ACTOR

See his entry, with those of his brother Lionel and Lacy, in the Oxford DNB. 1p, landscape 8vo. On grey paper. Neatly placed in a trimmed windowpane mount, with a triangle of paper lost on opening the seal skilfully replaced with paper. In fair condition, folded for postage. On the reverse is a penny red stamp, a black wax seal, and two postmarks, with the address by Brough: ?T. H. Lacy Esqr. / 17 Wellington Street / Strand / London?, and Brough?s initials ?R. B. B.? at bottom left.

See his entry, and Manby?s, in the Oxford DNB. 1p, 12mo. In good condition, on first leaf of bifolium, with the blank second leaf carrying traces of tape from the mount. Neatly folded for postage. Addressed to ?My dear Manby? and signed ?Jno. B Buckstone?. In addition to his work as an engineer Manby was for many years involved in the management of the Adelphi and Haymarket theatres.

See his entry in the Oxford DNB. 2pp, 12mo. Bifolium. In fair condition, lightly aged and worn. Thin strip of mount adhering to blank reverse of second leaf. Folded for postage. Begins: ?Dear Edmonston - / Will you kindly get me Dr. Sydie? book of ballads with music. It is I think published in Edinburgh.? He asks for the book to be sent to him at the Gaiety Theatre and he will pay the cost. Ends: ?I hope you are jolly & well / Kind regards to yourself & all friends in Auld Reekie?. Signed ?J. W. Toole?. Postscript: ?Did you read the ?World? this week? There is something about me in it.?

See his entry in the Oxford DNB. He had taken on the management of Drury Lane in 1849, and had hoped to profit from the Great Exhibition, but retired from it in 1851, having incurred substantial losses. 1p, 12mo. In good condition, lightly aged, on the first leaf of a bifolium, with the reverse of the second leaf bearing minor traces of mount, as well as the following annotation in a contemporary hand: ?Jas: Anderson Esqre / Lessee Drury Lane / Theatre / T Bateman Esqre. / a P. Whelan?. Anderson addresses to ?Peter Whelan Esqr.? and gives an untidy signature ?James Anderson?.

An interesting letter from one great of the nineteenth-century stage to another. See the entries on Macready, Webster and Forster in the Oxford DNB. Curtis is a noted Federalist historian. 4pp, 16mo. Bifolium with mourning border. (His eldest daughter Nina had died at the age of twenty on 24 February 1850.) In good condition, lightly aged, with traces of tape from mount adhering to the second leaf. Two postage folds. Forty lines of text, addressed to ‘Benj. Webster Esq.’ and signed ‘W. C.

2pp, 12mo. The five signatures in pencil on a single Festival letterhead. In good condition, slightly discoloured, with two unobtrusive dabs of glue from mount at head of reverse. The three signatures on the recto are headed by Noni’s large bold one: ‘Alda Noni / Edinburgh 1953’. Beneath this is that of ‘[Raul Herrman?] / (beardless) / Aug. 28, ’53’. At the foot is an indecipherable Easter European signature, with small pencil illustration: ‘[Woftniltuntz?]’. On the reverse: ‘Malcolm Sargent’ above ‘Michael Hordern’. Image on request.

The phrase ‘Box and Cox’ has entered the English language. See the OED, and the two men’s entries in the Oxford DNB. 2pp, landscape 12mo. Neatly inserted in a trimmed windowpane mount. In good condition, lightly aged. Folded twice. Signed ‘John M Morton’. Begins: ‘Dear Webster. / As Mr Anson informs me that you are “on the forward course to regenerated health” I hope I need not apologise for writing again.

The phrase ‘Box and Cox’ has entered the English language. See the OED, and the two men’s entries in the Oxford DNB. 2pp, landscape 12mo. Neatly inserted in a trimmed windowpane mount. In good condition, lightly aged. Folded twice. Signed ‘John M Morton’. Begins: ‘Dear Webster. / As Mr Anson informs me that you are “on the forward course to regenerated health” I hope I need not apologise for writing again.

2pp, 12mo. On first leaf of grey-paper bifolium, the blank second leaf carrying a thin strip of tape from the mount. In good condition, folded once. Signed ‘John W. Calcraft’. The recipient is not named. Thirty-four lines of text, in a somewhat difficult hand. After a reference to ‘Mrs. Cook’s letter’ he gives the details of a forthcoming production, including the dates, ending with the benefit. ‘Terms as understood 10£ per night & [?] halfbenefit. I do not usually play on the Friday Night at this time of the year as they are uniformly bad nights’.

See his entry, and that of his father Charles and wife Madame Vestris, in the Oxford DNB. 3pp, 8vo. Bifolium with mourning border. In fair condition, on lightly aged paper, with slight damage at head of second leaf, the blank reverse of which carries traces of glue from mount. Folded once. Madame Vestris had died two and a half months before the writing of this letter, which evinces a surprising intimacy. Begins: ‘My dear Mrs Williams / Here’s a pretty business! Was there ever such disappointment.

See his entry, and those of his father, wife and Kenney, in the Oxford DNB. 2pp, 12mo. On first leaf of a bifolium, the blank second leaf of which carries a thin strip of tape from the mount. In good condition, lightly aged. Folded twice. Good bold signature ‘C. Kean’. Begins: ‘My dear Kenney / Would you like a P[rivate]. Box or stalls next Friday, being the opening night of our season - I should like you to give a kind of notice of my past season and of my intended retirement from management next July, to which I shall refer in the parting words I purpose delivering according to the custom’.

See his entry, and that of his son, in the Oxford DNB. The topic of this letter is referred to in the second volume of Dickens's edition of the son's life, 1879. 3pp, 12mo. Bifolium. In good condition, lightly aged, with strip of tape from mount adhering at edge of blank second leaf and two folds for postage. Addressed to ‘Dear Harley’ and signed ‘C Mathews.’ He begins by thanking him for his ‘kind enquiries’, and (with regard to his son the actor Charles James Mathews) writes that ‘Our dear good Charles thank God! is recovered, and writes in excellent spirits from Florence.

14 x 10.5 postcard with 7 x 10 cm matte black and white metallic photographic portrait print by Studio Virgine of Paris to the right, and blank space to the left, in which Chevalier has written in blue ink, ‘Thanks to you both. Everything went fine. / Maurice’. The phtograph shows an urbane Chevalier in evening dress, hands in pockets, smiling. Somewhat aged and worn, with crease to top right corner going through Chevalier's head. See IMage.

See his entry in the Oxford DNB. 1p, 12mo. Eighteen lines, closely written. On creased grey paper, with short closed tear at edge of central crease. The year 1944 has been added in another hand. Addressed to ‘Dear Mr. Macdermid’ and signed ‘Michael Redgrave’. He is grateful to him for the suggestion that he ‘should be an Hon. Associate Member of your Club, to which I wish every success’, but feels ‘rather strongly that I must not put my name to anything more than I can actively take part in - even if activity is confined to letter writing etc.

On a 12 x 6.5 cm piece of paper. In fair condition, lightly discoloured and spotted, with traces of paper from mount on reverse. Central vertical crease. A neat, tight inscription, clearly in response to a request for an autograph, reading, ‘Sincerely / Milton Sills’. Image on request.

On piece of pink paper roughly 13.5 x 9.5 cm. Reads: ‘Every good wish / Paul Robeson.’ No other writing, and the good firm signature with plenty of space around it. In good condition lightly aged, with thin strip of discoloration running through the ‘E’ of ‘Every’. Scan on application.

11.5 x 16 cm image on 18 x 12.5 cm card. Signed at foot ‘Herbert Marshall.’ An urbane Marshall is seated, looking over his left shoulder while cradling his hands on his knees, in a grey pin-striped suit, in front of a plain white background. In good condition, but with a horizontal strip of the card trimmed above Marshall’s head. Scan on application.

10 x 13 cm glossy publicity photographic print, on 10.5 x 15.5 cm piece of card, with ‘PHOTO: JOHN VICKERS / COPYRIGHT’ in blank space beneath image. In good condition, lightly aged, with mounts at corners on blank reverse. Black and white head-and-shoulders portrait of McDermott in pub setting, looking sharply to his left in a double-breasted Royal Navy jacket, whiskey tumbler in hand. Scan on applicatioin

Novello’s three decades of unprecedented success began with the First World War song ‘Keep the home fires burning’. See his entry in the Oxford DNB. 8.5 x 13.5 cm publicity photograph on postcard, printed in sepia. In good condition, with tiny dink at top left. Captioned at foot ‘MR. IVOR NOVELLO’. Prim-looking with side-parting in white shirt, tie, and dark double breasted suit, the darkness of which makes the signature ‘Ivor Novello’ rather difficult to make out. Scan on application

Johnson’s career began with a job singing on an NBC radio show. His 1940s Hollywood films included “Keep Your Powder Dry”. He later returned to Broadway, where in 1956 he received a Tony nomination for his performance as ‘Doc’ in Rodgers and Hammerstein's last musical ‘Pipe Dream’. He died of a heart attack in 1957. 10.5 x 10 cm black and white glossy photographic print on shiny art paper. In good condition. Stylish signature 'Bill Johnson' in white at bottom left.

See his entry in Encyclopaedia Britannica, and Taylor's in the Oxford DNB. 1p, 12mo. In good condition, lightly aged, and folded once. In worn envelope with Penny Red stamp and postmark, and slight loss around flap. The envelope was no doubt retained because it was addressed by Delaunay to 'Sir Tom Taylor / Lavender Sweet [sic] / Wandsworth'. A neatly laid written and laid out communication, addressed to ‘Cher Monsieur Taylor’ and signed ‘Yours truly / L Delaunay / de la Comedie française’.

Livings’s entry in Encyclopaedia Britannica notes that his farces ‘convey serious truths’ with ‘both a dazzling comic flair and an unexpected force and profundity that is heightened by his use of colloquial language’. 1p, foolscap 8vo. Twenty-two lines of text. In fair condition, lightly aged and creased, with four light ink underlinings. Signed ‘Yours, / Henry Livings’. One of a number of letters to Furness by writers, responding to his enquiry about socialist authors and British pubs.

Olivier’s luminous achievements are well described in his entry in the Oxford DNB. An 8 x 11 cm photographic image, printed in black and white on an 8.5t x 13.5 cm card, with the actor's autograph signature mostly on the blank area beneath the image: ‘L Olivier’. In fair condition, lightly aged and worn. An attractive image of the head of the young thespian, staring moodily to his right, hair slicked back, with part of white shirt and smart dark jacket just visible. Not present among the 114 portraits of Olivier in the National Portrait Gallery inventory.

A brown-tinged print (not sepia), on 16 x 21 cm matt card, with 0.75 cm border. In fair condition, very lightly creased and worn. A full length shot of a smiling and clean-shaven Keel, in cowboy getup with ponyskin chaps and his cowboy hat in his left hand, opening what is clearly a stage-prop wicket gate, with backdrop of farm behind him. In Keel's autograph in light blue ink to the left of his torso: 'To Mary, / Best of Everything / Sincerely / Harold Keel'. See Image.

Power made his Broadway debut in 1922. The film role for which he is perhaps best remembered is as Gregory Peck's boss in 'Roman Holiday' (1953). A 15 x 12 cm black and white image, printed on 17 x 14 cm matt card. In good condition, lightly aged. A head and shoulders shot of a pensive Power, pipe in mouth, trilby on head, in pin stripe suit jacket with white shirt and tie. At top right, against the plain background, in green ink, Power has written: ‘Best Wishes / Hartley Power.’

See her entry in the Oxford DNB. On two 11 x 9 cm cards, plain but for the letterhead. Both in good condition, lightly aged. The recipient is not named. The card is signed 'E. T:' and is written in her forceful hand. Begins: 'I have no time - nor words - to tell you what I think - The boys health indeed! - if there's any use in talking, if signing petitions will do any good one would talk & sign all day! but in spite' - here the reverse of the first card begins, and the side is entirely deleted, except for the last line'.

See Michael Coveney?s obituary in the Guardian, 10 August 2011, which states that Wood was ?one of the greatest stage actors of the past century?, and that he ?returned to the West End in 1961 as Henry Albertson in the whimsical off-Broadway musical The Fantasticks, at the Apollo?. 86pp, 4to. Each act separately paginated. Duplicated and bound with metal studs into black waxed-card wraps, with each page on the recto of a separate leaf. Title ?THE FANTASTICKS? printed on front cover, with details of the Studio Duplicating Service. In good condition, lightly aged, in lightly creased wraps.

Fox agreed to the film on condition that von Stroheim was limited to shooting 85,000 feet of film (around an hour and a half of screen time). The studio was pleased when he brought it in on time (he tied a thread around lead actor James Dunn’s genitals, and tugged on it every time he wanted him to show emotion) and on budget, but a screening left them appalled at the morbid content. Von Stroheim was sacked and the film was rewritten and renamed ‘Hello, Sister!’, with three-quarters of the original retained. It was a flop and von Stroheim chose never to direct again.

A 7.5 x 10 cm photograph on 8.5 x 13 cm piece of shiny Kodac paper. Black and white head and shoulders shot of an old Fairbanks, nattily attired in jacket and tie, smiling at the camera towards his right shoulder. Signed ‘Douglas Fairbanks’ beneath the photograph in blue felt-tip pen. In very good condition. See Image.

Both letters are addressed to ‘Dear Bonnie and John’. Both in good condition, lightly aged. ONE: TLS from Dolores Hope. Signed ‘Dolores’ in red ink (the letterhead is also red). 1p, 12mo. Reads: ‘The black peppered ham was a big hit at our house and Bob and I can’t thank you enough. We really enjoyed this tasty ham and your thoughtfulness in remembering us at Chistmastime. / Have a healthy and happy New Year!’ TWO: TLS from Barbara Sinatra. Signed ‘Barbara’. 1p, landscape 12mo. On the lower half of an 8vo leaf, which has been converted into a bifolium by a central horizonal fold.