DUNCAN

See Thomson’s entry in O’Byrne’s ‘Naval Biographical Dictionary’ (1849). He had entered the navy in 1811, ‘on board the Impérieuse 38, Capt. Hon. Henry Duncan’, and would retire with the rank of Lieutenant, after a reasonably eventful career, in 1829. In 1849 he was said by O’Byrne to be ‘a Captain in the Ayrshire Militia’. On 30 September 1864 the London Gazette listed him among the ‘Lieutenants on Reserved List, to be Retired Commanders’.

LETTER ONE (April): Three pages, 12mo, good condition. He discusses their respective illnesses, him recuperating at Minehead. The district round about Minehead is very stimulating, & inspiring. Watchet, a romantic port near by, immediately took my fancy. I tried to do some watercolours here but my efforts met with indifferent success. I learned later that Watchet is the traditional place from which Coleridge's 'Ancient Mariner' sailed. A fellow artist ('Scott') 'assailed' him when he was 'back to school', saying, he was down at Chelsea , & there was quite a group of artists there now.

According to Duncan's entry in the Oxford DNB, 'In 1809 he founded the Caledonian Horticultural Society, and in later years he was actively occupied in promoting the establishment of a public experimental garden.' 2pp, 4to. In good condition, on aged paper, creased. The recipient is not named, and the letter begins: 'Although I have already often interrupted important business of State, yet I trust you will once more, forgive an Octogenarian, when he can plead, that his principal temptation, to transgression, is an earnest desire to promote the publick good -'.

For the recipient Samuel Parks, internationally-renowned chemist and member of twenty-one learned societies, see his entry in the Oxford DNB, which explains his presence in Edinburgh at the time of the letter by explaining that it was during a visit to the city in June 1825 that Parkes 'was attacked by a painful disorder, which proved fatal'. 1p, 4to. Bifolium. In fair condition, lightly aged, with thin strip of paper from mount adhering to reverse of second leaf, which is addressed by Duncan to 'Samuel Parks [sic] Esqr | 59 Lothian Street'.

Unillustrated official 'POST CARD' with printed penny stamp. Addressed on one side, with Wimbledon postmark, to 'Sewell Stokes, Esq., | 53, Holland Park, W.11.' In good condition, lightly aged and worn. Twelve typed lines of text. The subject of the text is Stokes's forthcoming autobiography 'Monologue' (Hutchinson, 1934), with Mannin referring to her own 'Confessions and Impressions' (Jarrolds, 1930). After thanking him for his letter she writes: 'I am glad you have decided to dispense with an introduction to the book – books, particularly of this kind, should stand on their own legs . . .

2pp., 4to. He begins by reminding Duncan that he recently wrote to him, 'in reply to your letter on the subject of your book respecting Portugal'. That letter was directed to Oxford, but as Disney has not heard from Duncan since, he wonders whether it might have miscarried. He is now writing to remind Duncan of his 'kind expressions in my behalf as a candidate on the list at the Athenaeum'.

It is safe to say that no Shakespearian actor travelled as widely as Allan Wilkie, and few can surely match the number of his performances. Although born in Liverpool, Wilkie considered himself Scottish ('a young Scots boy'). Inspired by Osmond Tearle, he took to the stage, learning his craft with Ben Greet's company. The Times obituary of 'Mr. Allan Wilkie | Shakespearian actor-manager', 8 January 1970, describes how, after six years as a touring actor-manager in England, Wilkie took his troupe to India, China and Japan, 1911-1913.

1p., 8vo. In fair condition, aged and worn. He begins with regard to a change of address ('Widcombe Manor - where I was overhoused and understaffed - is for sale.'), and continues with reference to a booklet ('I chuckled over the illustrations'),as well as his book 'An Impending Sword' (written 'in the naughty nineties, long before I met Dot Boucicault, whose experiences were then unknwon to me'), and the Princess Royal. He concludes: 'I never heard the yarn of the man who stripped himself. I can cap it. My brother, Arthur, vanished from the luncheon table.

Nine items. In fair condition, on aged and worn paper. Heavily annotated by Duncan. The letters (each 1p. long, two in 4to and two in 8vo) concern her orders and wants'. On 23 April 1945 she writes: 'I find on looking through the Play Pictorial bound volumes that No. 28 His Highness My Husband is missing. It is not a very important one, in fact I don't remember hearing of the play before, but if you happen to have a copy among your single numbers, I should be glad to have it, in order to complete the volume.

Six items relating to Pulman's arbitration, including 'a careful breakdown [by him] of scene continuity of the Bourguignon script, the Duncan script and the final shooting script', these three breakdowns (Items Two to Four below) totalling 8pp. In his four-page arbitration, Pulman gives a detailed account of the process of the film's composition, of all the more interest as coming from a master screenwriter and contemporary. All six items in good condition, lightly aged. ONE: Carbon copy of Pulman's signed four-page 'Arbitration - "GIRL ON A MOTORCYLE" | Writers involved - S.

CARD: Addressed to 'Barry Duncan Esq. | 11, St Martin's Court | London | W.C.2'. In good condition, lightly aged, with 'Puppet Master' letterhead in red ink, with illustration of Mr Punch. He thanks him for being 'attentive' in sending cuttings. LETTER: 1p., 4to. On aged and creased paper. With cancelled 'Puppet Master' letterhead. Addressed to 'B. D.' Sending payment for hired items, and discussing a translation 'done a week ago for Salzburg Marionettes'. Speaking of Edinburgh he writes: 'I like this city v. much - some fine bookshops - but no playbills'.

ONE: Invitation. Tastefully printed in red and black on one side of an 11.5 x 15 cm piece of card. The club's monogram in a red square in top left-hand corner. Headed: 'YE SETTE OF ODD VOLUMES | United once a month to form a Perfect Sette | Object: Conviviality and Mutual Admiration.' The form, which has not been filled in, invites the recipient to one of the Tuesday meetings at the Imperial Restaurant, No. 7 Glasshouse Street, Regent Street. In envelope with circular 'Odd Volumes' device in red on flap.

The six items in fair condition, with light signs of age and wear. The four letters all with Morley's expansive signature ('Sheridan Morley').

The collection of seventeen items in fair condition, with light signs of age and wear. Two of the letters are signed 'Frank Pettingell', the others signed 'Frank (P.)' and 'Frank'. Two of the letters are in their original envelopes. They total 5pp., 12mo. On 22 August 1947 he writes regarding his collection of playscripts, mostly acquired from the son of the comedian Arthur Williams, and now at the Templeman Library, University of Kent: 'We are on holiday here [in Broadstairs] since "Fifty-Fifty" finished [...] When I get back next month I would like to sort the old M.S.

1p., 4to. On aged and worn paper. In response to Duncan's advertisement in 'The Stage', he asks whether he would be 'interested in the famous cartoons, in colour, which, with the signature of "Spy," used to appear in "Vanity Fair."? I have about seventy in good condition, all published between 1860 and 1885'. He also offers 'several volumes of old plays - some of them over 140 years old, and asks whether Duncan 'might care to drop in and have a look at these "treasures. | But, give me a tinkle on the 'phone first as I am rather a busy Man.'

ONE: Note. 1p., 12mo. In fair condition, lightly aged. In envelope addressed to Duncan at 11 St Martin's Court, London. Reads simply: 'Please let me have your catalogue when its ready | C L'. Lefeaux's name in capitals at head. TWO: Letter. 1p., 12mo. In good condition, lightly aged. He asks him to 'put the enclosed leaflet about the Repertory Players' in his window as agreed, offering two tickets as a mark of the commitee's gratitude.

1p., 12mo. In fair condition, lightly aged and worn, with slight rusting at head from paperclip. He writes that there is 'no relationship between myself and any of the people you mention. I have no antecedents such as you suggest and I cannot recall having received a copy of your catalogue.' Turning to the character 'Horace' in his play 'Nothing Up My Sleeve' he writes: 'he's just a figment of my imagination and the whole play is just a piece of work without any intended resemblance to anyone, only types.' The carbon copy of Barry Duncan's letter is somewhat aged and worn around the edges.

Five items, in fair condition, on lightly aged and worn paper, with slight rust staining from staple which held them together. Laver's two letters are both 2pp. long (one 8vo and one 12mo). The two relate to a collection of Dalziel wood-engravings, there being 'too many already in the Museum to justify our purchasing the collection in its entirety'. Laver suggests taking a selection of 100 engravings for £5, and with the second letter returns the residue, the price paid being £7 10s 0d. With Laver paying personally for two engravings damaged while in his care.

1p. 4to. Enclosing £2 10s 0d, and written out by hand on a piece of aged ruled paper. With acknowledgment by Duncan at bottom right. In stamped and postmarked envelope, addressed by Brahms to Duncan at his London shop, 11 St Martin's Court.

The thirty-six items in the folder are in good condition, with light signs of age. ONE: Six Autograph Letters Signed, one Typed Letter Signed, and one Autograph Card Signed. All signed 'Moira Lister' except the last communication, the card, which is signed 'Moira d'Orthez'. With four stamped envelopes, addressed to Duncan at his bookshop in St Martin's Court. A courteous and businesslike correspondence, firmly parrying Duncan's efforts at greater familiarity. The first letter, typed, is dated 8 March 1955, and relates to the sale of books.

16pp., 12mo. Disbound without covers. In good condition, on lightly-aged paper, with reverse of last leaf browned. Separate title-page, with only the following on it: 'SENSATIONAL REVELATIONS! | Life in | ENGLISH | PRISONS. | ONE PENNY.' Drophead title on p.3 with details of 'The Anarchist'. Duncan's article runs from p.4 to p.8, and is titled: 'Life in English Prisons. | The First Night in the Cells.

2pp., 8vo. In fair condition, on aged and worn paper. Under the headings: 'Object'; 'D.S.'; 'Narrative'; 'Episode I'; 'Episode II'; 'Episode III'; 'Maps'; 'Organisation' and 'Transport'. The exercise is to be undertaken by Captains 'V. S. Duncan-Jones, D. V. Bendall and D. Laidlaw. The object is 'To exercise Div LOs in route finding and locating HQs by night, and in message carrying.' The three episodes are described (the last beginning: 'You will take up posn on high ground G.5222.

Twenty-one of the twenty-two maps are stapled into a buff card folder, bearing on the cover, in manuscript: Maj. V. S. Duncan-Jones. | Tunisia | 1/200,000'. The twenty-second map loosely inserted, as is Jones's autograph letter to Pitt. In fair condition, with light signs of age and wear. The bound maps, all of which are in colour and all around 50 x 33 cm., are numbered in pencil 1 to 23, with 16 and 20 lacking.

The present diary is of some significance, presenting a first-hand account by a British officer of the Anglo-American 'Run for Tunis' that followed Operation Torch - the invasion of French North Africa in November 1942. It marks Eisenhower's first campaign following his appointment as Commanding General, European Theater of Operations. Four years before the writing of the two letters present here Jones and Pitt had collaborated in the publication of Jones's book 'Operation Torch' (1972), which Pitt (1918-2006) edited for a series first published by the American firm Bannatine.

16 x 20 cm booklet, consisting of a bifolium stitched with black green thread into covers of thicker paper. In fair condition, aged and worn, with remains of clear plastic front covering. On the front cover is a heavily-inked art photograph superimposing an image of a musical score over the edges of an fanned-out signature. On the inside of the back cover is a facsimile of a calligraphic inscription in Latin, in Renaissance style. The inner contents consists of two facsimiles.

13pp., 8vo, paginated 41-53. Stapled, in brown printed wraps. On aged and worn paper, with rusted staples. Largely unopened. A learned exposition, with quotations in the original, beginning: 'It is now possible for me to supplement my Arabic text of Ali Baba by printing in full the only other original version so far known. I shall add some further information which I have gathered on the identity of the scribe of the Bodleian MS. and various notes on the text of that version.' No copy in the British Library, and a total of six copies on OCLC WorldCat and COPAC.

For more about O'Neill (son of the Victorian artist George Bernard O'Neill) see his obituary in The Times, 15 June 1946. LETTER: 4pp., 12mo. Bifolium. In good condition, on lightly-aged paper.

4pp., foolscap 8vo. Bifolium. The document consists of a long printed text, with blank sections completed in manuscript. It is docketted 'M.5 | Copy for Mr. Falconer | to appear 19/26 June 1810.' In good condition, on lightly aged and worn paper. Signed 'Alex Davidson' and dated 28 May 1810, before the witnesses 'John Anderson and John Robertson both Indwellers in Glasgow'. The document begins: 'GEORGE, &c.

The three items in good condition, on lightly-aged paper. The accounts are both 1p., foolscap 8vo., and written in a sprawling uneducated hand. The first account is headed 'Genl Robertson to Duncan Robertson', and deals with the period from December 1808 to April 1809. Totalling £6 18s 2d, it includes 'two box Dubessons opiate', 'two bottles oil of rose', 'Two Crop wigs', 'Blacking', 'Riggs magnetic Tablet', 'a lib of old windsor soap', 'pott pomatum'. The second account is headed 'Mrs Genl Robertson to Duncan Robertson'.

Eight of the items are in very good condition, on lightly aged paper, the ninth (Item Four) is damp-stained. One letter (Item Five) is incomplete. Five letters (Items One to Five) are from Breadalbane's estate manager (and kinsman?) Duncan Campbell, and there are other letters from the latter's family.