ENGLISH

3pp., foolscap 8vo. On a bifolium of laid paper. In fair condition, aged and worn. The first poem, 'Balooning [sic]', covers both sides of the first leaf. No evidence has been discovered that this poem was ever published, but it is inspired by the exploits of 'Mr. Green' in a humorous essay titled 'Ballooning', which appeared in Charles Dickens's 'Household Words' on 25 October 1851. The choice of two phrases ('pipes & backy' and 'Mounted Meershaums') is given in the present manuscript, these variants perhaps suggesting that this item is authorial rather than a transcription.

In very good condition, on 12mo leaf, with light horizontal folds above and below the signature. Clearly written in response to a request for an autograph. Excellent underlined signature, firm and bold, centred on the page, and reading: 'Matthew Arnold. | February 1st, 1868.' Arnold is one of the great Victorian poets, author of 'Dover Beach' and 'The Scholar Gypsy'.

Three slips of paper cut from letters. All in good condition, lightly aged, and each with minor evidence of previous mounting. ONE: Hannah More. On both sides of 4 x 15.5 cm slip. On one side: '[…] I am this moment come from Charlotte she is vastly well only her eyes have some remaining weknesses | Adieu my dear Madam believe me with all possible regard your ever obliged and affectionate | Servant | H More'. Other side: '[…] the good People here enough to be all concerned any of their judgment or their Actions where Taste has any thing to do.

The four letters are in good condition, with light signs of age and wear. Written in Payne's neat and mannered hand, and all four signed 'J Bertrand Payne'. For the background to the correspondence see Jim Cheshire's article 'The Fall of the House of Moxon', Victorian Poetry, Spring 2012. Payne was manager of the London publishing house Edward Moxon & Co., celebrated for their association with poets.

2pp., 12mo. In good condition, lightly aged. Addressed to 'Leicester Buckingham Esq'. Bentley writes that the matter of Buckingham's life of Mary Queen of Scots is 'just now brought to [his] attention'. 'If you are passing this way any day between 12 and 2 o'C you will be sure to find me, or my son, who will be able to discuss the subject with you'. He finds that he 'paid to Mr Wageman for a copy of the Miniature of the Queen executed for yuou at your desire, £3 . 3. 0', and asks to be sent this.

1p., 12mo. In fair condition, lightly aged. Presumably written to the governess of a child he had arranged to paint. Reads: 'Madam | I have Mrs. Horsfall's permission to ask if you could make it convenient that I should see her little daughter tomorrow at ¼ past 2 oC – for the purposes of arranging sittings for her portrait.'

1p., 12mo. In envelope addressed to Giles at Moulsecoombe, Brighton. In good condition, lightly aged. He has looked for Giles's letter 'but cannot – yet – find it. Sorry. I vaguely remember it.' He will find Giles '2 tickets for a Dress Rehearsal if you will let me know which one.' Options of six operas, on six different days are listed, including Figaro and Giovanni.

On one side of 10.5 x 14.5 cm grey-blue card. In very good condition. Inscription in blue ink, beneath the letterhead (which includes email address and phone number): 'This is for the Autograph Auction next March. | Good luck, | Nina Bawden'.

1p., 4to. On bifolium. In good condition, lightly aged. Addressed by Stanley, with red wax seal, on reverse of second leaf, to 'The Secretary | In the Manchester Institution | Moseley [sic] St | Manchester'. The text itself consists of the names and prices of the two pictures to be submitted to the 1842 show, with the date and Stanley's name and address: 'No 1. | Water Mill | North Devon | 25£ with Frame. | No 2 | Lane Scene | Painted from Nature | 25£ with Frame | C R Stanley | 25 Gt Maddox St | Hanover Sqre. | August 9th. 1842'.

The three letters are in good condition, lightly aged. All three signerd 'J Bertrand Payne'. The first has a letterhead in red, the other two have a different letterhead in blue. Both designs feature exuberant monograms and lettering in Victorian Gothic type, which, together with Payne's exuberant handwriting (the last letter also being written in purple ink), accurately reflect the character of the man Tennyson angrily dismissed as 'peacock Payne'. Three excellent letters, the background to which is of interest.

Both items in good condition, lightly aged. The autograph receipt is on a slip of paper attached to the invoice with sealing wax. The invoice is docketed: 'For Par Re: Richd Clarke | 1825 | Sepr. 13th. | Mr Lupton Rolfe Bill for Books | £2 13 6 | No 13 Cornhill London'. ONE: Invoice. 1p., 12mo. Handsome letterhead for items 'Bought of Lupton Relfe | (From J. Hatchard's Son's [sic]) | Bookseller, Publisher & Stationer. | No.

1p., landscape 12mo. In good condition, lightly aged and worn. The letter reads: 'Dear Madam, | As far as I am concerned I shall be very glad for you to copy Cromwell into Braille, but I think you ought to get the formal permission of my publishers, Messers Sidgwick and Jackson, which I am sure that they will give you.'

Printed and in manuscript on both sides of a ragged 19 x 19.5 cm piece of paper, extracted from an Exchequer document (the first page is headed in manuscript 'Bk | (608)'. Aged and ragged. The recto, printed and completed in manuscript explains that the document relates to the 'Repayment of Loan on the Duties on Salt, granted for the Service of the year 1741, and further continued for Seven Years from the 25th Day of March 1746'.

On a single 8vo half-title leaf removed from the William Clarke Russell's 'Nelson's Words and Deeds: A Selection from the Dispatches and Correspondence of Horatio Nelson' (London: Sampson Low, 1890). In fair condition, lightly aged and with a central horizontal crease. Printed at the centre of the page are the words 'NELSON'S WORDS AND DEEDS', and at the head Swinburne writes: 'Isabel Swinburne | from her affectionate brother | Algernon Charles Swinburne | November 1890'.

1p., 12mo. On grey paper. In fair condition, lightly aged. She is returning Cond's bookplate, which she has signed with great pleasure, and is very glad Cond has enjoyed 'A Calabash of Diamonds', which 'really was a thrilling adventure and I don't suppose we shall ever experience anything quite so exciting again'. The book was subtitled 'An African Treasure Hunt', and involved the search for a Zulu chief's burial place. Apparently 'Eileen Cond was a book collector who sent out her bookplate to her favorite authors, many of whom signed and returned them to her.'

A plain 'Carte Postale', with the address, with three postmarks, on one side (coloured lilac), reading 'Mrs. A. H. Green | Rosa House, Church Walks | Llandudno | N. Wales | Angleterre'. In fair condition, lightly aged and worn, with central horizontal crease. He is sorry to hear of her 'continuing illness', and hopes 'the air of Wales' will do her good. 'Dolgam is a farm-house about 2 or 3 miles below Capel Curig towards Bettws[sic]-y-Coed. I can quite recommend it. Mrs. Jones is (or was) the landlady. The air is probably not so bracing as some places as it lies in a sheltered hollow.

From the papers of the family of the second wife of the geologist Alexander Henry Green (1832-1896), previously Miss Wilhelmina Maria Armstrong of Clifton. 1p., 12mo. In fair condition, lightly aged. Addressed at bottom left to 'Mrs Wilhelmina Armstrong'. The letter opens: 'Dear Madam | I heartily wish I could see my way – but the clouds of work are growing so thick I cannot see each of them - & my elasticity is failing.' He does not dare undertake anything at the present time, but feels 'grateful & flattered by the invitation'.

1p., 12mo. In good condition, lightly aged. Clearly addressing the editor of a journal, Molesworth writes: 'Dear W. I cannot do an article, but I give you a beginning, which I hope you'll finish. | I'll attend to what you say. | Yrs. | W. M'. The note is accompanied by an engraved portrait of Molesworth, orating with right hand held high, captioned 'Sir William Molesworth, Bart., M.P.', from the Illustrated London News.

1p., 12mo. In fair condition, lightly aged. He is enclosing 'the Extract from "Men and Women of the Time"' that the editor sent him, with corrections and additions, and would like to see a proof.

1p., 12mo. On grey paper. Aged, with wear and creasing to corners. Reads: 'My dear Lord | I hope to attend without fail the sitting of the naturalisation commission on Wednesday.'

Both cards around 9 x 12 cm. The first written on one side and the second on both sides. In fair condition, lightly aged. ONE: Begins: 'My dear Plarr, | We were delighted – for your sake – to see the announcement in the Times of your election to the <?> district, which we hope is well worth your acceptance'. He sure that 'we shall all be very sorry to lose you at King's. However I trust we shall sometimes see you.' Postscript: 'We are off to the Borders & the Roman Wall next week.

On one side of 7 x 10 cm piece of pink paper cut from an autograph album. In fair condition, lightly aged. In a bold, large hand, simply reads: 'Gracie Fields'.

On one side of a slip of paper cut from a letter. In good condition, lightly aged. The conclusion of a letter, reading: '[...] also to get another Servant, so I shall put it off till my return & I have every thing in order. | My kind love to all of you & you my dear Mother ever truly | F Marryat'.

The Greville Memoirs caused an uproar on its publication in 1874. Queen Victoria described it as a 'dreadful and really scandalous book' which should be 'severely censored and discredited'. Disraeli characterised its author as 'the vainest being—I don't limit myself to man—that ever existed; and I don't forget Cicero and Lytton Bulwer […] when he was not scandalous, he was prolix and prosy—a clumsy, wordy writer […] a more verbose, indefinite, unwieldy affair, without a happy expression, never issued from the pen of a fagged subordinate of the daily press'.

Written in blue ink and covering both sides of the card, which does not carry an address. After informing her that she is returning her bookmark with her signature she continues: 'I have been through an awful time which has killed all interest in the great success my “Perfect Wife” seems to be having. My husband has had an operation for a lobectomy (removal of part of his lung[)], which, thank God, has been successful. And all this, (for the last 3 months) while we were in the middle of a move!' She states that they have 'sold the Manor, & are living pro tem in one of our lodges.

1p., 12mo. On grey paper. In fair condition, lightly aged. Reads: 'Dear Sir, | Will you please give me an appointment on Thursday next when I am in town? | Faithfully yours, | Lewis Melville'.

1p., 4to. She thanks her for her letter, and agrees to inscriber her bookplate. 'I am so glad that you have got "The Malady in Madeira"; I do hope you will enjoy it, especially as you know Madeira.

4pp., 4to. Bifolium. Aged and creased, with chipping and closed tears to edges. Engraved title-page states that the work is 'Copyright 2/- net | No. 1 Low Voice | No. 2 Medium Voice'. Inscribed at top left-hand corner of title-page: 'To my friend Sir Courtenay Mansel with kindest regards from | Julius Harrison | Oct. 26th. 1920'. Moore's poem is printed on the reverse of the first leaf, and facing it, on the recto of the second leaf, is the score. On the reverse of the second leaf is a 'Revised List' of 'The Enoch Art Song Library', with the date of issue ('June, 1920.') at bottom left.

3pp., 12mo. In poor condition, aged and worn, with the two leaves of the bifolium separated. The letter begins: 'My dear J. McG. | Pardon me, but M. Delormel did not write “The Boulanger” March (“En Revenat de la revue”) nor did he write “Père la Victoire” but I dont say he didn't publish them.' Finck attributes the first to 'M.

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.