M. ROTHENSTEIN | archive of c.95 letters by artists and writers to Rothenstein, chiefly 1940s
5,000 to - 7,000 GBP
Archive of 95 letters to him by artists and writers, discussing their theories of painting and individual works, comprising autograph letters signed by:
Graham Sutherland, 8 letters and cards, discussing his industrial landscapes, his reservations about his own "wartime semi journalism", and contemporary art ("...scarcely any artist alive can combine largeness & grandeur of pattern with intimacy & continuous profundity..."), 17 pages, chiefly 8vo, 1941-c.1948; Ben Nicholson, 3 letters and cards, one discussing "that pl[a]y[in]g card p[ain]t[in]g of mine", 4 pages, late-1940s; Henry Moore, 4 letters (one typed) and cards ("...I don't remember feeling that I was being the first to draw the shelter scenes..."), 6 pages, 1947-50; Duncan Grant, 4 letters, one discussing a still life, 5 pages, 1946; John Piper, 9 letters and cards, 18 pages, 1945-49; John Minton, 9 letters and cards, one enclosing autograph manuscript entitled "Notes from Lectures on Painting and Drawing" ("...The essence of drawing is never decorative: the essence is, as in an arch, in the contrary stresses which make it stand as a structure...", 5 pages), another enclosing a curriculum vitiae, altogether 18 pages, 1946-c.49; Cecil Collins, 35 letters and cards, with an account of a painting ("The Forest"); Keith Vaughan, 5 letters and cards, with an enclosed autograph manuscript discussing his recent paintings, altogether 19 pages; Edward Bawden, 4 letters and cards; Herbert Read, 4 letters and cards; Patrick Heron, 3 letters; Robert MacBryde, 2 letters and an enclosed curriculum vitae; Edith Sitwell; Kenneth Clarke; William Scott; David Gascoyne; Vanessa Bell; chiefly late 1940s; all letters loose in a series of plastic folders
AN EXCEPTIONAL GROUP OF LETTERS BY ARTISTS, DISCUSSING THEIR WORK AND THEORIES OF PAINTING. Michael Rothenstein (1908-1993), an artist now best remembered for his revolutionary printmaking, had been at the heart of Britain's artworld since childhood: his father was the painter Sir William Rothenstein and his elder brother, Sir John, was the long-serving director of the Tate. Much of this correspondence concerns Rothenstein's 1947 book, Looking at Paintings, and letters found here by Duncan Grant, Graham Sutherland, Ben Nicholson, and John Minton are quoted in the book.
Please see shipping calculator link: click here
Condition is described in the main body of the cataloguing, where appropriate.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.