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Transcribers

  1. 65311227 - Carolo52
  2. 65311258 - LadyCrazyCat
  3. WINNER - 65328504 - WiltedLotus
  4. 65363203 - judilyn540
  5. 65368111 - Bambina41
  6. 65464296 - tpod74

65311227 - Carolo52

8th November 1948 Wimbledon.
Dearest Sylvia,
I have been looking through all your paintings which I possess. The earliest is the sheet of Sylvia Sleigh note-paper with two sketches of me on it. They are not as confident as your work is now but I am very attached to them. As you know I adore the Trees at Pett but think the picture of Marion, which you gave me at the same time, is good, too. Taken with the flowers and the owls ( who are really fluffy white flowers themselves) in your letters and your superb new rose picture I have examples of your landscape, portraiture, and still-life. Not still-life, really, since much vitality and tenderness make them full of life. There is a verse of Mallarme's which sums up something of the quality of your roses and their meaning for they are symbolic as well as an enchanting painting.

Ces roses, muettes pour dire
Notre absence, elles du moin
A lui pareilles sont t'emoins
De votre conjugal sourire

And your view of Fairlight, It is exactly the view that one would get from window of the Rectory that you panted with remarkable vitality. I often think of your nude self-portrait, against the light, for it expresses so much of you and though I believe you criticise it a bit technically now it is a splendid interpretation of yourself. Can I see it again at the weekend please?
When we are together I will buy you huge canvases and run up and down the ladder for you with cans of paint and big brushes.
Hogarth's marriage to Jane Thornhill made a painter of him and his sexual tenderness is expressed in the conversation pieces. I am writing this chapter now so I cannot help thinking of a parallel. We can do so much mutually. I love you so.
Even as you write about Michael you express doubts of the value of his words. His reasoning - 'Lawrence is young, you are my life' - still contains, do you see it? the reference to Time with which he hunted you before. Imagine life if you stay with Michael: apart from the threat of time you would again be dependent on his queer spasmodic love, entangled with possessiveness, the expressions of which, as you told me, are ungentle. What would happen to your painting which is another way of saying what would happen to you? It would be life without me. If you stay

65311258 - LadyCrazyCat

8th November 1948 Wimbledon.

Dearest Sylvia,

I have been looking through all your paintings which I possess. The earliest is the sheet of Sylvia Sleigh note-paper with two sketches of me on it. They are not as confident as your work is now but I am very attached to them. As you know I adore the Trees at Pett but I think the picture of Marion, which you gave me at the same time, is good, too. Taken with the flowers and the owls (who are really fluffy white flowers themselves) in your letters and your superb new rose picture I have examples of your landscape, portraiture, and still-life. Not still-life, really, since such vitality and tender-ness make them full of life. There is a verse of Malarme's which sums up something of the quality of your roses and their meaning for they are symbolic as well as an enchanting painting.

Ces roses, muettes pour dire
Notre absence, elles du moin
A lui pareilles son't temoins
De votre conjural sourire.

And your view of Fairlight. It is exactly the view that one would get from the window of the Rectory that you painted with the remarkable vitality. I often think of your nude self-portrait, against the light, for it expresses so much of you and though I believe you criticise it a bit technically now it is a splendid interpretation of yourself. Can I see it again at the weekend please?

When we are together I will buy you huge canvases and run up and down the ladder for you with cans of paint and new big brushes.

Hogarth's marriage to Jane Thornhill made a painter of him and his sexual tenderness is expressed in the conversation pieces. I am writing this chapter now so I cannot help think of a parallel. We can do so much mutually. I love you so.

Even as you write about Michael, you express doubts of the value of his words. His reasoning - 'Lawrence is young, you are my life' - still contains, do you see it? The reference to Time with which he hunted you before. Imagine life if you stay with Michael: apart from the threat of time you would again be dependent on his queer spasmodic love, entangled with possessiveness, the expressions of which, as you told me, are ungentle. What would happen to your painting which is another way of saying what would happen to you? It would be life without me. If you stay

WINNER - 65328504 - WiltedLotus

8th November 1948 Wimbledon.

Dearest Sylvia,

I have been looking through all your paintings which I possess. The earliest is the sheet of Sylvia Sleigh note-paper with two sketches of me on it. They are not as confident as your work is now but I am very attached to them. As you know I adore the Trees at Pett but I think the picture of Marion, which you gave me at the same time, is good, too. Taken with the flowers and the owls (who are really fluffy white flowers themselves) in your letters and your superb new rose picture I have examples of your landscape, portraiture, and still-life. Not still-life, really, since such vitality and tenderness make them full of life. There is a verse of Mallarme's which sums up something of the quality of your roses and their meaning for they are symbolic as well as an enchanting painting.

Ces roses, muettes pour dire
Notre absence, elles du moin
A lui pareilles sont temoins
De votre conjugal sourire.

And your view of Fairlight. It is exactly the view that one would get from the window of the Rectory that you painted with remarkable vitality. I often think of your nude self-portrait, against the light, for it expresses so much of you and though I believe you criticise it a bit technically now it is a splendid interpretation of yourself. Can I see it again at the weekend please?

When we are together I will buy you huge canvasses and run up and down the ladder for you with cans of paint and new big brushes.

Hogarth's marriage to Jane Thornhill made a painter of him and his sexual tenderness is expressed in the conversation pieces. I am writing this chapter now so I cannot help thinking of a parallel. We can do so much mutually. I love you so.

Even as you write about Michael you express doubts of the value of his words. His reasoning - "Lawrence is young, you are my life" - still contains, do you see it? The reference to Time with which he hunted you before. Imagine life if you stay with Michael: apart from the threat of time you would again be dependent on his queer spasmodic love, entangled with possessiveness, the expressions of which, as you told me, are ungentle. What would happen to your painting which is another way of saying what would happen to you? It would be life without me. If you stay

65363203 - judilyn540

8th November 1948
Wimbledon

Dearest Sylvia,

I have been looking through all your paintings which I possess. The earliest is he sheet of Sylvia Sleigh note paper with two sketches of me on it. They are not as confident as your work is now but I am very attached to them. As you know, I adore the Trees at Pett, but I think the picture of Marion, which you gave me at the same time, is good too. Taken with the flowers and the owls (who are really fluffy white flowers themselves) in your letters and your superb new rose picture, I have examples of your landscape, portraiture and still life. Not still life, really, since such vitality and tenderness make them full of life. There is a verse of Mallarme's which sums up something of the quality of your roses and their meaning, for they are symbolic as well as an enchanting painting.

Ces roses, muettes pour dire
Notre absence, elles du moin
A lui pareilles sont temoins
De votre conjugal sourire.

And your view of Fairlight. It is exactly the view that one would get from the window of the Rectory that you painted with remarkable vitality. I often think of your nude self-portrait, against the light, for it expresses so much of you and though I believe you criticize it a bit technically now, it is a splendid interpretation of yourself. Can I see it again next weekend, please?

When we are together, I will buy you huge canvases and run up and down the ladder for you with cans of paint and new big brushes.

Hogarth's marriage to Jane Thornhill made a painter of him and his sexual tenderness is expressed in the conversation pieces. I am writing this chapter now so I cannot help thinking of a parallel. We can do so much mutually. I love you so.

Even as you write about Michael, you express doubt of the value of his words. His reasoning - 'Lawrence is young, you are my life' - still contains, do you see it? the reference to Time with which he hunted you before. Imagine life if you stay with Michael: apart from the threat of time you would again be dependent on his queer, spasmodic love, entangled with possessiveness, the expressions of which, as you told me, are ungentle. What would happen to your painting, which is another way of saying what would happen to you? It would be life without me. If you stay

65368111 - Bambina41

8th November 1948 Wimbledon.

Dearest Sylvia,

I have been looking through all your paintings which I possess. The earliest is the sheet of Sylvia Sleigh note-paper with two sketches of me on it. They are not as confident as your work is now but I am very attached to them. As you know I adore the Trees at Pett but I think the picture of Marion, which you gave me at the same time, is good, too. Taken with the flowers and the owls (who are really fluffy white flowers themselves) in your letters and your superb new rose picture I have examples of your landscape, portraiture, and still-life. Not still-life, really, since such vitality and tenderness make them full of life. There is a verse of Mallarme's which sums up something of the quality of your roses and their meaning for they are symbolic as well as an enchanting painting.

Ces roses, muettes pour dire
Notre absence, elles du moin
A lui pareilles sont temoins
De votre conjugal sourire.

And your view of Fairlight. It is exactly the view that one would get from the window of the Rectory that you painted with remarkable vitality. I often think of your nude self-portrait, again the light, fir it expresses so much of you a though I believe you criticize it a bit technically now it is a splendid interpretation of yourself. Can I see it again at the weekend please?

When we are together I will buy you huge canvases and run up and down the ladder for you with cans of pain and new big brushes.

Hogarth's marriage to Jane Thornhill made a painter of him and his sexual tenderness is expressed in the conversation pieces. I am writing this chapter now so I cannot help thinking of a parallel. We can do so much mutually. I love you so.

Even as you write about Michael you express doubts of the value of his words. His reasoning - 'Lawrence is young, you are my life'-still contains, do yuo see it? the reference to Time with which he hunted you before. Imagine life if you stay with Michael: apart from the threat of time you would again be dependent on his queer spasmodic love ,entangled with possessiveness, the expressions of which, as you told me, are ungentle. What would happen to your painting which is another way of saying what would happen to you? It would be a life without me. If you stay

65464296 - tpod74

8th November 1948
Wimbledon

Dearest Sylvia,

I have been looking through all your paintings which I possess. The earliest is the sheet of Sylvia Sleigh note-paper with two sketches of of me on it. They are not as confident as your work is now but I am very attached to them. As you know I adore the Trees at Pett but I think the picture of Marion, which you gave me at the same time, is good, too. Taken with the flowers and the owls (who are really fluffy white flowers themselves) in your letters and your superb new rose picture I have examples of your landscape, portraiture, and still-life. Not still-life, really since such vitality and tenderness make them full of life. There is a verse of Mallarme's which sums up something of the quality of your roses and their meaning for they are symbolic as well as an enchanting painting.

Ces roses, muettes peur dire
Notre absence, elles du moin
A lui pareilles sont temoins
De votre conjugal sourire

And your view of Fairlight. It is exactly the view that one would get from the window of the Rectory that you painted with remarkable vitality. I oftern think of your nude self-portait, against the light, for it expresses so much of you and though I believe you criticise it a bit technically now it is a splendid interpretation of yourself. Can I see it again at the weekend please?

We we are together I will buy you huge canvasaes and run up and down the ladder for you with cans of paint and new big brushes.

Hogarth's marriage to Jane Thornhill made a painter of him and his sexual tenderness is expressed in the conversation pieces. I am writing this chapter now so I cannot help think of a parallel. We can do so much mutually. I love you so.

Even as you write about Michael you express doubts of the value of his words. His reasoning - 'Lawrence is young, you are my life' - still contains, do you see it? the reference to Time with which he hunted you before. Imagine life if you stay with Michael: apart from the threat of time you would be dependent on his queer spasmodic love, entangled with possessiveness, the expressions of which, you told me, are ungentle. What would happen to your painting, which is another way of saying what would happen to you? It would be life without me. If you stay

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