PLAYWRIGHT

Both items in good condition, lightly aged, as is an enclosure to the second letter, a photocopy of Lowbury's pamphlet 'A Letter from Hampstead'. ONE: 24 September 1969. 2pp, 12mo. In envelope addressed to Fry at his East Dean home The Toft. He is grateful for Fry's letter praising his collection of poems 'Figures of Light'.

All three items in good condition, with both letters lightly-creased at the foot. ONE: TLS. Signed 'John Mortimer'. 11 November 1995. 1p, 8vo. He was delighted to receive Fry's letter and would 'like to visit a writing group with which you're connected. If I'm free on May 10th I'll come. I'm just waiting to hear about a trip to Florida – so do let the committee write to me. I'll know by then more clearly what I'm doing.' TWO: TLS. Signed 'John', with Mortimer deleting the typed word 'sincerely'. 1 March 1997. 1p, 8vo. He found it 'a delight' to hear Fry's 'lecture at the RSL'.

2pp, landscape 12mo. In good condition, lightly aged. Begins: 'Dear Christopher Fry, | I am sorry to contradict you, but I showed my co-editor, the poet Rodney Pybus, your poem “For Edmund Blunden”, and we both [last word underlined] feel it should be published, and that we would like to publish it. Please.' In the hope that Fry will agree, he asks him to 'sign and return an acceptance form and send us the biog. note you would like to print alongside the poem'. He continues: 'I do hope you'll agree.

Both 2pp, 12mo. In good condition, lightly aged. Written in Whistler's calligraphic hand. ONE: 13 December 1961. He will be 'so pleased' if Fry will accept a copy of his poems, 'which I like to send you because of my admiration for your work, and sense of sympathy with what you express, or create'. TWO: 21 August 1963. 33 lines of text, written following the death of his friend Christopher Hassall.

A total of twenty-eight items of correspondence, comprising: nineteen Autograph Letters Signed (two on the backs of cards), two Typed Letters Signed, and seven Autograph Cards Signed. In good condition. All signed 'Mary', and the large part addressed to 'Christopher', with a few to 'Kit' and one to 'Dear Phyl [i.e. Fry's wife Phyllis], dear Christopher'. The correspondence indicates a deep affection and long-standing intimacy.

3pp, 12mo. Bifolium. In good condition, lightly aged. Each page numbered by Fry. An Unsigned document from the Christopher Fry archive. Warm personal recollections, entertaining and evocative. Unpublished.

The letters are in fair condition, lightly aged and worn, except for the third, which is damp-stained with closed tears at head and foot. The book is in fair condition, without dust wrapper. All four letters are signed 'W. H. Davies.' The first three are addressed to 'Mr Harris', and the last (an ANS rather than an ALS) to 'Mr Fry'. Each is 1p, 12mo. Letter One: 23 March 1928; Malpas House, Oxted. After reading his poem, Davies states, 'I begin to think you ought to take some step towards publishing, as soon as you have enough material.

1p, 8vo. In good condition, lightly aged, folded twice. He does not have a copy of his book 'Flying Eggs', but intends 'to order a few. Since computerization, ordering is a longwinded business, but there's reasonable hope they'd arrive before the Christmas post.' He gives instruction concerning payment and postage. He makes a suggestion if McPherson should 'at any point in the future [be] tempted to buy my first book of short stories, PENNINE TALES' (go for the paperback which is cheaper and 'much better edited').

Sepia-coloured studio photograph on 19 x 14 cm card. Backed on the reverse with brown paper on which are printed the details of the photographic studio responsible, Swaine's of London and Southsea. The print itself is in good condition, lightly aged and worn; the reverse is heavily-worn with traces of glue from previous mounting. Vachell has written his underlined signature in black ink diagonally upwards at the bottom right-hand corner: 'Horace Annesley Vachell.' This studio photograph of Vachell is not present in the National Portrait Gallery collection.

Both items in good condition, lightly aged, with the card loosely inserted in the book with a paper clip. ONE: Autograph Card Signed. A Christmas card, in which Booth writes: 'Dear Margaret Forster, So sorry I added more confusion to your busy day of welcoming the new baby and congratulations to all. | Virginia S Booth | P.S. Hope to meet you one day - | I like the edition in spite of some errors and hope you do to [sic] ! | V S'. TWO: Book titled 'Six Plays'. [8] + 327pp., 8vo.

2pp., 12mo. In good condition, on lightly-aged paper. Addressed to 'Arthur C. Blunt, Esq', with salutation to 'My dear Cecil'. With regard to 'Mr. Wigram's letter' he writes that he 'would rather not dramatize a novel, and did I feel an inclination to do so I don't think I am at all a good man for the work'. He nevertheless asks the recipient to inform Wigram that he is 'complimented by his and Lord Desart's proposal'. The postscript is mildly amusing: 'P.S. I hope I am not liable to misconstruction in enquiring after your Housemaid's Knee'.

On 4 x 10.5 cm. strip of paper, cut from a letter, presumably in response to a request for an autograph. In fair condition, with light signs of age.

Both items in good condition, on lightly-aged paper. ONE: Typed playscript. 85pp., 4to. Typed in black and red on rectos only. Typed by May Hemery of London. Bound into black card covers, with label on front. TWO: Typed Note Signed to theatre historian W. J. Macqueen-Pope from 'Evelyn Dagnall', i.e. the dramatic critic Mrs T. C. Dagnall.

2pp., 12mo. In good condition, on lightly-aged paper. He thanks him for his 'most generous & warming letter' about his 1927 comedy 'The Fanatics'. He has not answered sooner as he was 'suddenly caught up in some very hectic & engrossing rehearsals for "Rhinoceros" at the Court Theatre'.

1p., 12mo. In fair condition, on aged paper. He hopes he is not 'premature' in asking for 'a box for Richard 2d for tomorrow - Tuesday - night!' If he is not he will be 'thankful'; if he is he will 'wait patiently for a future occasion'. Kean's Richard II opened at the Princess's Theatre on 14 March 1857 and ran for 112 nights.

The Oxford DNB's entry on Bunn states that from 1819 to 1824 he held the lease of the Theatre Royal, Birmingham. 1p., 8vo. Bifolium. Addressed on reverse of second leaf to '- Perkins Esq'. In fair condition, with light signs of age and wear. Bunn begins his letter: 'My dear Sir, | The dreadful bustle attendant on producing "Waterloo" must be my apology. The Music & Manuscript are herewith sent - & not a note or a syllable of either has been copied.' He thanks 'Mr Howes for his kindness', which he offers to reciprocate, 'whenever in my power'.

ONE: Typescript of '"Small Hotel" | A Comedy in Three Acts |by | James Gardiner'. 144pp., 4to. Bound with ribbon in blue card wraps with typed label. Text on rectos only. In pencil on title-page: '56 Welbeck Street'. In fair condition, on aged paper, in heavily worn wraps. 'The action takes place in the Lounge of the Bay View Hotel, near Dormouth, a South Coast Naval port.' No record of the play has been found, either on OCLC WorldCat or on COPAC, or on the ITDb. TWO: Typed Letter Signed to Commander Vivian Ellis from Olive Harding of Myron Selznick (London) Ltd.

96pp., 8vo. In exercise book, in blue ink with red underlining. With two additional passages on slips of paper pinned onto leaves. Aged and worn, in red card wraps with repaired spine. Nicoll notes an earlier title 'All for Him'. Set in the house of London stockbroker David Carne. Considering the play's popularity in the provinces, its fall into oblivion is surprising. Productions are noted at Southampton (1918-1919, 1930-1931), Oxford (1919), Swansea (1920), Sunderland (1924, the poster announcing: 'J. R. C.

'The Bird of Paradise', Tully's best-known play, is set in Hawaii during the 'Revolutionary Days of the Early Nineties'. It was the subject of what the New York Times called 'one of the bitterest plagiarism suits on record'. A schoolteacher named Grace Fender was initially successful in her claim that it was based on her play 'In Hawaii', but the case was reversed on appeal. It was first produced in Rochester, USA, in December 1911, with productions at Daly's in New York in 1912, and the Lyric Theatre, London, in September 1915. A total of 158pp., 4to.

168pp., 4to. Pages typed in black and red (by Active Secretarial Bureau, Wardour Street) on versos only. Bound in grey card wraps, with red tape spine. Typed title on cover, with circular red label of 'British and Continental Plays Ltd'. The main characters include the unnamed members of a continental royal family, together with 'Baroness Sibyl Konigsmark' and 'Section-Leader Grumb', and the scene is set at an Old Castle and Summer Palace, and 'Late in June of the year 1941. Three o'clock p.m.' and periods shortly following.

74pp., 8vo. Stapled duplicated typescript, with pages on rectos only. In fair condition, with moderate signs of age and wear. Light staining at head, and discoloured title-leaf detaching. A few minor manuscript emendations, and '-Debel' added in manuscript to the translator's name. 'La Princesse Americaine' was first performed in 1963, and like Aloni's other early work was influenced by the European Theatre of the Absurd. An English translation of the play appeared in 1980, but OCLC WorldCat has no record of the publication of a French translation.

136pp., 4to. Duplicated typescript (by Catherine Billinghust, Westminster) with pages on rectos only. Bound in grey card wraps, with red and black cloth spine and title typed on front cover. In good condition, with light signs of age and wear. '12' in manuscript at head of cover. 'Sleep My Pretty One' has been described as 'a study of a young girl driven to distraction by the death of her mother and the, to her, totally unacceptable remarriage of her father'.

137pp., 4to. Typed text on rectos only. Bound with red ribbon into red wraps, with typed label on front cover. In fair condition, aged and worn, in heavily-aged wraps. Pencil annotations to the list of characters. Bound in before the beginning of almost every scene is a manuscript leaf carrying a page giving the layout of the set. The label of Joan Ling Ltd, Gloucester House, 19 Charing Cross Road, WC2, is pasted over Knoblock's typed address 21 Ashley Place on the title page. Knoblock's papers are at his alma mater Harvard.

Typescript: 132pp., folio. Each page on a separate leaf, all of which are attached with metal clasps in a grey card folder, with the label of the International Copyright Bureau Ltd, London, on the front cover (as well as on the title page). In fair condition, lightly-aged and worn, with title leaf coming away. Text with a few minor manuscript emendations. Accompanying the typescript is Harbottle's letter, signed 'Laurence'. 1p., 8vo. In good condition, on lightly-aged paper.

1p., 12mo. On aged and ruckled paper, with closed tear unobtrusively repaired. In the author's distinctive, heavily-inked hand. He writes to inform him that he has 'the MS of the piece I wrote about', and that if it meets with his approval 'it may fill up the gap till Black Mail is completed'. He continues: 'I repeat it is a most powerful drama as strong as the Dead Hearts | Will you and Churchill come and hear me read it? [last two words underlined three times] | If so - when? | Will you drive over tomorrow???? | If so - at what hour? - Telegram back and I will be in Price and condition.

105pp., 8vo. Duplicated typescript, in two parts, each with title-page, continuously paginated. In good condition, lightly aged and worn. The piece, described as a 'musikdramatiskt' (music drama), was produced in 1976 by the Kungliga Teatern, Operan, and in 1977 on the Sveriges Radio. No other copy traced, either on COPAC or OCLC WorldCat.

In his obituary in the Independent, Lane was described as 'one of those writers whose published oeuvre is only matched by the supreme fiction of their own existence'. The present two pieces, both unpublished, date from his time studying theatre design at Wimbledon Art School, before 'launching himself across the globe, seemingly supported only by his verbal brilliance, good looks, perfect wardrobe and genius to amuse'. ONE: '"ANAGRAMS [no closing quotation mark] | A One Act Play - by Simon Lane'. [3] + 19pp., 8vo. Duplicated typescript on loose leaves held together by paper clip.

1p., 32mo. Good, on lightly-aged paper. The note reads: 'My dear Webster, | I have fasted all the week in joyful expectation of the 1st of December. | Every truly your's [sic] | Douglas Jerrold'.

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'.

Programme, [20]pp., 4to, illus. printed wraps (partly in red). Directed by David Thacker, including excerpts from "The Golden Years", "Focus", "Death of a Salesman", Miller's adaptation of "An Enemy of the People", etc., etc. Programme signed by Arthur Miller himself ("For Esther | Arthur MIller). Enclosed Menu for dinner on 14 May 1989 at the Arthur Miller Centre for American Studies, signed "Warren Mitchell". This item derives from the Papers of Sally Worboyes who organised writing courses involving well-know TV personnel, actors, singers and writers as tutors at Fen Farm nr.