The album was compiled by Henry Sanford Bicknell. It includes letters to David Roberts from William Allan, Samuel Austin, Edward Hodges Baily, William Boxall, John Britton, John Burnet, Robert William Buss, Augustus Wall Callcott, George Cattermole, Alfred Edward Chalon, Henry Barnard Chalon, William Collins, Edward William Cooke, George Cooke, Charles West Cope, John Doyle, Thomas Duncan, Charles Lock Eastlake, James Elmes, William Etty, Myles Birket Foster, Andrew Geddes, Frederick Goodall, Francis Grant, Thomas Grieve, Joseph Gwilt, James Duffield Harding, Philip Hardwick, George Hayter, Solomon Alexander Hart, George Harvey, John Henning, John Rogers Herbert, Henry Howard, William John Huggins, Alexander Johnston, Samuel Joseph, William Kidd, John Prescott Knight, George Lance, Richard James Lane, John Leech, Charles Lees, Charles Robert Leslie, John Frederick Lewis, William Linton, Henry Liverseege, Samuel Lover, Horatio Macculloch, Patrick MacDowell, Robert McInnes, Daniel Maclise, Daniel Macnee, William Calder Marshall, John Martin, William Mulready, Frederick Newenham, William John Newton, John Buonarotti Papworth, Thomas Phillips, Henry William Pickersgill, William Henry Playfair, Samuel Prout, Richard Redgrave, Ramsay Richard Reinagle, Edward Villiers Rippingille, Richard Rothwell, John Christian Schetky, George Gilbert Scott, Martin Arthur Shee, William Simpson, Clarkson Stanfield, Robert Thorburn, William Tite, Charles Turner, J.M.W. Turner, Thomas Uwins, Edward Matthew Ward, Henry Weekes, Richard Westmacott, David Wilkie, James Francis Williams, Chares Heath Wilson, and William Wyon.
The collection comprises material relating to the theatrical manager and producer, Alfred Wareing, and his family. Incudes photographs, correspondence and clippings.
The collection comprises etchings, lithographs, and drawings by Edward Backhouse, Edward Backhouse Mounsey, and other members of the Backhouse and Mounsey families of Darlington (County Durham) in the early 19th century. The collection demonstrates that a number of family members practiced etching as a hobby. They were also early adopters of lithography, although the quality of the lithographic work is frequently less refined.
The collection includes correspondence and other manuscript material concerning the management of deer parks at Newburgh Priory, Yorkshire; Cassiobury Park, Hertfordshire; and Paultons, Hampshire. The letters are written to and from various members of the Bainbridge family who provided a succession of park keepers for the three residences.
The collection comprises 139 hand-cut paper collages on paper prepared with watercolor, created by Booth Grey (1740-1802) or those in his circle of acquaintances, in the manner of the well-known "paper mosaics" made by Mrs. Delany. Each collage is now mounted in a mat. Some were previously inserted in a leather album with title leaf: "98 plants done by the Honble. Booth Grey" (see box 15, item 138).
The collection comprises travel sketches, scrapbooks, and genealogical material concerning the Carr family of Northumberland, England. The Reverend Thomas William Carr (1830-1912) appears to have played a key role in compiling the material, especially genealogical items.
The collection comprises printed and manuscript material concerning contemporary British artists' books, compiled by Cathy Courtney. It includes exhibition invitations and announcements; press releases; prospectuses; catalogs; curricula vitae; correspondence; newsletters; interviews; artist's statements; brochures; and news articles.
The collection comprises sketchbooks, writings, and correspondence by Charles Robert Leslie (1794-1859) and his family. Leslie was known best for his paintings of literary subjects, although his oeuvre included portraiture, history paintings, and selected literary works. The collection was compiled by Leslie's son, George Dunlop Leslie, also a celebrated genre painter, and represents the years, 1812 to 1900. The collection includes documents related to Leslie's wife, Harriet, as well as some of his children, Mary, Harriet, George, and Robert Charles. Additional materials include correspondence from Tom Taylor and Peter Powell, representing some of Leslie's most important professional and personal relationships.
The collection comprises original artwork and manuscript material by Clare Leighton for a series of 12 Queen's ware plates representing New England industries, produced by Josiah Wedgwood & Sons in 1952. Each plate reproduces a circular, wood-engraved design depicting one of 12 traditional industries: Whaling, Cranberrying, Grist Milling, Ice Cutting, Codfishing, Lobstering, Logging, Marble Quarrying, Shipbuilding, Sugaring, Tobacco Growing, and Farming. The collection includes all 12 of the Wedgwood plates, plus extensive preparatory material, including Leighton's preliminary studies, compositional studies, wood-engraved states, and final prints (signed and unsigned). The collection also includes photographs of Clare Leighton working on the woodblocks. Written material in the collection includes numerous drafts of texts by Leighton describing her process in designing the plates, and over 40 letters from Leighton's acquaintances responding to her announcement on June 6, 1952 of priority sales for the plates (Leighton's original letter is also present).
The original collector of the papers was William Clayton Clayton, Dorothea Clayton's adoptive nephew. He was the executor of her will and the heir to her London house. He kept many papers related to her estate, including inventories, legal documents and household receipts. He sold most of her assets soon after her death in 1849, but the house remained in his hands until after 1870. The bulk of the papers date from the period soon after Dorothea's death, 1849-1850.
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