THEATRE

1p., 4to. In fair condition, on lightly aged and creased paper. He thanks her 'for giving me the wrongly addressed envelope'. He has tried ringing her 'a dozen times' and gives her number for checking. He ends by inviting her to dinner.

2pp., 8vo. In good condition, on lightly aged and worn paper. The letter has been marked up in manuscript for publication, with the heading: 'Mr. Clement Scott: A Contradiction.' [last two words amended from 'An Explanation'] The letter begins: 'My Solicitors who advised me that the paragraph in your last issue connecting my name directly with a slanderous rumour to the effect that a well know dramatic critic had been bribed by a theatrical manager has handed me your letter of <?> date.

v + 83pp. In grey printed wraps. Printed on rectos only and comb-bound. On aged and worn paper, with stamps of the Hire Library of Messrs Chappell & Co. Ltd, 50 New Bond Street. With pencil markings and annotations. Loosely inserted is an 'On Loan' receipt to 'Mr. T. Dickinson, 12A, York Mews, London, N.W.5.' The first English production of the play was at the Apollo Theatre, London, opening on 7 September 1961. It ran for 44 performances.

[2] + 30pp., 4to. Text paginated 1-30. With an additional nine pages of diagrams, numbered 1 to 10, and including one double-page fold-out (Diagram 8). Stapled duplicated typescript. Ink manuscript note (by Pask?) on back cover: 'MARVIN MINSKY [cognitive scientist in the field of artificial intelligence, b.1927] | SEYMOUR PAPERT [mathematician, b.1928] | WARREN MACULLOGH' [neurophysiologist and cybernetician, 1898-1969].

29pp., 4to. Paginated 1-29. Stapled duplicated typescript. In poor condition, with the leaf carrying the first page loose, aged and worn. From the Seymour Papert papers, and with a few notes in pencil (by either Papert or Sonnabend?). No copy found on either COPAC or OCLC WorldCat, nor in Pask's own archive, now in Vienna (Paul Pangaro Pask Collection).

Thirteen of the fourteen photographs are in black and white, with the largest 21.5 x 15.5 cm (with slight paint staining at edge), another 17.5 x 12.5 cm, and the other nine roughly 12.5 x 9 cm. The other print is a colour polaroid, with paint smudges from Sonnabend's portrait on the white mount. Other than the paint marks to three of the prints, in good condition, although six of the smaller ones have aged due to acid in the paper stock.

Both items bound together in nineteenth-century worn brown-cloth 8vo binding, with 'THE JUBILEE 1827' in gilt on the spine. Ownership inscription on front pastedown of the actor and theatrical writer Hallam Fordham, dated Oxford 1942. ONE: Full title: 'Correct Detail of the Ceremonies attending the Shakspearean Gala, celebrated at Stratford-upon-Avon, on Monday, Tuesday, and Wednesday, April 23, 24, and 25, 1827; Together with some Account of "Garrick's Jubilee," in 1769; By J.

2pp., 8vo. In very good condition, on lightly-aged paper. She apologises for not being able to be 'helpful on any of your questions'. She does not even possess a copy of her own 'Designing and Making Stage Costume'. 'I have no Motley designs at all, as every one which was in my possession has been sold to the University of Illinois, who have taken the whole collection of about 3000 swatches.' She is glad to hear that he has some of them, 'as it means that there are a few still in this country'.

1p., 12mo. Good, on lightly-aged paper. He begins by stating that his book 'contains the details' his correspondent requires, and continues: 'I am sorry to say that I made a little mistake when I was talking to you over the telephone about "Pulcinella". I think I said there was a long description of that ballet in my "Diaghilev Ballet in London", but of course it is the "Complete Book of Ballets".

Gladys Jones ('Gwen John') lived with her sister the suffragette Winifred Jones in Lincoln's Inn. Her play 'The Prince' - three corrected copies of which are in the present collection as Items Three to Five - was retitled 'Gloriana' [= Elizabeth I] when performed at the Adelphi Theatre in London in December 1925, with a youthful John Gielgud in the role of Sir John Harrington. Items One, Six and Seven below relate to the volume 'Plays of Innocence' by 'Gwen John', published in 1925 by Ernest Benn (by whom Victor Gollancz was then employed).

4pp., 12mo. Bifolium. In good condition, on lightly-aged paper, with slight loss at the head of the second leaf affecting a couple of words of text. The letter begins: My dear Sir, | I have on different occasions interfered to prevent gross abuses at the Theatre to which you call my attention, and have I believe to a certain degree procured their correction. But thhere is great reason to fear that by attempting too much more may be lost than gained.

All three items in good condition, on lightly-aged paper. All signed 'Ralph Straus'. ONE: TLS. 6 January 1939. 1p., 8vo. After expressing his willingness to have 'the programme of Wat Tyler and the Bil of Madame Sala for 1827', he expresses his desire to acquire playbills 'of Sala's grandfather, in a King's Theatre ballet 1776 onwards - particularly if it gives his Christian name of Claudio. I know of one in Jan. 1788.

2pp., 12mo. Written lengthwise across the paper, so that the letterhead runs up the left-hand margin of the first page. She thanks him for his letter and 'the Cocteau profile (most interesting and infuriating - splendid misunderstanding - written down with such authority.)', as well as '"The Holy Terrors" notices'. She has been delayed in sending him the script of 'The Confidential Clerk' as she had to go to King's Lynn. She is sending the script now, and asks for it to be returned 'fairly soon, as it is Henry Sherek's and he may suddenly scream for it!' (Sherek was the play's producer.)

Good was educated at the Royal Academical Institution and Queen's College, Belfast. He was a reporter on the Northern Whig before moving to Dublin where he became leader-writer for the Freeman's Journal. He then became assistant editor of the Irish Statesman, and later joined the staff of the Irish Independent. Good and Riddall were part of a circle that included the essayist Robert Lynd and painter Paul Henry, and the present five items, written in an entertaining and friendly stye, cast light on the theatrical and cultural worlds shortly before the Easter Rising.

In pencil on one side of a 6 x 9 cm white card, laid down on a 10.5 x 13.5 cm leaf of grey paper, removed from an album, with the date 'December 1944'. Lohr's note reads: 'with all good | wishes dear | Miss Stone | Marie Löhr'.

1p., 12mo. Good, on lightly-aged paper. He thanks him for his 'letter and expression of appreciation - judging by the wonderful reception of "Sunny" in Manchester I am hopeful of its success in London.' He is enclosing 'the two photos asked for' (not present).

On one side of a piece of 33 x 52 cm paper. In fair condition, on aged and worn paper. A form printed in black and red, completed in manuscript. Divided into sections on: Artiste's Salaries; Advertising; Stage Expenses; Front of House Expenses; Gas and Electricity; Printing & Stationery; Author's Fees; Miscellaneous; Receipts; Summary of Expenses. The 'Artiste's Salaries' were: Leslie Howard £20; Reginald Owen £40; Betty Schuster £20; Adrienne Allen £40; Robert English £15; Duncan McRae £15; Jack Carlton £8.

[4] + 43pp., 12mo. Stabbed as issued. An attractive and elegantly-printed little book. Internally very good, on lightly-aged paper, loose in worn light-brown calf binding, marbled endpapers, all edges gilt, back hinge sprung. Stamped in gilt on the front cover: 'ACIS & GALATAEA | A PIECE OF OXFORD EXTRAVAGANCE | BY | T. F. PLOWMAN'. Inscribed on fly-leaf: 'H. W. Chapman, Esq. | with the author's sincerest regards. | 1869.' A scarce item: only three copies on COPAC, at Oxford, Cambridge and the British Library, all three of which attribute this anonymous work to Plowman.

In addition to his pioneering cinematographic work, Herkomer was a theatrical innovator. As Lynda Nead points out in her 'The Haunted Gallery' (Yale, 2007), it was shortly after the opening of his art school that 'he and his students created an auditorium, modelled on Wagner's Festspielhaus in Bayreuth, for public performances of plays, written, directed and, indeed, performed by Herkomer'. See also M. A. K. Taylor, 'The New Stagecraft' (1953); J. Stokes, 'Resistible Theatres' (1972); and L. M. Edwards, 'Herkomer: A Victorian Artist' (1999). These five items all relate to the project.

1p., 8vo. With mourning border. In fair condition, on aged and lightly-ruckled paper. After exclaiming 'How kind of you!' Pinero explains that he has been 'inoculated regularly since the autumn, and it has done me no good'. He continues: 'No, I won't say that; I might have been worse but for the injections.' He concludes by stating that he will show Shore's letter to his doctor, 'to prick his conscience'.

The eight images are arranged in four pairs, each on the central pages of an 8vo bifolium. Dimensions of page: 24.5 x 16cm. Dimensions of image: 9 x 14cm. In fair condition, on lightly-aged and creased paper. Irving is shown in five roles, including Lear, Shylock, and Becket. Also present are two portraits of Irving out of character, and a picture of the exterior of a dilapidated building. Presumably intended for an early twentieth-century biography.

3pp., 12mo. Bifolium. In good condition. In envelope addressed to 'Laurence W. Hodson | Compton Hall | near Wolverhampton'. The letter begins: 'I beg that when you are in London you will let me see you. I have a little story to tell you about the beautiful little unfinished ('Psyche') picture of Sir Edwards [i.e. Burne-Jones] that you possess. Perhaps when you have heard it you will think more kindly of my wish to buy it from you - Please let me call on you - I will use no wiles!

Both items in good condition, on aged paper. ONE: Letter of 10 September 1891. 2pp., 12mo. Bifolium. He begins by thanking her for a photo of Henry Irving, before turning to his mother, Ellen Terry. 'Mother &

taken at Window &

2pp., 12mo. In envelope addressed by Stirling to 'C Lonsdale Esqre. | Bond Street'. In fair condition, on aged and worn paper. 'Mrs. Stirling does not know how to thank Mr. Londsdale for his great kindness - not only now but always shewn to her by him. Mrs. Stirling remembers that she has the full store of the Midsummer Nights' [sic] Dream belonging to Mr. Lonsdale but she is warned by Mr. Lonsdale's Messenger that she must not now stop to thank Mr. Lonsdale fully, as she would wish.'

1p., 12mo. Good, on lightly aged and worn paper. The note reads: 'Mercredi. | Merci mille fois, mon cher Maitre, si vous êtes content, me voilà ravie! | Encore merci | Réjane'. In a postscript she states that she has profited from his criticisms.

Both items in good condition, on lightly-aged paper. ONE. Autograph note. 1p., 12mo. In envelope with stamp and postmark, addressed by Campbell to 'Lawrence W. Hodson Esq | Compton Hall. | near Wolverhampton'. The note reads: 'Dear Mr. Hodson. | I shall be very happy to see you on Thursday at 4 o'c. I consider it most kind of you to consider the matter at all. | Yours very truly | B S Campbell'. TWO. Secretarial letter or copy. 2pp., 12mo. Bifolium. In a neat close hand, with what purports to be the signature of 'Beatrice Stella Campbell', but is not.

27pp., 4to, good condition, attractively illustrated stiff paper covers (cover illustration colour drawing by Baron Arild Rosenkrantz), good quality production including poems by Keats and Shelley, illustrations, and reference to music specially written for the show by the likes of Coleridge Taylor. With enclosure, handbill headed "Keats Relics at Hampstead". No copy traced but a copy on WorldCat tried to show its face but ultimately failed.

24pp., 12mo, original blue sugar paper wraps, sewn, sl. damaged, contents good. "The Author was formerly a Sergeant in the 26th Regiment and Dumbartonshire Highlanders, who was discharged due to his wounds and now supports himself and his family by his pen. This last information was in an "Advertisement" in his "The Private Theatre: or the Highland Funeral", preceding the "begging" letter to his reading audience. The author wrote many plays". Copies listed at the BL, Oxford, Folger, Harvard, and two other US libraries.

Letter: 1p., 12mo. In fair condition, on lightly-aged paper. Neatly laid down on a page detached from an album, with border. In response to a note from the recipient, he explains that the 'hurry of professional business' has prevented him from making the following statement: 'I beg to assure you that on Monday Jany: 25th.

1p., 4to. In fair condition, lightly aged and creased. He asks her whether she means by 'a favourite recipe' one 'which I know of that others are likely not to know of? Or just one that I like but might well be familiar?' He ends by suggesting that she try asking Alan Bates, 'who I think has a secret recipe'. He gives an address for the actor.