MAUD

See her entry in the Oxford DNB, which describes how she accepted Max Reinhardt's offer ‘to play the Madonna in a mime play, The Miracle. This was first staged in the USA from November 1923 to the following May, and again for the following three autumns and winters. It toured Europe in 1927, and London and the provinces in 1932; the last performance was in January 1933.

An evocative artefact of one of the most successful British charities of the Great War. The Silver Thimble Fund was founded by Hope Elizabeth Hope Clarke of Wimbledon in 1915, and run from her house. Damaged trinkets made of precious metals, including 60,000 silver thimbles, were collected and melted down, paying for fifteen ambulances for the front and other medical transportation and equipment. The recipient is Mrs. Evelyn Julia Allan, listed in 1918 in the London Gazette as Honorary Secretary, Chelsea Division, British Red Cross.

See the entries on the various members of the Tree family in the Dictionary of National Biography. 4pp, 12mo. Bifolium. Thirty-eight lines of text. In good condition, lightly aged, with pin holes to corner. Folded once. Good firm signature ‘Maud Tree’. She does not want her to think that she is ‘losing sight of the Sunday Matinée’. She had to wait for Sir Oswald Stoll’s answer, ‘& it was kind, but it said regretful No’. She then wrote to Sir Alfred Butt ‘for the Palace or the Empire. His answer was also a sad No. - But now Mr. George Grossmith has offered me His Majestys or the Winter Garden.

4pp, 12mo. Bifolium. In fair condition, lightly aged, with pin hole to one corner. Folded once. The recipient is not named, but would appear to be a fellow member of the Women's Institute. She apologises for having been 'unable to attend the former meetings, as I am just convalescent from blood-poisoning followed by a bad nervous break down'. She will 'certainly come on Friday at 3-30.

1p., 12mo. In good condition, lightly aged. Reads: 'Dear Sir William | Many thanks for your letter | We will be with you tomorrow Tuesday by 11. o'c'.

The eight items are in good condition, with light signs of age and wear. Maude's six letters (all signed 'Cyril Maude') total 8pp., and his wife's two (both signed 'Winifred Emery') total 3pp. In the typed letter the recipient is named as 'Mrs. Whitley, | 78 Alexandra Rd., | St. John's Wood, | N.W.' All eight items deal with interviews conducted by her with the couple. On 20 December Maude writes, 'as I told you I fear there will be nothing in particular for me to tell you, as it is very necessary for me to avoid telling anyone anything just yet awhile.

Both items in good condition, on lightly aged and worn paper. ONE: ALS of 11 September [1891]. 3pp., 12mo. Bifolium. With stamped envelope addressed to 'Mrs. Wead | Buckingham | Old Shoreham | Sussex', with postmark supplying year. She thanks her for 'the kind invitation Cyril brought me to stay with you on our return from Switzerland', but cannot accept, 'as I may at any time be called for rehearsals after next week & the intervening few days I really must spend at home.

126pp., 4to. (Act 1 has 55pp. and Act 3 has 71pp.) Each act bound in grey card covers. Worn and aged, with the remains of the purple ribbon used to bind the leaves into their covers. A heavily reworked typescript. As is customary, the typed text of the play is on the rectos only, but leaves with additional typed and manuscript (presumably autograph) text have been inserted. Numerous manuscript additions and deletions to the text on the rectos, with additional typed passages on pieces of paper laid down onto the facing versos, which also carry further manuscript changes.

Item One: Autograph Letter Signed from Richter to Swan. 1p., 12mo. In good condition, on lightly spotted paper. From the letter it would appear that in 1946 Richter was acting as one of the selectors for the 59th Exhibition of the Royal Institute of Oil Painters, at the Royal Academy of Arts, Piccadilly, London. He writes that he is enclosing 'the mighty deed [a book, as the letter explains], also the invitation for the exhibition at the Royal Academy valid from Feb. 13 to March 17.