VERSE

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 his entry in the Oxford DNB. The poem, one of Watkins’ best, is printed under the heading ‘VERNON WATKINS | Poet and Goldsmith’ on both sides of a 12mo leaf, paginated 13-14. In fair condition, lightly aged and creased. On the lower part of the second page is a reproduction of an attractive pen drawing of Richmond Bridge by Eleanor Poore. After the end of the poem and above the illustration is Watkins’ assured signature, good and clear: ‘Vernon Watkins’.

See the two men’s entries in the Oxford DNB. In good condition. 11.5 x 9 cm card, without illustration. Printed in red at head: ‘MICHAEL REDGRAVE.’ The message concerns the London production of Fry’s ‘The Lark’ (a translation of Anouilh’s ‘L’Alouette’), which opened at the Lyric Theatre, Hammersmith, on 11 May 1955. Redgrave would star in Fry’s next play, ‘Tiger at the Gates’ (a translation of Giraudoux’s ‘La guerre de Troie n'aura pas lieu’), which premiered in New York on 3 October 1955.

See his entry in the Oxford DNB. Removed from album, and closely trimmed, having been cut down to 9 x 7 cm, with corners cropped. Lightly aged, with one fold for postage. In neat close hand, reads: ‘My dear Lady Burdett / I am very sorry indeed that an Engagement from which I cannot release myself will deprive me of so great a pleasure. Yours ever / S Rogers.’ See image

See his entry in the Oxford DNB. 1p, 12mo. In good condition, lightly aged with patch of light sunning. Folded once. The recipient is not named. Reads: ‘Dear Madam / Forgive me for my delay in answering your letter. I have been laid up for a week or two with influenza & my correspondence has suffered in consequence. / And please believe that your words have given us sincere pleasure & that I am / Yours very faithfully / A. T. Quiller-Couch’. The hyphen in the signature is almost imperceptible. See image.

Long and almost universally-appreciative articles, with photographs and cartoons, reflecting the excitement and energy of the period during which Fry was, as Michael Billington writes in his entry on the playwright in the Oxford DNB, ‘a dominant figure in British drama’. Ranging from three continents, with a few articles in foreign languages (Swedish, German, French). Among the material are John Gielgud’s long statement ‘Mr. Gielgud discovers Mr. Fry’, New York Times, 5 November 1950; and Richard L. Coe, ‘ “Lady” Delights A Packed Gayety’, Washington Post, 21 March 1951.

See Tony Lopez's obituary in the Guardian, 11 April 2021.The letter was sent, with Items One and Two at least, while Guest was Lecturer in English at Yokohama National University, 1966-1972. All four items are neatly written in black ink in a close hand. The first three items are in good condition; Item Four is in fair condition, on aged paper and with wear to the outer edges. The parallel drafts of ‘Climbing a Volcano’ in Item One present an excellent example of the working process of a poet in the pre-digital age. ONE: Autograph Manuscript (2pp, folio) on one leaf.

72pp, 8vo. Tight copy on lightly-aged paper, in original blue cloth binding with dulled gilt on spine, panels of sunning to front board, and slight wear at head of spine. Ownership inscription on front free endpaper: 'Christopher Fry'. Auden, along with Eliot, was an inspiration to Fry, one of the foremost twentieth-century English practitioners of verse drama.

xv + 179pp, 8vo. Good tight copy in brown cloth, in worn printed dustwrapper. Frontispiece portrait of Fry. Inscribed on front free endpaper: 'To Christopher Fry | from | Glenda Leeming | with love'. In her preface Leeming notes Fry's 'patience and tolerance, as well as his helpful explanations of his plays, his intentions, and their realization'. The volume contains pencil annotations between pp.43 and 73, mostly relating to 'The Lady's not for Burning'. All are marginal indications of passages with vertical lines, apart from two annotations suggesting a degree of impatience with the text.

[6] + viii + 266pp, 8vo. With four-page 'Select Bibliography' and three two-page lists of errata tipped-in at the rear. In plain brown cloth, with green printed dustwrapper glued-down (by publisher) onto the endpapers by the flaps. In good condition, lightly-aged, in lightly-worn dustrapper with closed tear at rear. Inscribed on the front free endpaper: 'To | Mr. Christopher Fry, | With best compliments | from the Author, | S. n. Ray | 7.4.98'. Fry makes around fifty autograph corrections to the text, giving a list of them over the rear endpapers.

A total of 8pp of closely-typed text. In good condition. Also present are an additional four-page copy on pink paper of the first letter and its enclosure. First letter signed 'Kevin Bailey', two others signed 'Kevin B.' aq2 One letter lacks its last page and signature.

9pp, 8vo. Complete carbon typescript. On nine leaves, stapled together. Title at head of first page: 'THE BOAT THAT MOOED.' Fry's signature in blue ink at top left of first page: 'Christopher Fry:'. Fry has cut down the story by deleting and removing a passage. The lower part of the leaf carrying the sixth page of the story has been cut away, and the original seventh page has been removed, hence the typescript pagination 1-6, 8-10 has been amended in manuscript to 1-9. A lighthearted faux-naive story, replete with symbolism. Begins: 'Tom Crunch lived on a boat. All round the boat was water.

3pp, 4to, each page on a separate leaf. In fair condition, lightly aged and worn. Folded once. There is no indication that either item was published, nor even that the poem is connected to the 'programme'. (If unpublished the poem may have found its way into Fry's papers from Hassall's.) The 'programme' - with no title or heading - is two pages long (with slight damage from a small staple to corners of both leaves) and complete, being divided into six numbered sections.

The two items are from the playwright's own papers. FIRST EDITION: [8] + 113pp, 8vo. A good tight copy in lightly-aged brown cloth and price-clipped cream dustwrapper with attractive design by Edward Blakeney in brown and black on front cover, and slight chipping to bottom edge at back. Label with English price on back of dustwrapper. No autograph interpolations. PROOFS: 96pp, 8vo. Duplicated printed pages, each page on a separate leaf. Paginated 1-96.

Contemporary duplicated typescript, from the Christopher Fry papers. 14pp, 8vo. Each page on a separate leaf. In fair condition, lightly aged. Fry's introductory talk is present in its entirety on pp.1-5, this is followed by an unpaginated page, then pp.8-15 with p.[10] also unpaginated. Hence p.6 or p.7, beginning the extracts from the play, would appear to be absent. On the front page, between the heading and transmission details is: 'Rehearsal: Thursday 4th June 1953: 10.00 onwards | Recording: Thursday 4th June 1953: 12.15 - 1.00 p.m. 3A | Recording of Insert: [BLANK]'.

A multi-talented figure, Denis Johnston was a protégé of W. B. Yeats and Bernard Shaw, and had a stormy friendship with Seán O'Casey. Jonathan Swift was a preoccupation of Johnston's (see his 1959 book 'In Search of Swift'), and his play about him, 'The Dreaming Dust', was first produced at the Gaiety Theatre, Dublin, in 1940. It was published in collections of Johnston's plays in 1954, 1960, 1977 and 1983. This 1988 version remains unpublished. Both typescript and letter in fair condition, lightly aged.

Stanford's study of Fry in the British Council's 'Writers and their Work' series was re-published several times, and the early letters in the present collection refer to the preparation of the fourth edition, published by Longmans in 1971 (the bibliography to which Stanford refers as 'CHRISTOPHER STATE PAPERS'). A total of twenty-six items. The material in good condition, lightly aged. Stanford's nineteen letters total 65pp, 12mo. In an undisciplined hand, in different-coloured ink, on different-coloured paper. Stanford's 19 letters between 17 February 1970 and 31 October 1978.

24pp, 4to. Stapled pamphlet. Aged, and with spotting to covers, creased closed tear at foot of spine, and slight loss to bottom out corner of back cover. With one vertical fold. The cover is printed in black, with a charming cartoon by 'C. F.' in red ink of five happy birds singing and flying around with musical scores in wings, with one bird on box with conductor's baton tapping a music stand.

In folding box, dark blue, gt. 79pp, 8vo. In plain white card wraps, in blue dustwrapper printed in black, with red border to cover. Ownership inscription in blue ink on front free endpaper: 'Christopher Fry | 1930'. Hardly the best of copies, but a good association between two of the three giants of the twentieth-century English verse play (Eliot being the other). Internally tight, on lightly-aged paper, in aged and worn wraps. The dustwrapper is in poor condition, stained, chipped, and separated into several loose parts along the folds, with spine and back cover tipped-in onto the wraps.

[4] + 78 + [1]pp, 8vo. In printed wraps. Internally in fair condition, on lightly discoloured paper, in worn and stained wraps. Verse translation of the French source of Shakespeare's Richard II, 'Histoire du Roy Angleterre Richard'.

Manuscripts in a contemporary hand of two poems which won the University of Oxford Chancellor's Prize for Latin Verse, neither of them published. In 1789, Canning, as a Christ Church undergraduate, won the prize for the second of the two, 'Iter ad Meccam Religionis causa susceptum'; and in 1792 John Richardson, 'Scholar of University', won it for the first of the two, 'Maria Scotorum Regina'. The manuscript of the two poems totals 29pp, 8vo. The pages are written lengthwise on fifteen of the twenty leaves of a stitched booklet of laid paper with Britannia watermark.

Possibly the author's first book (see below), from the Christopher Fry papers (despite the ownership inscription). 54pp, 12mo. Stapled into green printed wraps (title and words '(ALL RIGHTS RESERVED)'). Tiny ownership signature in initials ('R. G.') in top right-hand corner of title-page. No details of publication or date, other than the printers' slug at bottom left of title-page.

From the Christopher Fry papers. PLAY: [1] + 47pp, 12mo. Stapled into buff wraps printed in red, including the statement that it is the 'Friends of Canterbury Cathedral Edition'. In fair condition, lightly aged, in worn wraps, with a trace of rust to staples. This edition of the play (the first?) is uncommon: the only copies on OCLC WorldCat at the British Library and University of British Columbia. COPY LETTER: 4pp, 12mo. In good condition, lightly aged. Written out in two hands, Recipient not named. With salutation 'Dear Sir,' and valediction 'I am | Yrs truly,'.

The book is 272pp, 8vo. A good copy, lightly aged, with binding sunned along top, in worn dustwrapper. The volume contains – along with autograph corrections of incidentals – a couple of autograph notes in pencil, one of a minor nature and the other reading: 'Daisy & Charles attended the funeral – March 26 – as recorded in Archibald Marshall's diary'; also one minor emendation in ink. The material inserted in the volume is described below. Accompanying the volume is a long typewritten radio script of an interview between Fry and 'Leslie', with autograph additions in pencil by Fry.

Guttman was, as one of his wife's letters in this collection states, Fry's 'prophet' in Holland, supporting his work from the earliest days. In 1961 Guttman directed the world premiere of Fry's 'Curtmantle' at Tilburg, and in 1981 he directed a production of 'The Lady's not for Burning' in Vienna. The collection is in good condition, with light signs of age and wear. The letters are all in English, long and intimate, addressed to 'Kit' and sometimes to 'Phyl', i.e. Fry's wife Phyllis.

An interesting correspondence on theatre matters, from one of Canada's most influential critics and designers to 'a favourite poet', the English verse dramatist Christopher Fry. Whittaker discusses, among other matters, mutual acquaintances including Sir John Gielgud and Leonard White, past productions of Fry's plays, a 1998 meeting with the playwright at his West Dean home, and a reading he organises of Fry's 'A Ringing of Bells' at the Toronto Arts and Letters Club. The eight letters are in good condition, lightly aged.

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; the card is discoloured and stained. Loosely inserted in a copy of Williams's 'Thomas Cranmer of Canterbury', 75 + [1]pp, 8vo, with the ownership signature 'Christopher Fry' on the front free endpaper, in worn binding with fraying at head of spine. Delightful and revealing letters, mixing personal and business (Williams worked for the Oxford University Press and Fry was published by them). ONE: ALS from Southfield House, 17 December 1941. 2pp, 12mo. Thirty lines of closely-written text, on a leaf of ruled paper torn from a notebook.

115pp, 12mo. In good condition: sound and tight, on browning War Economy paper, in green cloth with slight bloom, and in slightly worn and chipped browning dustwrapper. (The subtitle 'A Play in Three Acts' features on the dustwrapper, but not on the title-page.) Fry's ownership inscription 'Christopher Fry' is in blue ink at the top right-hand corner of the recto of the front free endpaper. A verse drama from the library of the leading twentieth-century English exponent of the genre, after T. S. Eliot.

55pp, 8vo. In fair condition, internally tight and sound, on browning paper, in lightly-worn blue cloth binding. No dustwrapper. Slight dink at head of spine. Ownership inscription 'Christopher Fry' in blue ink at top right-hand corner of recto of front free endpaper. Fry and Williams were on cordial terms, the latter working for Oxford University Press and the former being published by them.