Cotmania. Vol. X. 1934-5

{letter}
137 Wentworth Road
South Strathfield
New South Wales
Australia
25th. Feb. 1935

a.p. Oppe' Esq.
c/o The Studio Limited
44 Leicester Square W.C.2
London,
England

Dear Sir,
I will say immediately that this letter is by way of a cry for help - a request for two bits of information. among the major annoyances suffered by those whose writing has been widely read is, one supposes, the letter from the Presumptuous Stranger. Frankly this letter is one such. I possess a copy of "The Watercolour Drawing by John Sell Cotman" but will not stress an admiration for your commentary therein as an excuse for this letter, a plea that in the circumstances might seem sycophantic. But I do plead that I am very [?] in consonance with your enthusiasm for Cotman's work and in this [?] I have presumed to write to you with the request that you will [?] me the great favour of advising me on two points on which I feel sure you have authority and knowledge.
I am intrigued with the [?] quality of the washes in Cotman's watercolours and wish, in [?] humility- to express along similar lines. Information has been given me that Cotman worked on slightly damp paper, but [?] I find difficult to credit. I would feel immensely obliged if you , Sir, could inform as to
1 Whether Cotman worked - especially in his "Great Bridge" period - on a dry or on a slightly damp surface.
2 The name of the paper available to-day which most closely resembles the paper used by Cotman in the period in which "Greta Bridge" and
"The Drop Gate, Duncombe Park" were painted.
A word from you, on these two points would be sincerely appreciated. [?] say that Cotman's work known here only by colour, monochrome, reproductions.

Yours faithfully

R.D. Addison