| Description | Volume XIII is made up of correspondence to/from Watts and his Victorian contemporaries mostly in alphabetical order by surname.
The correspondence includes letters with Alexander Constantine Ionides regarding Watts' travels in Italy and his portrait painting whilst abroad, his opinions of the 'old masters', commissions from Ionides, Watts' offer to paint a historical painting for the Greek nation, Watts' sisters, the fresco at Lincoln's Inn; with Constantine Alexander Ionides regarding painting commissions and a painting of Ionides' grandchild; with Miss J. Jones; with J. Johnson regarding Watts' picture 'Afloat', Watts' reluctance to work for money or popularity, 'Sic Transit', the gallery at Little Holland House; with Harold Johnson regarding Johnson's poetry; with William Knight; with Mr Levi regarding Watts' paintings as ideas and reflections put into a common language, his works as a series; with Kathleen M. Liddell regarding her poem in response to 'Hope'; with Henry Elford Luxmoore regarding Watts' painting 'Sir Galahad' and sending it to Eton, art belonging to the nation, the importance of art as a teaching tool, Watts' instructions as how to hang paintings, war, 'Sir Galahad' not being an illustration of Tennyson's poem; with Countess Evelyn Lilian Hazeldine Martinengo Cesaresco as a great writer of Italy; with Ethel King Martyn regarding Martyn's book of etchings; with Mary Gertrude Mead regarding her visit to Manchester, Ford Maddox Brown, 'Love and Death', 'Time and Death', an exhibition of Watts' work in America, includes a list of the works sent to America, Mrs Barrington, a misunderstanding regarding a publication written by Mr Gosse about Watts, the works remaining in America for longer than planned, Mead's affection for Watts' work, an explanation of the American street numbering system, copyright of Watts' work, Watts' wish to present 'Love and Life' to America and correspondence with Thomas F. Bayard, the United States Secretary of State regarding the gift of the painting, Watts' marriage to Mary Fraser Tytler; with Arthur Stanley Megaw; with Sir John Everett Millais regarding Millais' advice in painting, Millais as the President of the Royal Academy, the death of Leighton; with William R. Moss regarding Watts' works 'Judgement of Paris', 'Olympus on Ida', 'Poverty'; Thomas Douglas Murray regarding an article for the publication 'Nineteenth Century', the nation of England, war; with Lady Dorothy Fanny Nevill; with J. L. Paton of Manchester Grammar School; with Miss Annie Pearse regarding Watts as a symbolist painter; with Reverend Basil Philips regarding Watts' 'Sir Galahad' painting; with Mrs Prescott regarding a visit and a portrait; with Miss Probyn regarding Watts deserving distinction; with Lady Anne Isabella Ritchie (née Thackeray) regarding an artist's income, Ruskin; with Briton Rivière regarding reviewing works, the Royal Academy Committee, the New Gallery, Royal Academy exhibition of 1898, 'Physical Energy', 'Love and Life', Mary Seton Watts' work, Watts retiring as a member of the Royal Academy, life at Limnerselase and Seton Watts project involving the villagers, the death of Leighton, old age, a head of Lady Lilford, Landseer, Millais, exhibition at the New Gallery for the nation, painting of a lion's head, portrait of Holman Hunt, selling Little Holland House, a bronze of Cecil Rhodes; with Mrs Rye (later Mrs Okey) regarding a visit to Little Holland House.
Material is made up of bound letters arranged in intellectual order referring to the running order of letter numbers, awarded prior to the collection's dismantlement. Items sold in separate lots not bought by the National Portrait Gallery may be held at other institutions or in private collections. |