FABER

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.

[12]pp, 8vo. Paginated to 14, but twelve pages on six leaves, comprising half-title, title and eight pages of text. Sewn into raspberry printed wraps. Title with engraving of the church, duplicated on front cover. Internally in fair condition, with slight creasing, but with blue ink (or wine?) stain at foot of outer edge of front cover. Bloomfield & Mendelson A46, which states that the edition was printed in November 1963 and limited to 250 copies, 'sent out to a number of personal friends whose names were mainly suggested by Mrs. MacNeice'. In this case, from the library of Christopher Fry.

1p., 12mo. In fair condition, lightly aged and worn, with slight rusting at head from paperclip. He writes that there is 'no relationship between myself and any of the people you mention. I have no antecedents such as you suggest and I cannot recall having received a copy of your catalogue.' Turning to the character 'Horace' in his play 'Nothing Up My Sleeve' he writes: 'he's just a figment of my imagination and the whole play is just a piece of work without any intended resemblance to anyone, only types.' The carbon copy of Barry Duncan's letter is somewhat aged and worn around the edges.

115pp., 8vo. In red cloth binding. No dustwrapper. Aged, with back hinge sprung and one bumped corner at the back. Excellent inscription by Spender on the front free endpaper, in which he describes the history of the composition of the play: 'To And | with love from | Stephen. | March 16 1938. | This play begun January 1933, at Barcelona, partly written in January 1937 in Madrid & Albacete, and finished January 1938 in London, is almost a record of our friendships through five years.'

One page, 8vo, trimmed with loss of text (at right edge). "I enclose the promised sample cas[e] for THE READING OF BOOKS. Would you be kind en[ough] to let me know which of the two you preefer. On [the] case marked A the signature on the front board [is] blocked blind and in a way we should prefer it [like] this. On the other hand the signature blocked [in] gold appears to be much more readable but perha[ps] a little too heavy - still yoy should decide." On the reverse Holbrook Jackson has wortten the aphorism "Knowledge learns: wisdom knows".

Totalling 36pp., 4to. In fair condition, bound by Escott with brown paper into paper wraps, with the front wrap signed by Escott and bearing the typed label 'LETTERS from HERBERT PALMER on "Minstrels of Christ" and my second book of verse "Soar for Victory", amended in February 1948 to "Back to the Fountain."' An interesting correspondence, casting light on the workings of the mid-twentieth century publishing industry, from the point of view of a successful traditional poet strongly opposed to modernism.

On two slips, both 15.5 cm wide, and totalling 59 cm long. Fair, on aged paper, with minor rust marks from a paperclip. The second slip headed with pagination '48', and running title 'Festschrift in Honour of Benjamin Britten'. He is grateful 'for the eerie fog, for the rain, as for the sixth sense, rich imagination and irrepressible humour of this people, as I am for all that has been absorbed of outlandish and exotic rendered proper, of wisdom and experience rendered intuitive - as I am particularly for their having absorbed and adopted me.' With one of Menuhin's compliments slips.

Dimensions 29 x 12 cm. Pasteboard mount, 31 x 14.5 cm. In blue, black and white. In good condition on lightly-aged paper. In front of a background of ricketty railings, a jolly bespectacled penguin [with Tschichold's sprightly eyes], with a Penguin book under his left arm, and preceded by a letter P and followed by an n, drags a bespectacled, bearded man (looking a little like a young Michael Bentine) towards the right of the drawing.

The text area is about 13.5 x 30 cm, on the top half of a slip of paper around twice as long. Text clear and complete. Good, on lightly-aged paper. The lower half of the slip is blank apart from the pagination 196. Headed 'EPILOGUE | COWKEEPER'S TUNE', and beginning 'Unless your window is fitted with very strong iron bars and, just to make sure, your window locks, | Do not attempt to keep a Dexter cow in your window box.' Signed in type at end 'M.

Typescript of 'The Balloon': landscape 8vo, 24 pp. Text clear and complete. On aged paper. With pencil emendations (including the deletion of a number of passages) on practically every page. Described by Cross as a 'radio composition' and a 'fantasy for broadcasting', 'The Balloon' presents an absurd take on T. S. Eliot's verse plays. It was transmitted on the Scottish Home Service of the BBC in 1946, with music by Cedric Thorpe Davie (1913-1983). There is no record of it having been published. The five typed letters total seven 4to pages. The autograph letter is landscape 12mo, 1 p.

8vo, 17 + [i] pp. Stapled. In original grey wraps. Aged and worn copy of a scarce item.