Beschreibung:

RUSKIN, John (1819-1900). IMPORTANT SERIES OF SEVENTY-SEVEN AUTOGRAPH LETTERS SIGNED ('J. Ruskin', 'John Ruskin' and 'J.R.') including 72 to Louise Blandy, 4 to Mrs. Blandy and one to Mr. Blandy, Brantwood, Oxford, Herne Hill, Venice and n.p. (13), 4 November 1875 - 10 July 1882 (including 25 n.d.) , writing as Louise's tutor in drawing and painting, 'I sent you a Hunts, of which please copy the wonderful plums... I'm ever your loving tutor', planning treats for her, thanking her effusively for gifts including some needlework, 'a delightful, scented, soft piece of sweet temptress work', arranging to meet her at the National Gallery, writing of his activities and visits to Venice where 'every moment of the day is precious to me as deep sea pearls', later often keeping her at a distance and showing irritation at her dependence on him, 'I write occasionally to young people who have had any guidance from me to put them right at first. But as I have told you once then twenty times I have taught you all I can', while continuing to encourage her work with 'the clearest hope of enjoining you in the allied group of artists who are gathering to help me... to establish my schools in England', approximately 110 pages, 8°, autograph envelopes, one autograph note signed, two autograph drafts (incomplete), 2 pages, 8°, contemporary copies of 5 letters by Ruskin to members of Miss Blandy's family, an autograph letter signed by Sir Edward Burne-Jones to Ruskin, a few printed items and 2½ pages of pressed flowers, leaves and ferns gathered by Louise in Ruskin's garden and on walks with him, the whole collection laid down on the leaves of a 19th-century album, 4° (310 x 260 mm., covers detached) . An unusual and intriguing series of letters, recording Ruskin's relationship with a talented young pupil and copyist. Louise Blandy (1860-1890) was the daughter of a London dentist. Ruskin, observing her talent, sought permission to give her lessons. She was then 14 and Ruskin 56. The lessons at first brought enjoyment, Rusking writing 'It is hard to leave a sweet little earnest Louise without help - and to lose all the pleasure of giving it which is really great to me'. He proposes to take her to the pantomime from which he will return her 'I hope much benefitted by a happy laughing time'. Ruskin writes with teasing affection of 'doing the best I can to sustain life with ideal kisses and other romantic comforts till I can get a real one', while continuing to send a stream of instructions, including to 'be in the Old Masters room' at the National Gallery, and to copy from Carlo Crivelli She is invited to Brantwood, and he reports to her mother on their walks together and the improvement to her health. Touchingly preserved in the album are flowers, leaves and mosses mostly 'gathered for me by Mr. Ruskin'. Sadly, her growing dependence, perhaps even infatuation - she was delicate and of a nervous temperament - turned Ruskin's affection first to concern ('It is woeful to me to think of you standing at the window, looking for a letter'), and then to exasperation. 'Dearest Louise', now only 'Dear', is reminded that 'when I called you my 'chief pet' I only meant among my pupil pets and that was only just then, because of course my pupils vary constantly'. One letter opens severely 'It is not a bore to me to come and see you. You are always in extremes and this extreme, forgive me for saying so, looks a little like affectation'. In 1877/78 Ruskin, now ill, makes frequent excuses for not writing or meeting her, once protesting 'I am entirely incapable of attending to letters just now... I have been twice mad: and must now be very quiet'. But Louise continues to submit her work to him, and he to comment, often with praise, 'The Velasquez dog is lovely and the piece of sepia work on the whole most exemplary. I do trust my dear child that you will not regret the hard work I put you to'. He acknowledged her talent by buying two of her copies for the St. George