[Manuscript; Revenue; Customs & Excise ]] The Gross and Net Produce of all the Branches of the Revenue ...[full title below].

[Full title] The Gross and Net Produce of all the Branches of the Revenue under the Management of the Commissioners of His Majesty's Customs in England. Together with an Adjustment of the Net Produce with the Payments into the Exchequer Annually from Christmas 1710. To which are prefixed the underwritten Acco[unts] viz[t] : 1. The Yearly Payments into the Receipt of Exchequer on all the several Branches of the Customs from Michaelmas 1679 to Christmas 1710. 2. The Payments into the Exchequer for prohibited uncustomed and forfeited goods Annually from Christmas 1701. 3. An Account of the Monies which have come into the Hands of the respective Rec[eive]r Gen[era]l of the Customs for the Deduction of six pence in the pound to the Civil Li[st?... part of page missing] the first of August 1721 the commencement of the said [Fond?]'. Large folio, paginated 1-131, pp.1-[64] used for Figures, pp.[66-7] include added literary notes of no relevance to Gross Produce, (as did the front ep), pp.[68]-79 missing (presumed blank anyway), pp.80-131 blank except one page with quotes from Othello, all pages red-lined (columnised). The final leaf of the figures, pp.64-5, has lost an inch from its top (losing page number only) and an inch from within the list of figures, meaning the loss of three lines of figures on the final effective page, p.[64]. Half of p.8 has also been torn out and lost (p.9 was a blank). The binding is a shadow of its former self, having had the tender care of a Public Library (whose small stamp recurs throughout the book -I counted six; reference library label on front ep) for a prolonged period. Starting out as a fine red full leather gilt binding, its vestiges remaining, it is now seriously damaged, missing portions from spine and boards. As a result it is now preserved in a custom-made solander box. Contents: Payments into the Exchequer (Imposts on Linen, Silks, Wine, Vinegar, Tobacco, Sugars), 1679-1695 (Imposts list expanded to include coals, a new subsidy, '4 & 1/2 [?] Ct. from the American Plantations', whalefine, 'Enumerated Duty from the American Plantations', French Prize Wines, etc., etc., 1696-1711; 'An Account of the severall sums of money paid into ....Exchequer for prohibited ...1701-1736'; 'An Account of the Monies ... Civill List ...',1721-1736; 'An Account of the Gross and Net Produce of all the Branches of the Revenue ......' [Tobacco, wine, oinage, coffee, spices, , candles, hops, etc etc), TWO DETAILED PAGES of columnised figures for EACH year from Christmas 1711-1735 (final page experiencing the small loss described above), columns headed as follows: Branches| Gross Receipt| Total| Payments| Total| Adjustment of the Net Produce with the Payments into the Exchequer (sub-divided into Charge and Discharge). WorldCat lists two manuscript items which appear to cover the same ground (and more) as this volume, the National Library of Australia (1679-1761) and Columbia University (1679-1763). I have traced no printed version. Provenance: Worcester Public Libraries; Dominic Winter's Auction House.~450~KRESS ECONOMICS CUSTOMS AND EXCISE FINANCIAL FINANCE TOBACCO AMERICAN COLONIES~ ~0~Attic near hatch (on r Box 1); formerly 18772~ ~ ~ ~ ~ 23193~14/07/2020~False~Charles Clay [ Sir Charles Travis Clay (1885 – 1978), librarian and antiquarian who was the librarian of the House of Lords Library from 1922–56.]~[ Charles Clay, House of Lords Librarian] Autograph Letter Signed Charles Clay to T. Edwards Jones, about Lord Crewe's collection of William Blake material.~[Headed with insignia] India Office, 8 Oct. 1912~One page, 8vo, bifolium, edges dusted ow good. Lord Crewe (his superior in the India Office) has asked him to respond to T. Edwards Jones's question about Crewe's father's Blake collection. He would have been pleased to be of assistance to you in regard to your lecture on William Blake, but he fears that his father's collection of Blake drawings was disposed of some years ago & that the few Blake possessions which he still has are not of significant interest to make it worth your while to see them for the object which you have in view. Note: A sale of William Blake drawings belonging to Lord Crewe is recorded at Sothebys in 1903.~45~AUTOGRAPH MANUSCRIPT WILLIAM BLAKE COLLECTION~ ~0~RF1~ ~ ~ ~ ~ 23196~14/07/2020~False~Dudley Moore, comedian and musician, half of the 'Pete and Dud' duo with Peter Cook; Les Tomkins, Features Editor of the jazz music magazine 'Crescendo'~[Dudley Moore, comedian and jazz musician, interviewed by Les Tomkins for 'Crescendo'.] Typescript of 'The Serious Side of Dudley Moore', with second part ('More Music and Moore'), gig review, and carbon of Tomkins letter to editor Victor Graham.~The interview appeared in the July and August 1966 numbers of 'Crescendo' magazine [London].~The interview was published in two numbers of 'Crescendo' ('The world's most authoritative music magazine', founded 1962). The first part, retitled 'Music & Moore | Les Tomkins interviews “The Genuine Dud”' – was the leading article (pp.18-19) of the July 1966 number of ), with Moore featuring on the cover. The second part was published in the following number, August 1966, pp.18-19 and 25. Four items, all in good condition, with light aging. ONE: Carbon typescript of first part of interview, with title (replaced on publication): 'The Serious Side of Dudley Moore | A Les Tomkins Interview'. 8pp, 4to. On leaves of blue and yellow paper. The typescript appears to correspond to the published version, other than a few minor stylistic changes and the correction of a few errors, such as 'Maudlen' to 'Magdalen'. TWO: Carbon typescript of second part of interview, titled 'More Music and Moore Part Two of the Les Tomkins interview with The Genuine Dud'. 8pp, 4to. With ink notes indicating that one short passage should be moved, and the correction of a typing error. THREE: Carbon of typed letter from 'Les' to 'Victor', i.e. Victor Graham, the magazine's editor. 1p, 12mo. In what is a covering note to Item One Tomkins writes: 'This is about half of it. The remainder is equally good. He talks about working with the bands of Vic Lewis and Johnny Dankworth, the hostility he encountered, his development as an accompanist; speaks of Tony Coe as “the perfect hornman for our Trio”; Peterson's accompaniments; his experience in the States; his high regard for Pete and Chris, detailing their qualities; the fun he had at the Establishment, and how he misses it; his plans for using jazz more extensively in films; Beyond the Fringe; humour in music; putting jazz across to a wider public; shyness of musicians; the ego of Miles Davis; his dislike of the atmosphere of listening to jazz; his desire to work with a big band of his own.' He ends by asking when the second half should be used. FOUR: Carbon typescript, titled 'ROUND & ABOUT'. 2pp, 4to. Mostly taken up with a gig review, beginning: 'Sonny Rollins, unavoidably detained, missed the first two days of his engagement. On the Monday, this resulted in a welcome one-night stand being played by the Dudley Moore Trio.' Comparing the gig with a previous engagement at Ronnie Scott's, the review comments on Moore's 'microphone prescence today' ('hilarity caused by the funny voices he is expected to adopt between tunes'), and his 'accomplished' and 'irresistibly groovy' piano playing. Moore 'brought off a first at the club - with his falsetto singing of an old English madrigal'. Two other reports: the first one a short item on Sonny Rollins' music for the film 'Alfie'; the second on Tubby Hayes being 'well in evidence on the London scene again', with details of his 'new quartet'. The material comes from an archive of typescripts by Tomkins of his Crescendo contributions, including interviews with Louis Armstrong, Sonny Rollins, Bud Freeman, Stan Tracey, Erroll Garner, Stan Kenton, Quincy Jones, Joe Turner, Tubby Hayes, Stan Getz.~50~MANUSCRIPT AUTOGRAPH PETER COOK DUDLEY MOORE PETE AND DUD COMEDIAN JAZZ MUSIC MUSICIAN MAGDALEN COLLEGE CAMBRIDGE CRESCENDO MAGAZINE POPULAR COMEDY INTERVIEW LES TOMKINS~ ~0~Shared file 38; formerly 22405~ ~ ~0~ ~ 23191~13/07/2020~False~Elisabeth Frink [ Dame Elisabeth Jean Frink (1930 – 1993), sculptor and printmaker ].~[ Elisabeth Frink ] One Autograph Letter Signed Elisabeth Frink AND one Typed Letter Signed Elisabeth to Mr. Roberts and Ted respectively (O.E. Roberts), part-time sculptor and collector(?)~[Headed] 1303 Minster House, St James's Court, Buckingham Gate, London, SW1, no date AND [Headed] Woolland House, Woolland, Blandford Forum, Dorset, 16 Aug. 1984.~Letter One (Minster House).two pages, cr.8vo, expansive handwriting, very good condition. Text: I am very sorry I have not been able to send you a drawing yet. I have been working very hard this last year for a big exhibition, and apart from that I just have not had a drawing available to send you. I hope after my exhibition in November, to be able to find you a suitable one so that you have it for Christmas. Many apologies but I am afraid that' the best I can do. This is to let you know that I have not forgotten and I will send it as soon as I possibly can. So I hope you will continue to be patient. Letter Two (Woolland House), one page, 8vo, good condition. Text: Thank you for your letter and I am delighted that you liked my Levin [Bernard Levin] interview. I was very interested to read about the sculpture you are making. It sounds as though you have started in a very good way. I would be very happy to look at anyting you do. I can not actually let you have any small scuptures at the moment because I am very short and I am preparing for my large retrospective exhibition next Febaruary at the Royal Academy, which is very much occupying my time at the moment. | I enclose [not present] a catalogue of a small exhibition I recently had in King's Lynn which I thought you might find interesting. The new book of my sculpture is coming out some time later this year. | If you would like to visit us here we would be very pleased to see you. I imagine that you must have lost our address as I received your letter via the BBC. It was very good to hear from you.