Cotmania. Vol. IX. 1933-4

{clipping from Daily Telegraph; aug 2 1933}

Architects v. Surveyors

Sir— it has been reported in The Daily Telegraph that Sir Edwin Lutyens resigned from the R.I.B.A because of his dislike of what he considered to be the narrow policy of the Institute in barring surveyors from membership. In this your correspondent was misinformed.
Sir Edwin was a member of R.I.B.A for many years, and at no time did he raise any questions as to the desirability of admitting surveyors, nor was this ever a point of issue between him and the R.I.B.A It could not be a point of issue because the R.I.B.A. contains several hundred surveyors who are also architects, and their status is identical with that of any other member.
For surveyors pure and simple the Chartered Surveyors' Institution is the recognised official body, and their status needs no further safeguarding.—Yours, & c.,

Sydney D. Kitson, Hon. Sec., R.I.B.A. Conduit-street, W. 1, Aug. 14.

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{Clipping from The Times; sept 26 1933}

Mrs Ada Montefiore Micholls, of Queen's gate, S.W., who died on August 17, widow of Mr. E. Montefiore Michols, left estate of the gross value of £122,230, with net personality £119,598. She left:—
£100 each to her butler, H. Eves, and his wife; one year's wages to each other servant of three years' service; £1000 to the National Society for Epileptics, Vauxhall Bridge Road; £500 to the Jews' board of Guardians; £500 to the liberal Jewish Synagogue; £500 to the Jewish Association for the Protection of Girls and Women, Great Prescott Street; £1000 in trust for her chauffeur , J. Webster, for life and then for his wife, if still in her service; £900 in trust for her maid, E. Billet for life, if still in her service.
To the National Gallery the water-colour drawing by Tom Girton called "The White House of Chelsea," "which was said by Turner to be better than anything which he (Turner) had painted"

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{Clipping from [illegible 1 word] gallery exhibition Oct 1933 with Kitson annotation}

John Sell Cotman (1782-1842)

(47) Landscape with figures by a pool—Kiston annotation: late watercolour- c 14 x 9- [illegible 2 word]
(48) A Woody landscape— An early example

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{Clipping from Sunday; Oct 8 1933; Frank Rutter}

The Philistines are upon me, and my letter-box groans beneath the burden of their protests. Last week I flung a little pebble at the darling of their hearts, the English Pre-Raphaelites, and I am quite impenitent. I repeat that their colour is generally crude, and I add that Holman Hunt was the arch offer. I can hardly conceive any colour more painful to a sensitive eye than that, for example, in his "Triumph of the Innocents," and since a large version of this belongs to Liverpool, the authorities there have been most merciful and discreet in refraining from including this in their Autumn Exhibition.
Further, I maintain that the prestige of nineteenth-century British Art has suffered cruelly both at home and, particularly abroad by the unwise and persistent presence of the Pre-Raphaelites as the representative English painters of the period. People seem strangely to forget that such artists as Bonington, Constable, Crome, Cotman, and Lawrence were all working in the first quarter of the nineteenth century, and several much longer; that Turner, BArker of Bath, and Wilkie were working into the middle of the period; that Alfred Stevens, Watts, and Albert Moore were working in the third quarter; while the last gave us such fine artists as Conder, Charles Wellngton Furse, Wilson Steer, and many others. Surely these—and many others could be mentioned—are more truly representative of British nineteenth-century painting than the group known as the Pre-Raphaelites?

{clipping of photograph of St. Mary Redcliffe, Bristol, John Sell Cotman}

Annotated by Kitson: From "Walkers quarterly", Sept: 1933.