Art History Interest.- Robin Wallace Collection of letters and ephemera, London, c. 1930s-1950s.

An interesting group of letters and ephemera related to Westmoreland landscape painter Robin Wallace, including: three letters from Rex Vicat Cole ("We should like to offer you a scholarship here (I mean no fees) for 6 months. I believe it would help you to draw & to see the best pictures. What do you say?'", also saying he intends to show Wallace's drawings to 'the man who writes the articles in the Studio', and asks what price he should ask for them, n.d.; "We are glad you can come up, & shall be pleased for you to begin as soon as you like", 16 January 1919; "'Dear Robin | I have been told you think of not being at your Private View. As your old tutor I shall be very disappointed if I do not see you there, and I am sure your friends will expect you also. I very much hope you will change your mind and be there from the opening hour until the close and that Marion will be with you in the afternoon. You can be proud of your show, and it may help sales your being present", n.d. ; with a printed cart for an 'Exhibition of Students' Work' at the School, with note by Cole on the reverse "Int still life Painting judged by Sir David Murray RA PR.I .Wallace. All good luck to you, Rex Vicat Cole"); Emily Murray Paterson (saying she was "so charmed" by the show at Barbizon House that she meant to write and congratulate him "I don't know whether you are young or old, but your work charmed me, & especially one of tulips, & I know from experience, how one likes to be told if work pleases", aslo saying she feels that from his name he "ought to be Scotch", and writes that she also paints "Flower & Landscape, as you see from the enclosed card, [not present] but I doubt if you will have time to see my show before it closes on Friday", 18 November 1930); Herbert Stuart Pakington (regarding his invitation for Wallace and his wife to lunch with him at the House of Lords Wallace's show at Colnaghi, a debate on foreign affairs, and a painting tip from Wallace", 18 and 25 March 1952); James Stewart Nicoll (giving meticulous information regarding the sales, with other advice, encouragement and assistance, 1939-1940); James Byam Shaw (all on Conalghi headed paper, one saying he feels "rather depressed" about Wallace's proposed exhibition "because I shewed [sic] the paintings & drawings to Mr. Mayer [Gustavus Mayer (1873-1954)], the senior partner here, after Christmas, and his reaction was not very encouraging - that is to say, he made various objections, with which I do not at all agree, but which create a situation rather difficult to handle", 19 January 1949; "I don't suppose there is much hope that Mayer will understand or like your work, for the reasons I have suggested - but I am sure that others will, including myself. And in fact he does not occupy himself with modern exhibitions at all, so I do not think that will matter. We had a rather similar case, when we had an exhibition of Welsh mountain paintings by Kyffin Williams, which was a success; and on that occasion, too, we had to go rather a long way round to get the show here at all!", 29 December 1951); letters from: Wallace's father, Westmoreland artist Graham Hoggarth, the wood engraver Ethelbert White, Julian S. Lousada, O. Furnival Jones of the Channing School (at which Wallace was art master, regarding a donated painting of his), Ian Robertson, Phillip J. Martin (regarding his magazine "Fugue"), the designer Michael Wickham, and others; artworks and photographs by various hands; papers related to Walalce 's show at Barbizon House, 1930, printed catalogue for Wallace's exhibition at P. & D. Colnaghi, 14 Old Bond Street, March 1952, and others, v.s. (qty)

Dimensions:v.s.