Manuscripts

One page, 26 x 20cm, pronounced fold marks, small hole not affecting the text, card backing half the page, top edge stained with remnants of backing[?], text clear and complete. Entitled Lines Written in Depreciation, Commences: Just as a play by Aeschylus or Ibsen | Doesn't inspire one to compose charades, | So am I loth to follow Mr Gibson | With one of my ignoble pasquinades. [Two further verses, concluding]: Though Burns has (doubtless) said 'All men are brothers' | Let me not spoil your lovely album [withers?] | By | Max Beerbohm | J.D. See image for full text.~ ~ ~

Two pages, fol., bifolium (partly separated), aged, closed tears, text apparently complete. The text comprises columns headed as follows: Names; Subsisted From/To; [Days?]; Amount; Remarks. Example: [Serjeants] John Johnston; 15 Oct.1790/21 Jan.1791. Forty Five soldiers were invalids delivered to the Town Mayor of Portsmouth.

Two very interesting unpublished documents, the first giving an assessment of Churchill by a colleague who worked closely with him throughout the Second World War, and the second describing the important part that individual himself played in the logistical management of the war, from before Dunkirk to after D-Day. This material is from Sir Noel Galway Holmes’s private papers, another batch of which, comprising confidential reports on him, recommendations by superior officers, and particulars of his service, is offered separately.

Thirty (30) pages (some material on the verso also), 8vo, good+ condition, an attractive handwriting. The first nine page are paginated; the last 21 not. [[P.18] announces "INTERVAL" after a few lines, and [P.19] commences "PART TWO. It comprises substantial and attractive transcriptions (quotations from) of Byron's letters and poems, reflecting Byron's life and relationships in his own words. I.e. autobiographical.  I would theorise that, given the length of the work, it was a lecture/performance to/for dedicated students of Byron, perhaps even The Byron Society.

See his entries in the Oxford DNB and History of Parliament. Frank cover, laid out in the customary fashion, on 12.5 x 7 cm panel cut from front of envelope. In fair condition, on lightly aged paper. Usual red frank postmark: ‘FREE / 29JA29 / 1831’. Reads: ‘London January twenty nine 1831 / Willm. Smith Esqr. / at Smith Wright’s Esqr / Kempston / Loughboro Notts / per / R Bernal’. See Image. On reverse, in contemporary hand: ‘R. Bernal. MP for Rochester / Chairman of the Committee / of the House of Commons / on the Reform Bill.’

See her entry in the Oxford DNB. On 12.5 x 3 cm slip of paper cut from letter. Aged and worn, with nick lost from left side, and remains of mount on reverse. Reads: ‘I remain / Yours very truly & affectionately / Sarah Trimmer’. See Image.

Bailey’s entry in the Oxford DNB describes the ‘remarkable popularity’ of the second edition of Festus in America: ‘seventeen ‘editions’ of a version pirated in Boston were called for in the first nine years, and it was also reprinted numerous times in Philadelphia, Louisville, and New York. Bailey became something of a 'lion' for visiting Americans of the transcendental stamp’, with Hawthorne visiting in the 1850s. 1p, 8vo. On brittle woodpulp paper, now discoloured with chipping to edges (resulting in loss to the word ‘Festus’ at the head) and with closed tears to the two folds.

See Sitwell’s entry in the Oxford DNB. In his 1999 biography Philip Ziegler describes how the ‘doggerel polemic Rat Week’ ‘excoriated’ the supporters of the Edward VII and Mrs Simpson: ‘Osbert realised that this diatribe, if published, might land him in a flurry of libel actions, but he could not resist having a few copies made and distributed to his closer cronies; Mrs. Greville, Lady Aberconway, Lady Cholmondeley and Philip Frere among them.

From the papers of John Campbell, 4th Earl and 1st Marquess of Breadalbane. Without place or date [Lorn, Argyllshire? Circa 1817.] On paper watermarked 'C WILMOTT | 1817'. 3pp., foolscap 8vo. Bifolium. 69 lines of neatly-written text, with three minor corrections. In very good condition, on lightly-aged paper. No clue to the identity of the author, or time and place of writing, but from the papers of the 1st Marquess of Breadalbane. Headed 'Dft.

221pp., 4to, recased, marbled boards, worn.. A relation of "A Book of the Valuations of all the Ecclesiasticall Preferments in England and Wales entituled Nomina  & Valores . . .(Published in 1680). Comparison and contrast discussed later.  This manuscript comprises: an index (2pp, leaf detached) listing Bishops, major landowners, and Royal Patronages (usually in Counties); listings of Preferments in the Patronage of the . . .

1p, 12mo. In fair condition, on discoloured and lightly-creased paper. Beneath letterhead: ‘to J D Hughes Esq’. Around middle of page: ‘Pen & Ink Sketch / Stokesay 15/-’. On lower part of page: ‘Recd with thanks / Frank Greenwood’. Beneath the signature is a simple stylized cartoon depicting the head and shoulders of a smiling walrus-faced figure (Greenwood?) in a trilby, with stiff-colour shirt and black bow tie.

Apparently an earlier version of the concluding part of Chetwynd’s dystopian first book, ‘The Copper Cow’, published in London by Anthony Blond in 1962 which gives a surrealistic description of a Britain of the near future. Duplicated typescript, double-spaced and printed on rectos of leaves only, all attached with metal stud. Paginated 115-210, preceded by title page and section title. In good condition, lightly aged. With deletions and manuscript corrections duplicated, but no actual manuscript emendations.

See his entry in the Oxford DNB. The present item is clearly part of a draft of an intended biographical entry, penned by Romanes himself in his close and distinctive hand. On one side of a cm piece of laid paper with the reverse blank. Reads: ‘His extensive treatise entitled “Darwin and after Darwin,” which is now being published in successive volumes, is an outgrowth of the lectures delivered in both capacities.

See Christian's entry in the Oxford DNB. (He was the newly-created Downing Professor of the Laws of England at Cambridge from 1788 to his death.) 1p, landscape 8vo. On one half of a 4to leaf that has been torn in two. In fair condition, lightly aged, with thin strip of tape at the right-hand edge, and two punch holes at the left-hand edge of Manington's side. ONE (Christian): Conclusion of autograph draft legal document, numbered '(9)' and signed at bottom left 'Ed. Christian'. With several deletions. Relates to 'Jno Hutchings & Son', who deny 'Combin[ation] & Confederacy &c'.

Although there is no clear connection, the present unpublished poem dates from around the same time as Edward Lear was drawing watercolours in the place referred to in it. Vidya Dehejia’s‘Impossible Picturesqueness / Edward Lear’s Indian Watercolours, 1873-1875’ (1989) describes how Lear visited ‘The two small hill-stations of Matheran and Mahabaleshwar near Bombay’. Of the former Lear wrote: ‘Matheran by the bye, has most probably been the original Eden - I don’t mean the first Lord Auckland, - but Paradise -’.

Holograph of sixteen-line poem in four four-line stanzas, headed ‘Il tramonto’ and signed at bottom right ‘Andrea Maffei’. 1p, 16mo. Text entirely clear and complete, on discoloured laid paper with chipping and slight loss at right-hand margin. Begins: ‘Amo l’ova del girono che muore / Quando il sole già stanco declina,’. No variations from the version printed in the 1864 Florence edition of Maffei’s works, apart from ‘Una età’ beginning l.6 here, as opposed to ‘Un' età’ there.

See his entry and Chantrey's in the Oxford DNB. On one side of a trimmed-down piece of paper, roughly 11 cm square. Discoloured, and with damage to the corners (affecting one word at top right) from removal from mount. With postage folds, and evidence on otherwise-blank reverse that Cunningham was re-using an envelope: part of address in another hand to 'Mrs Pa[...]'. Reads: 'Mr. Allan Cunninghams respects to Mr. Tindal and begs to inform him that Sir Francis Chantrey is at Holkham at present and will not likely be back till after Christmas: should he come sooner Mr A. C.

See the entry for Sir Charles Brooke in the Oxford DNB. On one side of an 18 x 9 cm piece of paper, the upper part torn from a larger sheet, with neatly-torn bottom edge resulting in a little loss to the flourish beneath the signature and the tip of the downstroke of the ‘y’ in ‘Harry’. In fair condition, lightly aged, with a central vertical fold. The text, in a bold hand, reads: ‘ “Though obstacles beset you - struggle still!” / Even a worm may climb this highest hill! / Yrs Sly / Harry de Windt’ See Image.

See his entry in the Oxford DNB. On the front cover of a 12 x 7 cm envelope, from which the seal has been torn away on the reverse. Otherwise in very good condition. A pleasing piece of calligraphy, with the word ‘Private’ centred and underlined at the head, and the address to ‘The Honble. Spencer Ponsonby. / Foreign Office’ across the central band, with the signature at bottom left: ‘Alaric Watts.’ See Image.

Tarleton has become a quasi-mythical figure in the early history of the United States, his actions misrepresented and his character traduced. See his entry in the Oxford DNB, and the magnificent portrait by Sir Joshua Reynolds, in the National Portrait Gallery, London. The present item is 1p, landscape 12mo, on one side of an 18 x 10.5 cm piece of gilt-edged watermarked laid paper. In fair condition, aged, worn and lightly creased, with central horizontal and vertical folds, and evidence of mount on the blank reverse.

The Pippets of Solihull were a Roman Catholic family that worked closely on ecclesiastical designs with the Gothic Revival firm Hardman & Co (whose archives are held by the Birmingham Museum and Art Gallery). Wilfrid also collaborated with J. B. Trinick on the striking illustrations to A. E. Waite’s rosicrucian ‘Album of the Great Symbols of the Paths’ (1917-21; copy in the British Museum Department of Prints and Drawings). Eleven attractive illustrations in black ink (over pencil draft).

On a 16.5 x 20 cm piece of faded and lightly-worn light-green paper, with small diagonal cuts at corners where the item was mounted in an album. The players’ names are neatly presented in a column (there is no other text on either side): ‘OUCC | Greville Stevens | R. L. H. Holdsworth | J. D. Percival | V. R. Price | R C Robertson Glasgow | P E Lawrie | M Patten | R H Bettington | T B Raikes | L. P. Hedges | R R P Barbour’. This is the same eleven which won a match at Oxford against the Free Foresters on 20 May 1922.

2pp, foolscap 8vo. In good condition, lightly aged, with thin strip of paper from mount adhering to one edge. Folded twice. Large heavily-smudged signature of the king ('George R.') at head of first page, which has the royal seal under paper in the left-hand margin. Signed at end of document ('By His Majesty's Command') by the Home Secretary and future Prime Minister: 'R Peel'.

This document, signed by George IV as Prince Regent, and by the former Prime Minister Lord Sidmouth as Home Secretary, relates to Matthias Maher (1798-1865), a Royal Navy officer who was twice tried at the Old Bailey on a charge of forgery. On the first occasion, 6 May 1818, he was found not guilty by reason of insanity; and removed to the criminal asylum in St George's Fields. Maher was found sound of mind – as the present document reveals by Sir George Leman Tuthill (1772–1835) and Edward Wright (c.1788-1859), the latter to die of disgrace in Australia.

English Camden Town Group Painter (1878-1914). Dimensions seven inches by ten inches. Grubby, but in good condition. From the Mark Bonham Carter collection. Captioned 'Spencer Gore | Freddy', with an arrow pointing to impressionistic representation of figure, nine inches high, of the artist in a suit, with high-collared shirt, holding a palette in his left hand and with his right hand outstretched and painting onto a canvas. Around the figure dabs of watercolour and a representation of a foot. Crude drawing of seascape on reverse. Together with scrap of paper reading 'MR.

Contemporary copies (all in same hand);original letters untraced. Good condition but rough edge on left indicates removed perhaps from a collection.

See Hudsons's entry in the Oxford DNB. 3pp, foolscap 8vo, on three leaves, with fourth covering leaf ('23rd Oct. 1846. / Copy / Railway Minutes / Thorp & Dickson / &c &c'). Attached at one corner with red ribbon. Headed: 'Alnwick October 23 - 1846 / Minutes on projected Railways / in the Manor of Tynemouth - / Read to Mr. Hudson, of which he requested a copy.' There are five minutes, the last covering two pages. The first three read: '1.

See the description of Caine’s political views in his entry in the Oxford DNB. He began as a communist, but became a Christian Socialist, and a supporter of the Liberal Party on the mainland of Britain (he was a member of the Isle of Man House of Keys from 1901 to 1908) and a follower of the Church of England. The present item would appear to relate to the ‘impassioned propaganda’ that Caine published in the Daily Telegraph from September 1914 (ODNB). It is 1p, 4to.

See the two men’s entries in the Oxford DNB and History of Parliament. Howard was Auditor of Receipt from 1673 to his death. The document is damaged, with the lower part torn away, leaving an area 23cm high and the same wide, but with part of one lower corner torn away. The paper is aged, and there are chipping and closed tears to edges. Howard’s two signatures (both ‘Ro: Howard’) are both undamaged, and the item is of some interest. On the front is the printed form, completed in manuscript, with ‘Sr. Thomas Player in repaymt. of Loane./’ in manuscript in right-hand margin.

An attractive and highly-finished production, in black ink, on 17.5 x 20.5 cm piece of wove paper, glued on the reverse at the four corners to a leaf extracted from the autograph album of the novelist George Meredith and his daughter Marie Eveleen (Mariette; 1871-1933), wife of Henry Parkman Sturgis (1847-1929), American-born banker and Liberal politician. Parsons' monogram signature 'AP. in its two-bordered square is at the bottom left of the drawing, and there is an additional autograph signature with date to the right of the drawing on the leaf of the Meredith album: 'Alfred Parsons.