MACQUEEN-POPE

2pp, 8vo. In fair condition, lightly aged, with crease lines from having been folded into a packet. The letter is from a batch of letters written following Ivor Novello's death in 1951, in Macqueen-Pope's personal papers. He writes to send his new address ('after April 14th.'), having been forced after eight weeks to move from the Holmwood Hotel, 'to seek a little relaxation at a guest house where there will be less noise and Jubilation'.

[24]pp, 12mo. Stapled programme, in shiny covers. Strip torn away from back cover, and with staples slightly rusted, otherwise in fair condition. Large signature 'Ivor Novello' diagonally across title on front cover: 'Richard D. Rose | presents | Ivor Novello | in | I Lived With You | A comedy in three acts | by | Ivor Novello'. An illustrated 'magazine' programme, containing articles and advertisements. No copy on OCLC WorldCat. From the papers of Novello's friend and biographer, the theatre historian W. J.

Each letter 1p, 8vo. Both in fair condition, lightly aged and creased. On signing one of the letters she has slightly smudged it. ONE: 28 May [1950]. She thanks him for his 'fascinating-looking book, THE MELODIES LINGER ON', and for his 'most generous inscription'. She and her husband 'Richard' (the drama critic Richard Halliday) have 'read bits and pieces and have looked at every photograph, and can't wait to really sit down and read the book from cover to cover!' She continues: 'And that will be soon.

Enters exhibited her artistic work - including many sketches of her own costume designs - widely in the United States and Europe, and her work is held by several museums, including the Metropolitan Museum of Art in New York. The present item is an attractive impressionistic sketch, in grey and black pencil, with watercolour wash in pink, light red and grey, showing a dancer with arms outstretched and heavy costume with full sleeves and train. Captioned by Enters at bottom left: 'Fleur du Mal (Proust Sequence)'. Signed at bottom left: 'Angna Enters '56'. On 23 x 15.5 cm laid paper.

See the entries for Smith and MacQueen-Pope in the Oxford DNB. Walt Disney had read The Hundred and One Dalmatians earlier in the year in which the present letter was written, and had immediately begun negotiations for the rights, much to Smith's delight, as she had hoped that he would make it into a film. 2pp, 8vo. A long letter, in a close and elegant hand. Writing on behalf of herself and her 'friend' and business manager Alec Macbeth Beesley, and on receipt of his latest book, she begins: 'Dear Popie, | How very, very kind of you to send us Give me Yesterday! Thank you so much.

It is puzzling that Van Druten, one of the most successful British playwrights of the early 1930s, should not have an entry in the Oxford DNB. The present entertaining and informative letter is written from the A. J. C. Ranch in Coachella Valley, which Van Druten purchased with his then-lover Carter Lodge and the British actress Auriol Lee (it was named after the initals of their first names).

The three items (two letters from Peter Opie to MacQueen-Pope and carbon copy of his reply to the first of these) are in fair condition, on aged and lightly-creased paper, with a slight nick at the head of the first letter. Inspired by the recent publication of MP's 'The Melody Lingers On: The Story of Music Hall' (1950), Opie writes to MP via his publishers W. H. Allen & Co, and signs both letters 'Peter Opie.' MP writes to Opie at Rockbourne House. ONE: TLS from Opie to MP. 20 January 1951. 1p, 4to.

1p, 8vo. On aged and worn paper, with spots of rust staining from paperclip. Folded twice. Addressed to MP at 359 Strand, WC2. Reads: 'Dear Popie, | Children's Theatre | Sound | This is just to acknowledge your rough draft of the article you suggest. I have not had time to look at it yet, but I will do so as soon as I possibly can. Meanwhile, perhaps your secretary will let my secretary know the latest date for returning it.' MP's reason for sending the article to Donat is not immediately apparent. Donat's papers are in the University of Manchester Special Collections.

ONE: Marsh to MP. 19 November 1951. 2pp, 8vo. In fair condition, lightly aged, with light rust spotting from paper clip. Folded twice. Pencil note by MP. Marsh begins his letter: 'My dear Popie. | Very many thanks indeed for the book. It came on Saturday, & I read nothing else till I finished it this morning. Very many congratulations too, your Achievement story is itself a big achievement, & everyone who loved Ivor will be grateful to you for it. You can imagine how many memories it revived in me, & how much it added to my Knowledge.

2pp, 18mo. In fair condition, lightly aged and creased. Folded once. Written in a close, elegant hand. Written on receipt of a presentation copy of MacQueen-Pope's latest book, the letter begins: 'My dear Popie, | Thank you so very much for St James's, Theatre of Distinction. I think I am enjoying it even more than I usually enjoy your individual-theatre books, because the St James's meant so much to me. It was the first London theatre I ever went to - long before I could read or went to a school.

The Clarke family ran the Argyle for fifty years from 1890 to 1940, during which period it was one of the best-known provincial theatres. It opened as the Argyle Music Hall in 1868, and between 1876 and 1890 was named the Prince Of Wales Theatre, being used mainly to stage plays. In 1890 the focus returned to music hall and variety and it was renamed the Argyle Theatre. Its archives are in the University of Sheffield. 2pp., 12mo. In fair condition, on lightly-aged paper, somehwhat grubby and creased at foot of leaf.

BThe five items in fair condition, lightly-aged, with slight rust staining from paperclip. In a difficult hand. ONE: ALS to Macqueen-Pope, 20 March 1941. On his Larkwood letterhead, with 'From Allan Aynesworth' at head. Undated. 3pp., landscape 12mo. Providing a deal of information about his association with Maude, the last page beginning: 'Friendship about 50 years. We joined the Garrick & Beefsteak Clubs where we dined together with so many of our Theatre Friends Inc. Wyndham Irving Alexander Hare & Kendal to name a few.

1p., 8vo. On aged and creased paper. Lily Braytonis is a 'vague relative' of his, and she sends her 'good wishes [...] a propos the Chu Chin Chow article'. She would like to 'read through the relevant proofs' and Routh sends on her address. Brayton appeared in more than 2000 performances of 'Chu Chin Chow'. For more on Routh, see his obituary in the Independent, 8 June 2008.

1p., 16mo. In fair condition, on aged paper, laid down on damaged leaf from album. At head, in another hand: 'for Saturday'. Reads: 'My dear Sir: | I shd. feel greatly obliged if you could without inconvenience to yr interest, give me a box, any night this week, to see King Lear.' At head is note in another hand (see below): 'for Saturday'. From the collection of Macqueen-Pope, who has written at the foot of the leaf on which the letter is mounted: 'To Chas Kean Princess's Theatre | Note at top, either by CK or Massingham the boxoffice m[ana]g[e]r.'

Both in good condition, on aged paper. ONE: 2pp., 4to. He reminds Macqueen-Pope that two years previously he was 'kind enough to receive me at your Office and, after a long and most interesting chat on things theatrical (over an hour, as I recall!) you wrote into my copies of your "Drury Lane" and "Carriages at Eleven" two very greatly appreciated inscriptions, by way of friendship'. He now has his 'delightful "Gaiety" and splendid 'Haymarket", and asks for 'another pow-wow' at 359 Strand.

1p., 8vo. In fair condition, lightly aged. He begins by thanking Macqueen-Pope for a 'kindly reference' to him in his 'admirable book about The Gaiety'. He has noted a reference to 'Henly' in the index, and identifies this figure as Edward John Henley, brother of William Ernest Henley, whose poem 'Ballade of Dead Actors' he transcribes. He explains that Henley stayed some time in America after going there with a production of 'Deacon Brodie', a play by his brother and R. L. Stevenson, 'and, in 1897, I made my first production, "John Gabriel Borkman," in New York, with E. J.

2pp., 4to. In fair condition, lightly aged and creased. After beginning 'Dear Popie / | How are you?' she asks what the 'immediate prospects' are for her to 'get a book and a series in the paper running', as she has 'scanned a tremendous amount of George's material' since moving to 'The Lawns'. In a postscript she describes the material as a 'wonderful story for T.V. too to say nothing about the films!', adding that she has 'got G. to record a lot of his old & recent material ready!' Macqueen-Pope was an admirer of Robey's, as his 'The Melodies Linger On: The Story of Music Hall' makes clear.

ONE: The earlier of the two drafts, titled 'It Was Top of the Bill | The Story of Music Hall. | by | W. Macqueen-Pope.' 14pp., 4to. Paginated 1-12, with two further pages carrying material to be inserted. With a few autograph emendations, including an addition to the ending. Macqueen-Pope writes knowledgeably and with a passion for his theme, which is that 'Music Hall reflected public taste even more accurately than did the "legitimate" Theatre because it was created by the people themselves. The basis of the Drama of the Theatre - was religion.

Two chatty and characteristic letters. ONE: 15 July [1953]. 2pp., 4to. On aged paper, with wear to edges and vertical closed tear at foot. She begins by praising his books 'Ladies First' (1952) and 'Shirtfronts and Sables' (1953), adding in an autograph note 'Yes I bought them when in London.' The first contains 'that wonderfully beautiful tribute to Ellen Terry. I don't know when I have read anything which moved me so deeply, you rose to great heights when you wrote that. You are beginning to run James Agate very close on my shelves'.

148pp., 4to. Bound with pink ribbon into grey card wraps with typed label on cover. In fair condition, on aged paper, in worn and aged binding. Pencil note on title page states '40000 words'. An interesting piece of social history during wartime. In a foreword Macqueen-Pope thanks a number of individuals for their assistance, adding that 'the leading characters in this real life story must perforce remain anonymous'.

1p., landscape 12mo. In fair condition, on lightly aged and worn paper, with cropped margins. He begins by explaining that O'Donnell's letter has been sent to him 'from Theatre Royal, Drury Lane, on the staff of which I am and whose whose [sic] historian I am too'. He continues: 'I fear a night vigil would be of little use so far as the Ghost is concerned. He is a day time visitant. Never yet has he been seen before 9 a.m. or after six p.m. Between those hours - frequently.' He refers O'Donnell to the 'full account' in his book 'Theatre Royal'.

In very good condition, on aged paper, in a brown card folder. The material in this collection relates to a book that was never published, and included here are copies of two typed letters from WMP to HS, casting light on the nature of this doomed collaborative project. In WMP's first letter, dated 26 July 1955, he writes to 'Dear Swaff' to 'finalise the manner in which your book is to be written'. Presaging future problems he urges him: 'I do entreat you to remember the fact that a book is different to a series of paragraphs. It must have cohesion.

Mackenzie's letter is 1p., landscape 12mo. 16 lines. Good, on lightly-aged paper, with a crease to one corner. He thanks MP for his 'encouraging letter' and discusses his own 'silly slip about the Faery Queen's entrance' in a radio broadcast: 'I was so much concerned with giving listeners the difference between the O.P. and the Prompt side that it became a question of physician heal thyself.' He continues: 'I wasn't sure of the year Mille Le Garde [sic] sang that song. Probably '97. Rose Dering was the Aladdin. She was second boy. Ted Young was the Widow Twankey.

12mo, 1 p. Good, on lightly-aged paper. He had meant to write to him 'at the end of the series' (of articles by Macqueen-Pope?): 'We took a great deal of trouble in putting the series over well, and I am glad you liked the results.' The 'nonsense at the beginning' was caused by 'a series of misunderstandings'. Ends: 'No doubt we will knock into each other shortly.'