is more akin to the hard work done at South Kensington and other places.' FOUR: First part 1p. 4to of autograph draft or copy of letter to 'Mr. Syrett'. From the Reedbeds. Concerning the question of deductions 'from the sum received from the Richardsons' he writes: 'I do not believe for one moment that the vague artistic temperament cannot be businesslike in the very least. … I have now overcome the big <> difficulty a painter has to overcome to certain degrees to be able to work more rapidly. I find that I am developing a bigger interest in more pecuniary affairs.' FIVE and SIX: Autograph drafts of two letters to 'Mr Copping' i.e. the artist and FW's Shoreham neighbour Harold Copping 1863-1932. The first a short note. 10 February 1921; Redbeds. 1p. 4to. The second an autograph draft of the beginning of a letter. 17 February 1921; on Reedbeds letterhead. 1p. 4to. He invites the Coppings to supper 'so we can settle the question you wish settled … I consider it a rather small affair which all village matters must of necessity be in relation to life'. SEVEN: Autograph draft of letter to the owner of a cottage – possibly 'the new “Reedbedsâ€' mentioned in Item One – which he appears to be looking to buy or let. 2pp. 12mo. 'I have not had a definite answer from 'Mr. Dowdy' see Item Nine about the room to work in and put my things into. If this is satisfactory I shall be able to put all my goods into the room. I am sure you will find we shall take care of everything in your cottage.' EIGHT: 12mo Reedbeds letterhead carrying parts of autograph drafts of two letters. Recto dated 13 February 1922 concerning the letting of a cottage on FW's recommendation; verso undated to a prospective student stating that 'as a number of students & others have responded to my offer I am now able to run the class at a smaller fee. A number of students came on the 11.40 Tulse Hill 11.44 Bat & Ball and others on 1.20 T.H. & 1.24 B.B. and I am able to charge 5/ per lesson for this.' NINE: Remains of 12mo notebook containing five pages of autograph notes. Undated but with printed calendars for 1918 and 1919 present. Two of the pages carry accounts with 'E E Dowdy' for whom see Item Seven and a third explains that Dowdy has agreed 'to let the room Mr. White is now using as a studio for an indefinite period at the rent of five shillings a week the said room being situated next to the Church Room Shoreham Kent'. Another page carries a draft of a letter to the parent of an 'extremely promising' pupil stating that the 'number of people who wish to have lesson from me each Wednesday has so greatly increased & . the space here is limited for the number of pupils'. TEN: Typed Letter Signed to 'Thelma' i.e. the feminist and Conservative Member of Parliament Thelma Cazalet-Keir 1899-1989. 1 May 1968. 1p. 4to. An interesting letter in which FW expresses 'shock' at the 'Raspit news' her country residence being Raspit Hill in Kent: 'Raspit Hill is a name that became very dear to us … And here I would like to tell you a secret. At the end of 1963 the school nearly came to grief and Gertrude and I were left with very little to carry on the school in 1964. But in our deepest moments of despair you came along and your cheque for £400 saved the school. So you and Raspit will always glow in our memory. … Mrs. Barker delivered your letter picture and blue vase this evening May 1st. I was a student with Robin Guthrie at the Slade so that I am doubley sic pleased to possess one of Guthrie's pictures. He was a splendid draughtsman at the Slade … It will be hung where it will always remind me not of Guthrie but of you.' ELEVEN: Manuscript copy not in FW's hand of 'claims for damage to two pictures sent to Shoreham Station from Canterbury'. 1p. 8vo. 8 September 1928; Reedbeds. The second claim is for '1 picture spoilt for selling & exhibition purposes glass smashed mount soiled frame damaged valued at £10. 10 0 say £8. 8 0 This pictute has been very favourably reviewed in many papers & was of increasing value to me'. TWELVE: TLS to FW from Louis McCubbin 1890-1952 Director National Gallery of South Australia Adelaide. 11 February 1949. 1p. 8vo. Regarding a member of the Gallery's board J. C. Goodchild who 'has just left here on a visit to England and I have given him your name and address and asked him if he will be good enough to inspect your pictures'.THIRTEEN: Five printed invitations made out to FW. Two from the Provost of University College London the first to 'Dr. Pevsner's' lecture the second to 'Dr. Weinberger's' lecture; one for the UCL Union Society Foundation Week 1934; one for the UCL Charter Day Celebrations 1934; one to 'An Assembly of the College Faculties' at UCL 1934. FOURTEEN: Seven receipts addressed to FW for subscriptions to The Times 1934 and 1935. Several of White's letters on letterheads of The Reedbeds, Shoreham, Nr. Sevenoaks, Kent. Between 1921 and 1968. unknown
25164Circa 1818. Harrow School Middlesex. This item is a nice artefact of one of England’s foremost public schools. The great rival of Eton Harrow numbers among its alumni seven prime ministers including Churchill. This notebook comprises lists of boys and their positions and classes in a particular term. The paper stock watermark and handwriting all indicate that its composition is contemporaneous with the schooling of those named. It is the work of one person almost certainly one of the school’s masters and its loose and hurried nature indicate that it was intended for personal use or as an aid in future writing. There is no internal indication of author or source but the latter is established beyond all doubt by reference to R. Courtenay Welch’s ‘Harrow School Register 1801-1893’ 1894 which shows that the notebook was compiled in the last few years of the reign of George IV and certainly during the tenure of George Butler 1774-1853 headmaster from 1805 to 1829 and later Dean of Peterborough see his entry in the Oxford DNB. As Welch explains in his introduction the early part of his register is incomplete and it is likely that the present item names individuals not present there. It is 24pp with an additional 2pp of pencil calculations and a page with a simple pencil drawing of the front parts of a horse in a stitched 7 x 8 cm notebook of watermarked laid paper in dark-blue waxed card wraps. The notebook contains thirty leaves out of an original thirty-six with a few leaves loose and one stub present. All but one of the 24pp are written on the rectos. Each page carries a list of names - sometimes as many as 21 to a page sometimes only a handful under the following headings: p.1 Monitors; pp.2 and 3 Upper VI; p.6 Upper V; p.8 Under V; p.11 Upper Shell; p.14 Under Shell; p.16 IV Form 1st Rem.; p.18 IV Form 2nd Rem.; p.20 IV Form 3d Rem.; p.21 IIId Form 1st Rem; p.22 IIId Form 2nd Rem; p.23 IIId Form 3d Rem; p.24 Unplaced. P.14 will serve as an example: ‘Under Shell / Perceval Minr / Maydwell / Smith Minor / Balfour Jun / Bradford / Graham / Park Junior / Crommelin Senr / Davidson / Gregg / Mr Dundas Junr / Winter / Elliot / Sheppard / Hammet / Macham / North Minr’. Among the mass of names many are identifiable with Welch’s aid. The following individuals were unless otherwise stated entered in 1813-15: ‘R. B. Phillipps Senr / Longworth in the County of Hereford’ is identified by Welch as Robert Biddulph Phillipps ‘son of Chancellor Phillipps’entered 1811; ‘A. Clive Esq of Whitfield’ is Archer Clive d.1878 ‘son of E. B. Clive Esq. M.P.’ entered 1811-1813; ‘Ponsford’ is William Ponsford ‘son of W. Ponsford Esq. Puddicombe Devon’; on p.3 ‘Boileau Pollen’ is George Pollen Boileau-Pollen ‘son of J. P. Boileau Esq. afterwards Boileau-Pollen’; ‘Ld Ashley’ is Anthony Ashley-Cooper Lord Ashley ‘son of the 6th Earl of Shaftesbury’; ‘Goldschmidt’ is Adolphus Goldschmidt ‘Merchant’; ‘Crommelin Senr’ is George Russell Crommelin 1803-1844 the younger Crommelin being Thomas Lake Crommelin 1805-1877; ‘Count P: Lieven’ is Count Paul Lieven ‘son of Count afterwards Prince Lieven Russian Ambassador’ 1816. Circa 1818. Harrow School, Middlesex. paperback
20202081502111907334Hoo shubbansha 2020. Soft Cover. Fine. The book is in fine condition. Hoo shubbansha paperback
