Music and Theatre

Edward Knobloch’s play ‘My Lady’s Dress’ (‘in which’, as one newspaper wrote at the time, ‘the heroine’s dream takes her to the foreign [and London] scenes surrounding the manufacture of a costly gown’) premiered at the Royalty Theatre in London in 1914 and was revived several times through the 1920s.

Scarce: no other copy traced. Bifolium of laid 1856 Saunders paper. 4pp, 4to. Unpaginated. The front cover carries is headed ‘City of London Piano-Forte Manufactory.’ Beneath this are engraved the royal arms, flanked by the words ‘By Appointment / to the Queen.’ Peachey’s address is engraved beneath the arms in large letters. At the foot of the page, in red ink, are three lines relating to ‘Harmoniums.’, with the second page headed by another two lines in red. The two central pages carry much information in small type.

51pp, 4to, of autograph material, including 33pp with inscriptions directly on the page, and 28 items (almost all with signed inscriptions) laid down, the latter consisting of publicity photographs, parts of programmes, an Autograph Card Signed and an original drawing. In a superior 4to album of 116pp, on 58 leaves of good watermarked laid paper. The final 32pp are blank. Twelve pages carry empty corner mounts, and there are also signs of leaves torn out and other evidence of removal of material. With stationer’s ticket of ‘JOSEF HODEK / UMELECKÉ KNIHARSTVÍ / JAROMER’.

See Wendy Trewin, ‘The Royal General Theatrical Fund: a history, 1838-1988’ (1989), and Macqueen-Pope’s entry in the Oxford DNB. ONE: Carbon copy of letter from Macqueen-Pope to Allen, 15 May 1953, with three drafts of advertisement. 4pp, 4to. On four leaves. The letter, on the first page, is somewhat grubby, with rust spotting from paper clip, the other three leaves, each of which carries a proposed version of the advertisment, in good condition, lightly aged. The letter begins: ‘Dear Jack Allen, / Herewith three rough samples for the proposed advertisement concerning the Fund.

1p, 12mo. On grey paper. In fair condition, lightly aged and with slight creasing. Large firm signature. Presumably responding to a request for an autograph. Reads: ‘With my most abject apologies - but I have been away for three months / Robert Morley. See Image.

See his entry in the Oxford DNB. 1p, 4to. In good condition, lightly aged and creased. Folded twice for postage. The letterhead is somewhat striking, with a band of green printed along the top, and the charity’s logo featuring prominently. The names of many officers and committe members are printed down the left-hand margin, headed by President Noel Coward, and including ‘Miss Gladys Cooper’, ‘Dame Edith Evans’, ‘Lady Du Maurier’, ‘Sir Laurence Olivier’, ‘Mr. Michael Redgrave’, ‘Mr. Jack Hawkins’ and ‘Mr. Kenneth More’. Attenborough features both as Hon.

See her entry in the Oxford DNB. The three TLsS (Items One to Three), each signed ‘Lilian Baylis’, are all 1p, 4to. They are in fair condition, creased and lightly aged, with Item Three having two punch holes for a binder. The portrait postcard is in good condition, lightly aged. ONE: TLS, 15 November 1921. Addressed to ‘Miss Ingham’. ‘I do hope you will have a big success with the enclosed card.

An attractive piece of juvenile ephemera, printed in black on one side of a piece of 23.5 x 36.5 cm wove paper. In good condition, folded twice. The document is excessively scarce, no other copy having been traced, and little has been learnt about the advertiser. In 1919 Punch carried an advertisement for ‘Punch and Judy, Conjuring, Ventriloquism, &c.’ from ‘James Portland, the Conjuror and Children’s Entertainer’. Four years later the ‘Model Engineer’ carried several advertisements from Portland as a supplier of ebonite.

On a ‘Lion Brand’ plain post card. In good condition, but with the hurriedly-written text somewhat smudged, and a small staple at one corner. Addressed to ‘Robt J Drury / 141 Chichester Rd / Cleethorpes / S. Humberside / DN35 OJL.’ The message on the other side is hurriedly written: ‘August 1 1995 / Dear Mr. Drury / I’ve no thought on the Academy Awards I’m afraid. Some are well deserved some not - but thats true of a [?] Alan Bennett.’

1p, 12mo. On grey paper. In good condition, lightly aged. Addressed ‘Dear Mr Robinson’ and signed ‘Alan Bennett.’ A short response to a letter about his play ‘The Old Country’, whose run at the Queen’s Theatre had started on 7 September 1977. He thanks him for his kind letter, and states that ‘It’s nice to hear from people in the audience as I often feel the play goes on night after night & has nothing to do with me at all - one penalty for not performing very much.’ See Image.

See her entry in the Oxford DNB. The inscription, firmly-written in pencil, reads, ‘With best wishes / Deborah Kerr.’, and is written beneath a pencil portrait of a smiling Kerr’s face and shoulders, competently-executed in typical fifties style. On recto of 10 x 12.5 cm leaf of a tracing paper bifolium, the verso of the second leaf carrying, upside-down, an outline sketch of Kerr. The paper is somewhat creased and worn.

See her entry in the Oxford DNB. After a stint as one of George Edwardes’ Gaiety Girls, she made her name in a number of revues, her performance in the lead role of the 1929 Broadway production of ‘Bitter Sweet’ prompting Coward to praise her grace and charm and assurance, which he said provoked one of the most prolonged outbursts of cheering I have ever heard in the theatre. She was less successful in Hollywood, starring in the Romberg/Hammerstein musical ‘One Heavenly Night’ (1931), a failure for Samuel Goldwyn.

On one side of a 35 x 24 cm leaf of gilt-edged wove paper, extracted from the autograph album of novelist George Meredith's daughter Marie Eveleen (Mariette; 1871-1933), wife of Henry Parkman Sturgis (1847-1929), American-born banker and Liberal politician. In fair condition, lightly aged, with a small closed tear and slight creasing to extremities. Reads: ‘Recuerdo de un humilde artista en todas las Españas, y admirador de las bellísimas hijas de la Hermosisima Albiòn / Sarasata / 20 - 12 - 92’.

See his entry, and that of his brother, in the Oxford DNB. On one side of a 14 x 9 cm printed postcard. No stamp or address, the side that should carry them being blank. The other side carries an illustration of a British soldier in khaki firging a cannon behind a wall, as another soldier stands to attention beside a nearby flagpole, from which a large Union Jack flies, pited in red and blue. At the head of the saide is a snatch of musical notation, to the words ‘Under the British Flag well fight our way to glory’.

See her entry in the Oxford DNB. The programme is 8pp, 12mo. In fair condition, lightly aged, with minor rust to staples. The cover consists of the royal crest printed in red, and the rest in black: ‘ROYAL OPERA HOUSE / COVENT GARDEN’ above the crest, and ‘THE SADLER’S WELLS / BALLET / 1947’ below it. At an angle across the centre of the page, in blue ink, is the large signature ‘Margot Fonteyn’.

See his obituary in the Guardian, 5 April 2006. On irregularly-shaped trapezoid of ruled paper, roughly 8 cm wide at top, with one vertical side also 8cm, and the other 4cm, giving it a guillotine shape. Lightly aged and ruckled. Blank on the reverse. Reads: ‘Best / always / Gene Pitney’.

Black and white print of an 11.5 x 15 cm head and shoulders portrait of a smiling Carter on 12.5 x 21 cm piece of shiny paper. In good condition. Beneath the portrait, in red ink, Carter writes: ‘for Michael Robuck / Elliott Carter, March 28, ’72.’ On the reverse, in another hand, is the note ‘4. 3. 72 / Elliott Carter Composer’. See Image.

See the article ‘Glory days of the man with the golden trumpet’ in the Lancashire Post, 17 March 2017. On one side of 12 x 8.5 cm leaf of cream paper with rounded outer edges, torn from an autograph album. In good condition, with blank reverse. Large sprawling signature covering the whole page. Reads ‘Sincerely / Eddie Calvert’. See Image.

See her entry in the Oxford DNB. A nice item, printed on shiny card. Bifolium folding to 21 x 14.5 cm. In good condition, lightly aged. On the front is a photograph of Scales and West by Jane Bohn. On reverse of first leaf is the menu, on recto of second the ?Toast List?, and the verso of the second a list of officers. McEwan?s inscription, in a good firm hand is at top left of the menu. It reads: ?With Best Wishes / Geraldine / McEwan?. From the papers of Kenneth Sephton. See Image.

On one side of 15 x 10 cm grey-blue card, with facsimile of her signature at the head. Addressed to ?Dear Kenneth?, and with bold stylish signature at bottom right. The subject of the letter is the Piccadilly Theatre production of ?Gypsy?, which had opened a few days before on 29 May 1973. She thanks him for his ?kind letter?, adding ?Thank god you were right about the show and it has turned into more of a success than I could have ever hoped for.? She is sorry he couldn?t attend the first night, as ?it was a good show and I know you would have enjoyed it?.

Photograph and signature in attractive frame. See Image. Label on reverse: Waterloo Galleries, Waterloo Street, Weston-super-Mare, BS23 1LA [...]. Photo, 9 x 13cm; Signature, 8.5 x 5cm.

Calling Card, 9.5 x 5.5cm, some staining but text clear. See Images. Printed text (recto) is as follows: Léo Delibes || Membre de l'Institut || 220 rue de Rivoli. He has written the following; Mille remerciements bien affectueux, cher collaborateur. Vous permettez ce titre, sinon a l'auteur du Roi l'a dit [underlined], du moins a celui de 'Lakmé'! | L.D.

One page, cr. 8vo, fold marks, faint foxing, good condition. See Image. Text: It is delightful to read that August Manns [conductor - see Wiki] is still remembered. I was born within sight of the Crystal Palace and can even remember the great fire on one Sunday afternoon when part of the 'Tropical End' was burned to the ground. Those Courts [with?] the fine casts of statues of all periods taught me how to look at their originals in many places.

One page, 12mo, blue paper, good condition. See Image. I am so sorry - I have got no photograph so just the autograph must do -.

Stapled pamphlet. 20pp, 12mo. In good condition, lightly aged and worn. Sargent’s unusual bold stylized signature, in blue pencil, almost occupies a 5 cm square. All but the top centimeter which touches the printed date at points, is written on blank space on the cover. See image.

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.

From the Macqueen-Pope papers. See his entry in the Oxford DNB. Eleven items, in fair overall condition, on lightly aged and creased paper. All six of Arnold’s communications are signed ‘Tom Arnold’. Arnold’s two TLsS are dated 2 October 1942 and 23 July 1959. In the second of these (1p, landscape 8vo) he thanks MP for a producing a piece of writing which ‘suits the mood’: ‘I appreciate your doing this, and the speed with which you tackled it for me.

See Image. Signature and date ('Beryl' Formby | 1941) on piece of paper, 6 x 4, rounded corners, good condition, laid down on larger piece of paper, 12 x 6.5cm. On reverse the signature of Leslie Henson, actor etc. Note: She was positive in his career in some aspects but was obviously difficult. After her death, Formby publicly said that 'My life with Beryl was hell'.

A scarce item: the only other copy located is at the Foundling Hospital, London. 30pp, 4to, with a further 7pp of advertisements at the back. Stapled into grey wraps printed in red. A delicate survival, on browing high-acidity paper, in worn wraps chipped around the edges. On the front cover the item is described as ‘Book of Words & Programme for the Rehearsal Day’.At top right-hand corner of the title-page are the pleasing ownership initials of ‘A. G.

Meyerbeer is said to have been the most frequently performed opera composer during the nineteenth century. He encouraged and supported the young Wagner, who turned on him viciously later in life. Lady Molesworth (née Andalusia Carstairs, d.1888) had herself been a professional singer. She was the widow of Sir William Molesworth (1810-55), founder of the London Review and owner, under the editorship of John Stuart Mill, of the Westminster Review.