Cotmania. Vol. II. 1927-8

{Diary entries}
Nov: 9.’27 Spent the afternoon at the Master’s Lodging. University College Sir M. Sadler showed us 3 chalk drawings in a bedroom.
(1) In Helsmsley Woods. on grey paper. crayon. 13½ x 10½. Exhibited Tate ’22. No 169 - signed ‘J.S. Cotman’ – like mine
(2) Chalk drawing for ‘New Bridge Durham’ – the watercolour belonging to Sir H. [Bairn?]. Exhibited Tate ’22. No 172.
(3) Barnard Castle woods – Chalk on grey paper.
(4) Pencil drawing of a wooded landscape. latish.

In a portfolio I saw a beautiful early Thirtle monocrome [sic] – ‘S. aisle of Norwich Cathedral looking E’ c. 12 x 18. Very desirable. (labelled ‘Castle Acre’)

Nov: 13th Paul Oppé called & spent 3 hours looking at my Cotmans. He liked the drawing room watercolour very much indeed: doubted ‘The Study of Trees’: very interested in the ‘Castle Acre’; doubted the ‘Gazebo’. Thought the ‘Yarmouth Windmills’ genuine, but poor: Very interested in ‘Brecon Bridge’ which he thought might be as late as ’04 or ’05. He liked all the Bulwer drawings, especially the ‘Rainham Hall’. Thought the ‘Wiggenhall Gateway’ probably genuine, but touched up by J.S.C some years after it was done: Liked the ‘sketch for oil picture’ very much indeed, also the Old Lady – Thought the J.J. pencil sketch was J.S.C. But he particularly concentrated on the pencil ‘King’ sketches, which interested him enormously – He considered the ‘Happisburg Font’ genuine, but poor – He told me my ‘P.Sandby’ drawing was by Thomas Sunderland (see Randall Davies’ Chats on Old English Drawings p. 109)

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{letter}
shall set about finding definite facts & I shall let you know. Of course it may take time.
In the meantime you may rest contented that the drawing that you have never left the Maw family till the Derwent Wood sale & I am very glad that it has found its way to so good a home.

Yours faithfully
A. P. Oppé