| Description | This file contains letters received after the publication of Hayes' 1983 catalogue and supplement of Gainsborough drawings, and includes:
-two letters from Robin Griffith-Jones, Christie's, dated 25 February & 2 June 1983, concerning the attribution of a drawing thought to be by Gainsborough. Also includes a reply from Hayes, dated 7 March 1983 and a photograph of the drawing
-letter from Julien Stock, Sotheby's, dated 18 May 1983, concerning a drawing by Claude Lorrain entitled, 'A view of Delphi'. Also includes two photographs of the work
-letter from Patrick Noon, curator of prints and drawings, Yale Centre for British Art, dated 29 June 1983, providing detailed information about drawings in their collection. Also includes a research note by Hayes and a photograph of one of the works
-letter from David W. Posnett, director, The Leger Galleries Ltd., dated 27 July 1983, concerning provenance information for a drawing
-two letters from Andrew Clayton-Payne, Phillips & Christie's, dated 30 November 1983 & 27 April 1992, concerning the permission to use a photograph of a drawing and a separate request for help dating a work. The first letter also includes a photograph and the second also includes a reply from Hayes, dated 30 April 1992 and a photocopy of the work
-letter from Evelyn Joll, Thos. Agnew & Sons Ltd., dated 18 June 1984, requesting information on a work. Also includes a photograph of the work
-letter from M.C. Leach, William Doyle Galleries, dated 21 June 1984, requesting information on two works entitled, 'A coastal scene' and 'A wooded landscape with sheep'. Also includes further notes on the works by Hayes
-letter from David Paton, Christie's, dated 19 July 1985, requesting an opinion on a drawing. Also includes a photocopy of the work
-two letters from Lindsay Stainton, assistant keeper of prints and drawings, British Museum, dated 30 June 1983 & 23 September 1985, the first is concerning a photograph of a drawing (there is no photograph with the letter and no detail as to which drawing it is referring) and the second concerns a landscape drawing to be possibly be included in a supplement to his catalogue, with a photograph provided
-four letters from Charles Nugent, Christie's, dated between 25 October-7 November 1985, requesting information regarding the attribution of two drawings though to be Gainsborough. Also includes two replies from Hayes, dated 29 October-6 November 1985, two photographs of the works and a research note written by Hayes
-letter from James Miller, Sotheby's, dated 8 December 1987, concerning provenance information for a drawing. Also includes research notes by Hayes
-three letters from Stephen Somerville, dated 18 July & 30 August 1988 (the other is undated), concerning information on six landscape drawings. Also includes two reply from Hayes, dated 4 February & 25 August 1988, and two photographs of the works
-letter from Phillip Goodman, Xanthus Gallery, dated 9 June 1990, concerning the attribution of a drawing. Also includes a photograph of the work
-three letters from Henry Wemyss, Sotheby's, dated 10 August 1983 & 2 January 1992 (the other is undated), concerning provenance information about a drawing, attribution about two drawings at Walsall Art Gallery and a drawing of Mary, Countess of Bute. Also includes a reply from Hayes, dated 9 January 1992, three photocopies of works, a photograph of the drawing of the Countess of Bute and some further information on that work
-letter from Paul McIntyre, curator, City of Hamilton Art Gallery, dated 26 April 1993, concerning a drawing which isn't named
-typed telephone message from Mrs Illingworth, dated 3 August 1993, concerning a work by in her collection (the note has been extensively annotated by Hayes)
-letter from Miriam Stewart, assistant curator, Fogg Art Museum, 27 October 1993, concerning some drawings being offered to the museum. Also includes a reply from Hayes, dated 8 November 1993 and some further contextual information on the drawings provided by Stewart
-letter from David Moore-Gwyn, Sotheby's, dated 9 February 1999, requesting information on attribution. Also includes a reply from Hayes, dated 4 March 1999 and a photograph of the work
-letter from Rosie Stynes, Christie's, dated 26 March 2001, concerning a drawing to be included in a forthcoming sale. Also includes a photograph of the work
-letter from Suzanne Zack, Phillips Auctioneers, dated 15 May 2001, requesting an opinion on a drawing. Also includes a photograph of the work
-two letters from Guy Peppiatt, Bonhams & Sotheby's, dated 23 January 2002 & 17 September 2003, requesting information on a work entitled, 'A river scene with a couple in a boat by a tree', and another, unnamed work. Also includes two photographs of the works
-postcard, note and letter from Hugh Belsey, Gainborough's House, letter dated 28 January 2002 (postcard and note are undated), concerning various matters relating to works by Gainsborough including his drawings. Also includes an annotated photocopied page from an unknown publication showing a Gainsborough landscape
-letter from Sir Christopher White, dated 11 September 2002, concerning Michael Jaffé's 'Devonshire Drawings Catalogue'
-letter from Alison Winter, Hazlitt, Gooden & Fox, dated 26 March 2003, requesting an opinion on a drawing of a woodland scene (with an unfinished sketch on the reverse). Also includes a reply from Hayes, dated 1 April 2003, and two photographs of both sides of the work
-three letters from Anthony Mould, dated between 9 December 2003-24 November 2004 (one is undated), concerning a drawing entitled, 'Study for a portrait of a lady', a portrait of William Pitt and some Gainsborough landscapes. Also includes a reply from Hayes, dated 18 December 2004, a photocopy of 'study for a portrait of a lady', a photograph of the portrait of Pitt and a transparency of one of the landscapes
The Paul Mellon Centre's Archives & Library collections contain additional material on this artist. Please see the Artist Guide on our website for further information (link below). |