Footnotes

• An unpublished archive, unavailable to the recent biographer. The wide-ranging contents include:
  
  1. GERMANY: Louis Klingender's photograph album of his travels in provincial Russia and Turkey, approximately 140 gelatin silver prints, [c.1900]; "Commonplace Book", dated Cronberg October 1894, but dated entries actually 1910 and 1913, limp roan; album of postcards, mostly German topographical subjects, some used with messages addressed to the Klingender family (one noted from Florence to Louis, then in Berlin, 1904), original publisher's wrappers, [c.1905] (there also are a few later postcards to the Klingenders, one postmarked 15 Oct. 1928 from Germany to Francis in London signed "Love Dadd" [sic] "Arrive Wednesday 4.30 alone All well. Atelier not settled yet"); Three large photographs of Louis Klingender against a backdrop of his paintings, together with a number of other photographs including Francis Klingender with his father, another with his mother, a class photograph of 1918 (FDL annotated as "Don"), with both parents 1922, and a series of views in an apartment; three sketchbooks in Holland boards, pencil sketches (mostly natural history including antlers), one signed "L.H.W. Klingender Dusseldorf; a group of neat packages, each generally with the name of a town and containing photographs of the fittings in the town's church or other architectural details, one titled "Goslar Doors : Knockers", some others now loose (Louis Klingender, attempted to engage the interest of a Gottingen publisher in "Hausturen in Goslar", letter dated 9 September, 1925); "Hausturen in Goslar...von Donald Klingender", manuscript on 34 pages, typescript, and typescript of a shorter manuscript by Klindenger titled "Die Kirche zu Hornburg", [1924-1925]; "De Renaissance, die Zeit der grossen Reichmunzordnungen", typescript on 17 pages with further pages of illustrations and dedication "Meinen lieben Vater, dem erste Synthetiker Louis Henri Weston-Klingender in Liebe und Dankbarkeit gewidmet"; "Kruzifixe in Goslar von Donald Klingender" typescript on 16 pages, plus table and other notes, Goslar, December, 1925; German language books including K. Steinacker, Die Holzbaukunst Goslars, 1899 and Deutchlands Stadtebau Goslar A./H., 1921, both original wrappers, contents loose.
  
  2. ENGLAND, 1925-1939: Two certificates from the University of London (BSc. Economics, 1930 and Doctor of Philosophy (Sociology), May, 1934); The Black-Coated Worker in London, typescript on 243 pages, December, 1932; Marxism and Art, manuscript on 18 pages, annotated "1st AI lecture (early 1934)", together with a copy of the Artists International Bulletin, January 1935; books, offprints or galleys including: Grotesque Ornament in Mediaeval Art, in The Connoisseur, November, 1928, offprint (illustrations by A. Renger-Patzsch of Bad Hartzburg, many other photographs by him in the archive); New Survey of London Life and Labour, Vol. VIII, 1934 (and other volumes in the same series); The Clerical Condition of Labour in Britain, 1935, notes and reviews inserted, verso of half-title inscribed "To S. T.-K"; Art in the U.S.S.R., in The Eye, 17 October, 1935; Content and Form in Art, in 5 on revolutionary art, Wishart, 1935; On Generalizations, in The Left Review, December 1935; The New Deal and the American Film, in Cinema Quarterly, Summer, 1935; Realism and Fantasy in the Art of Goya, in The Modern Quarterly, January, 1938; Some Publications of the American Critics Group, July, 1939.
  
  3. WORLD WAR II, 1939-1945: "Value Vindicated A Reply to the Critics of Marxism by Jack Mole" (Klingender?), typescript on 148 pages including diagrams, London, 1940; letter from the Aliens Department of the Home Office assuring Klingender that there was no ambiguity about his British Nationality, 21 March, 1939 (shades of the family experience in 1914?); books, offprints or galleys including: Russia—Britain's Ally, 1812-1942, [1942]; Hogarth and English Caricature, Artists International Association, [1943]; Hogarth and English Caricature, 1944; Marxism and Modern Art, 1943; John Bull's Home Guard, Artists International Association, 1944; Russian Art at the Academy, in The Modern Quarterly, December 1945;
  
  4. POST-WAR, 1945-1955: "The Hunters Art an Essay on Totemism", 3 corrected typescripts, each on 143 pages, 1948; The Lion and the Unicorn an Essay on British Animal Art and its Sources, 2 typescripts, each on 208 pages, both with corrections and annotations, 1949; Curriculum vitae and covering letter applying for the chair of Social Studies at Leeds, 1 Feb., 1954, together with letter from the Principal of University College Hull, allowing his name as a reference; considerable quantities of photographs, proofs of text and illustrations etc. for Art Industrial Revolution, Goya and Hogarth, extensive notes relating to artists and publishers including tabulated list of caricatures published by William Holland; catalogue of industry and engineering related prints 1750-1890 on re-cycled scraps (bundle); original pen and ink design for Klingender's bookplate; several very full exercise books, other typescripts and notes; several letters from other members of the Klingender family in Germany; books, offprints or galleys including: A Victorian Rogues' Gallery, in Pilot Papers, January, 1946; Communism and Art—A Controversy, in Communist Review, January 1947, galley; Syllabus for a Sessional Class on Aspects of Modern Art and Architecture, University of London, n.d; The Little Shop, Bureau Current Affairs, 1951; St. Francis and the Birds of the Apocalypse, in Journal of the Warburg and Courtauld Institute, vol 16 no 1/ 2, 1953; Changing Patterns of Student Recruitment in England, in Yorkshire Bulletin of Economic and Social Research, 1954, galleys; Quaker Dynasty, in Architectural Review, March 1954, extract; Palaeolithic Religion and the Principal of Social Evolution, in British Journal of Sociology 5, no 2, June 1954.

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Category: Books / Books, Maps and Manuscripts

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