MUSICAL

8 x 11 cm collotype print on 9 x 14 cm postcard, with caption (‘Richard Tauber / als Schubert / im “Dreimädlhaus”’) and publication details in blank space at foot. Tauber has signed emphatically, between two lines, at the foot of the card: ‘Richard Tauber / 1931 / London’. In good condition, lightly aged, but with dink to bottom-left corner, affecting neither image nor signature. Depicts Tauber, in the character of a bespectacled Franz Schubert, seated before a dark background. Scan on application.

Lauder was the highest-paid entertainer in the world in 1911, and the first British artist to sell a million records (by 1928 he had sold two million). See his entry in the Oxford DNB. 14 x 9 cm plain postcard, addressed (by the recipient) to ‘Norman Wetton / 7 Claremont Road / Forrest Gate.’ On the blank reverse Lauder has written: ‘ “D’you Know this ” / Yours very truly / Harry Lauder’. A little grubby and discoloured, but in fair condition. Scan on application.

Hale is best-remembered for singing ‘Spread a Little Happiness’ in the musical ‘Mr. Cinders’ (1929), and for strarring in ‘No, No, Nanette’ (1925). 9 x 13 cm postcard, printed in light-brownish grey. In good condition. Nice signature ‘Binnie Hale’ running diagonally across lower right-hand corner. She looks wistfully at the camera, with a Marcel wave and pursed made-up lips. Not among the 32 images of Hale list on the National Portrait Gallery website. 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.

8.5 x 14 cm glossy publicity photograph on post card. In good condition, lightly aged. Inscribed across the bottom of the image: ‘Souvenirs / Alice Delysia’. A soft-toned head and shoulders image in black and white, of a smiling Delysia, eyebrows plucked, lips made up, and short hair Marcell-waved. See Image.

See Terry’s entry in the Oxford DNB. At the time of writing Dr. W. J. Phillips was the organist at St Barnabas, Pimlico; he was unsuccessful in the present application, but was subsequently organist of the Chapel Royal at Hampton Court. See his entry in Humphreys and Evans, ‘Dictionary of Composers for the Church in Great Britain and Ireland’ (1997). These two items are uniform on a total of three leaves of light paper. Both discoloured and worn, and folded three times. ONE: ALS from Terry to Phillips. 1p, 4to. He is ‘most pleased to have opportunity of supporting’ Phillips’s application.

See her 18 October 2006 obituary in Variety, which states that 'Bigley had been playing Laurey in the London production of “Oklahoma!” when she was offered the role of Sarah Brown, the “mission doll” who entrances gambler Sky Masterson in the show based on Damon Runyon’s characters.' She won a Tony Award for her performance. A 10.5 x 13.5 black and white photographic image, printed on an 11.5 x 16.5 cm piece of matt card. In good condition, lightly aged. A head and torso shot of a seated Bigley dressed as Laurey, smailing over her left shoulder against a plain and shadowy background.

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.

See his entry in Grove’s, and Percy A. Scholes’s obituary in the Musical Times, June 1941. 2pp, 12mo. Addressed to ‘Messrs. T. Seeley Clark & Co:’ and signed ‘Stewart Macpherson’. On bifolium of grey paper. In good condition, lightly aged. Folded once. They have led him to understand that he would have a revised proof of his ‘biography for Modern Makers of Music’ in time for the publication of the work in the autumn would be published that autumn, and is writing to remind them that he has ‘not yet received the revise’.

In fair condition, lightly aged and creased, laid down on part of page from album. Folded for postage. Neatly written. Reads: ‘6 Oct 1867 / Mr Pauer begs to inform Mrs Paget that the Austrian Piano maker will attend to her Piano tomorrow or Wednesday / In haste.’

See his entry in the Oxford DNB. 1p, landscape 8vo. In good condition, lightly aged, with four small gummed squared as mounts adhering to the four corners. Folded for postage. Large firm signature and handwriting. Reads: 'Dear Miss Thompson / The piece is not mine and I am sorry I cannot inform you to whom the acting rights, if any, belong. / Your sincerely / Geo R Sims'.

See her entry in the Oxford DNB. 9 x 6 cm calling card, with 'Mlle. Emma Albani' printed in copperplate in the centre. Above this, at the head of the card, she has written 'J. Bennett Esq.' And around the printed signature she has written the unsigned inscription: 'With [Mlle. Emma Albani]'s compliments & heartfelt thanks -'. Date by her at bottom left: '1876'. See IMage.

See his entry in the Oxford DNB. 3pp, landscape 12mo. On bifolium of grey paper. The letter is complete, on what appears to be the upper half of a 4to bifolium. In fair condition, lightly aged and worn, with stamp, postmark and remains of autograph address on reverse of second leaf, with traces of mount. Signed ‘J A Fuller Maitland’. Begins: ‘Dear Sir / Very many thanks for your book, the second copy of which has just come. I shall hope to be able to come & hear your lecture on a subject which is especially dear to me.

On a postcard with a bromide print of a modernist architectural image of a flight of outdoor steps and its stone surroundings. Creased and worn. Addressed to ‘M. Calvocoressi, Esq. / 5 Bramerton Str / London S. W. 3 / England / Europe’. Reads: ‘Dear Mr Calvocoressi, [19 words in Cyrillic script] Helas the score is lost. I am so sorry I could not send it to you. / [3 words in Cyrilic script]! / With kindest regards, / Yours sincerely / Nicolai Malko’

See his entry in the Oxford DNB. From the papers of music bookseller Leonard Hyman. 1p, 12mo. On creased and discoloured paper. Folded for postage. Signed ‘Eric Blom’. He thanks Hyman for letting him know about ‘the Burney volumes’. He is ‘almost ashamed at having decided not to have them for the moment. They are really only “stock”, as far as I am concerned, and as I don’t particularly want to spend all that at moment, [sic] I think I will let them go.’ Changing the subject, he reports that he ‘got into touch with Miss Kingdon-Ward and found her a very interesting girl.

See his entry in the Oxford DNB. 2pp, 12mo. Bifolium. In fair condition, lightly aged and worn. Folded three times for postage. The letter concerns the Hackney Choral Association. Begins: ‘My dear Sir, / I am much obliged by the kind note just received, though I am sorry we shall not have the pleasure of your company on Monday.

See the entries for Prout and Cummings in the Oxford DNB. 1p, 12mo. In good condition, lightly aged. Folded once. The second leaf of a bifolum, the first presumably carrying the commencement of the letter. The present fragment, in a good firm hand, reads: 'in the way he desires but if you can do so, you will not only be assisting a most deserving young man, but I shall regard it as a personal kindness. / I am, my dear Cummings, / Yours very cordially, / Ebenezer Prout. / Dr. W. H. Cummings.'

1p, 4to. On lightly aged and somewhat creased paper. Folded twice for postage. Addressed to ‘Leonard Hyman, Esq.’ and signed ‘Clarence Raybould’. He has received his Catalogue No. 87 and is sorry to learn of his ‘impending retirement from your business’. ‘The world is always the poor when someone of your integrity decides he has had enough of the intrigues of present-day life!’ He wishes him ‘a happy period of quieter days’: ‘I myself cease to bulk of my work in June of this present year, when I terminate a long association with the Senior Orchestra of the Royal Academy of Music.

See his entry in the Oxford DNB. 2pp, 16mo. Addressed to ‘Carissimo Amico’ and signed ‘Alberto Randegger’.With fourteen lines of text, all in Italian. In fair condition, lightly aged and discoloured paper. Folded for postage.

See his entry in the Oxford DNB. 3pp, 12mo. Forty-nine lines. Bifolium. On aged and worn paper, with the reverse of the second leaf laid down on cut-down remains of leaf of autograph album, with a number of autographs on slips laid down on the reverse, including that of Charles Hallé, cut from a letter. Prout’s letter is signed ‘Ebenezer Prout’, but the recipient is not named.

1p, 12mo. In fair condition, on lightly-aged and worn paper. Folded once for postage. Addressed to ‘Mr. Cummings’ and with large bold signature ‘Algernon Ashton.’ He writes: ‘I venture to express a hope that whenever there should be a vacancy for a Pianoforte Professorship at the Guildhall School of Music, of which you are now the honoured Principal, that you may kindly think of me.’

See the Oxford DNB entry for Samuel Butler, which describes his close friendship with Jones (‘It has been said that for twenty years they shared the favours (for a consideration) of the same woman, on different days of the week.’) and musical collaborations. Signed ‘Henry Festing Jones’. 1p, 12mo. In fair condition, on aged and lightly creased paper. As he is ‘intending to be out of England by 1 July’, he asks him to ‘ask Lord Tennyson not to nominate me as Steward of the Royal Literary Fund & assure him that at the same time I am sensible of the honour he proposed’.

See his entry in the Oxford DNB. 1p, 12mo. In good condition, lightly aged. Folded once for postage. Signed ‘H. P. Greene’. Truly atrocious handwriting. Apparently addressed to ‘Dear Miss Salt’, and beginning: ‘I’ll be proud.’ He gives a date which will ‘suit me best’, and asks to be informed ‘if there is anything special [?] like [?]’.

In good condition, lightly aged. The Osmond’s signatures are written with brown felt-tip pen on an 8.5 x 13.5 piece of pink paper with rounded edges, evidently removed from an autograph album. With portrait orientation. Alan Osmond writes: ‘Best Wishes - / The Osmonds / Alan Osmond’ and beneath this, one on top of the othe, are the signatures of ‘Donny Osmond’ and ‘Jay Osmond’. The names are written out in another hand at bottom right. On the reverse, with landscape orientation, the large signature of ‘Gary Glitter’. See Image.

See his entry in the Oxford DNB. Beecham’s signature (‘Thomas Beecham’) on an otherwise-blank 12.5 x 5.5 cm piece of paper. In good condition, lightly aged, with traces of mount adhering to the reverse. The signature, which has no flourish, is tighter than usual, and rising slightly. See Image.

See his entry in the Oxford DNB. The ALS, whose recipient is not identified, is appended on the last page of the printed notice, which is 4pp, foolscap 8vo, on a bifolium. In good condition, lightly aged. The notice is headed 'University of Oxford. / Directions for Candidates for Degrees in Music.' and signed in type at the end 'Frederick Arthur Gore Ouseley, / Professor of Music. / Oxford, / March, 1878.' Divided into sections concerning a bachelor's and doctor's degree. The ALS, on the last page, reads: 'Dear Sir / You will see by this paper that your Dublin B.A.

See his entry in the Oxford DNB. The National Portrait Gallery possesses a carte-de-visite another portrait of Manns by Negretti & Zambra, which it dates to 1898, but does not hold the present item, which is a head and shoulders shot showing a white-haired Manns, bald on top, with bushy eyebrows and walrus moustache looking to one side in dark jacket and white shirt and tie. A 10 x 14.5 cm albumen print, presented in the customary style on a grey cabinet card, with the firm?s details embossed in white at foot, and the usual photographers? details printed on the reverse.

The inscription reads ‘Best Wishes / [flourish] / Erma Franklin’, and is written on a piece of thick paper cut from an envelope, and shaped into an oval roughly 9.5 x 5 cm. In fair condition, lightly aged, with two vertical folds, one through the centre of the oval. See Image.

An attractive item by a leading exponent of ‘English pastoralism’. See his entry in the Oxford DNB. Bass and treble notation of opening bars, headed ‘Romance / Andante ma non molto’. On one side of 9 x 11 cm card with rounded edges. Firm signature at bottom right: ‘Martin Shaw / May 1921’. In good condition, lightly aged. See Image.

Scarce: no other copy traced. Bifolium of laid 1856 Saunders paper. 4pp, 4to. Unpaginated. The front cover carries is headed ‘City of London Piano-Forte Manufactory.’ Beneath this are engraved the royal arms, flanked by the words ‘By Appointment / to the Queen.’ Peachey’s address is engraved beneath the arms in large letters. At the foot of the page, in red ink, are three lines relating to ‘Harmoniums.’, with the second page headed by another two lines in red. The two central pages carry much information in small type.