ROYAL

See Armstrong’s entry in the Oxford DNB. For Gauntlett, who was Professor of Cello at the RAM from 1947 to 1965, see the excellent article on the ‘Semibrevity’ blog: ‘Ambrose Gauntlett, forgotten gamba player and continuo cellist’, beginning: ‘Although Ambrose Gauntlett (1889-1978) spent most of his career as a full-time orchestral principal, he was the most sought-after continuo cellist and gamba player in the UK for many years.

See Mackenzie’s entry in the Oxford DNB. Gauntlett was later appointed Professor of Cello at the Royal Academy of Music. See Sir Anthony Lewis’s appreciative Times obituary. 2pp, 4to. On bifolium of good paper, with letterhead printed in black with the College’s arms in red. A very good facsimile of Mackenzie’s autograph and signature, with twenty-five lines of text. Addressed in manuscript to ‘A. Gauntlett, Esq. / 12 Fairholme Road / W Kensington / W.’ Begins: ‘You will doubtless have heard of our intention to celebrate the centenary of the R. A. M.

Scarce: no copies on WorldCat or JISC. 2pp, 8vo, paginated 1-2, with photographic portrait of ‘Colonel F. E. G. SKEY’ on art paper facing the first page. In grey wraps with printed title on front cover ‘Memoir / OF / COLONEL F. E. G. SKEY.’ In fair condition, lightly worn and aged, with two vertical creases. Describing Skey’s active career, the obituarist begins by noting that ‘It is not given to everyone to work as late in life as Skey did.’ Skey had been ‘promoted Colonel in 1912 and retirned in March, 1914, having been offered the Secretaryship of the R. E.

See his entry in the Oxford DNB. 12mo, 8vo, paginated 1-19 (originally pp.xxi-xxxix). Stitched into light-grey printed wraps. In fair condition, lightly aged and creased. This offprint is scarce: the only copy on WorldCat and JISC is at the Wellcome.

See his entry in the Oxford DNB. 4pp, 4to. Bifolium. In good condition, lightly aged. Folded for postage. Whatman watermark of 1838. Sixty-nine lines of text, addressed to ‘My dear Sir Charles’ and signed ‘Thomas Hastings’. Begins: ‘I have been thinking that the difficulty of giving mathematics instruction to the Lieuts of R[oyal]. M[arine]. A[rtillery].

Weld and Vaughan both have entries in the Oxford DNB. The notice is printed in copperplate on the recto of the first leaf of a 4to bifolium. In fair condition, aged and lightly worn, with short closed tear to one edge, and slight damage to the second leaf from the cutting of the seal, which is present on the verso, with a good impression, in red wax, together with two postmarks and the address, in Weld’s hand, to ‘W. Vaughan Esq - [F.R.S.] / 70 Fenchurch Street / [Royal Society.]’ The notice, signed ‘C. R.

From the Macqueen-Pope papers. His entry in the Oxford DNB describes how, in the 1950s, he was ‘in demand as a lecturer on the theatrical subjects he loved, and he appeared often in the same capacity on radio and on television. Ironically he regarded these two forms of public entertainment, and television in particular, as representing a serious threat to the survival of theatre, about which he cared passionately’.

From the Macqueen-Pope papers. See his entry in the Oxford DNB. Known by his nickname ‘Popie’, Macqueen-Pope was widely regarded as the leading theatre historian of his day. His many books (from histories of individual theatres to a biography of Ivor Novello) sold well, and his broadcasts on the BBC were extremely popular. Eighteen items, providing something a glimpse of his working methods. The last two of the eighteen items are TLsS to MP: one from the editor of ‘Everybody's’ Greville Poke (also see his Oxford DNB entry), and the other Pauline Carter, ‘EDITORIAL’.

From the Macqueen-Pope papers. See his entry and hers in the Oxford DNB. Caird was Northcliffe’s right-hand man, and mainly associated with the Daily Mail. The four items are in fair condition, lightly aged and creased, with slight rust spotting from a paper clips. Items Two to Four are on carbon paper. ONE: ACS from Tutin to MP. Small unillustrated postcard, signed ‘Dorothy Tutin’. Reads: ‘I remember you very well - your fascinating letures at the Academy [i.e. London theatre school RADA, the Royal Academy of Dramatic Art] - and shall be very happy to meet you for this article.

Both items in very good condition, on lightly-aged paper. ONE: Copy letter. 2pp., folio. On paper with watermark 'JOHN HOWARD | 1804'. Ends: 'To | Sir J. T. Duckworth K.B. | Vice Admiral of the White | &ca. &ca. &ca. | Given on board the Ocean off Cadiz | 12th. August 1806 | (signed) Collingwood | By Command of the Vice Admiral | (signed) W R Cosway | A Copy'.

3pp, 12mo. Bifolium with mourning border. In good condition, lightly aged. Folded for postage. Large signature ‘Charles Eden’; addressed to ‘My dear Fanny’. Year and month added in pencil in another hand. He thanks her for her kind letter ‘and its enclosure from my dear, kind, old friend Mrs Quilter’. He will visit her later, but at present he has ‘several melancholy duties to attend to which prevent my leaving London’. He is also ‘wanted at the Admiralty next week - altho’!

All three items in good condition, lightly aged, with the book in worn and spotted binding. ONE: Letter from Hassall to 'Professor Huxley', in the hand of 'an amanuensis' and signed by him. 3pp., 12mo. Tipped-in onto the half-title of Item Three below. He begins by explaining that he has 'directed Messrs. Longmans' to forward a copy of his book (which he describes as 'a brochure') to Huxley.

Elizabeth Bury, illustrator and theatre designer, wife of and collaborator with John Bury (1925-2000), British theatre designer noted for his innovative work with Peter Hall, the Royal Shakespeare Company and National Theatre (see his obituary in the Guardian, 15 November 2000). Two ring-bound 8vo Christmas keepsake private printings, both filled with full-page illustrations by Bury. Both inscribed by her to the playwright Christopher Fry. Both in good condition, with light signs of age. Uniform in layout, both with coloured covers of striking design.

See his entry and that of Stuart in the Oxford DNB. 3pp, 4to. On bifolium. Sixty-six lines of neatly-written text, signed ‘R Mends’ and addressed ‘To / The Honble Chas. Stuart / His Majestys Envoy / Lisbon’. A vivid and substantial historical document.

See his entry in the Oxford DNB. For Gauntlett see the excellent article on the ‘Semibrevity’ blog: ‘Ambrose Gauntlett, forgotten gamba player and continuo cellist’, beginning: ‘Although Ambrose Gauntlett (1889–1978) spent most of his career as a full-time orchestral principal, he was the most sought-after continuo cellist and gamba player in the UK for many years. In his obituary, published in The Times, Sir Anthony Lewis mentions “his beautiful playing of the important 18th-century viola da gamba obbligato roles”.’ Both items in good condition, lightly aged. ONE: Letter, 1 June 1972.

Wade donated his extensive collection of anatomical specimens to Surgeon's Hall in Edinburgh, where it is now known as the Henry Wade Collection. In 1913 Waterston had attained prominence as the first authority to discredit the Piltdown Man hoax. A total of 6pp, 8vo. The first addressed to Waterston’s doctor at St Andrews, Orr, the others to Waterston himself. None of the letters is short, and all but the second are single-spaced. The first (to Waterston’s doctor, Orr) is 2pp, the others (all four to Waterston himself) 1p. In fair condition, lightly aged and ruckled.

See Rolleston's entry in the Oxford DNB. He was successively president of the London Medical Society, the Royal Society of Medicine, the Royal College of Physicians and the Eugenics Society, and was also Physician-in-Ordinary to King George V. Waterston was Bute Professor of Anatomy at the University of St Andrews from 1914 to 1942. In 1913, while Professor of Anatomy at King's College, London, he was the first authority to debunk the Piltdown Man hoax. 1p, 16mo. Lightly ruckled, and with the ink of the letter having run a little through removal from mount; otherwise in good condition.

Struthers served as a major in the Royal Army Medical Corps during the Great War. He was a pioneer in the use of local anaesthetic, and wrote a well-regarded work on the topic. He was President of the Royal College of Surgeons of Edinburgh from 1941 to 1943. Waterston was Bute Professor of Anatomy at the University of St Andrews from 1914 to 1942. In 1913, while Professor of Anatomy at King's College, London, he was the first authority to debunk the Piltdown Man hoax. The three items are in fair condition, lightly aged, with slight ruckling and aging. All three are folded for postage.

See the two men’s entries in the Oxford DNB. 1p, 12mo. With mourning border. In good condition, with negligible remnants of windowpane mount adhering at edges of blank reverse. Written with a light touch, making the dating doubtful. Signed ‘F Egerton’ and addressed to ‘O. Blewitt Esq.’ Reads: ‘Sir / In reply to your letter I beg to state that it is my intention to vote for you in the election to the Secretaryship of the Literary Fund Society.’

In addition to acting as editor of the works of his colleague James Clerk Maxwell, Niven was the teacher of one of the greatest mathematicians and philosophers of the twentieth century, Alfred North Whitehead. The item is from the papers of the presumed recipient, Mrs Evelyn Julia Allan of the Chelsea Red Cross. 2pp, 12mo. In fair condition, lightly aged and worn. Signed ‘W. D. Niven’ and addressed to ‘Dear Mrs Allen’. He was pleased to receive her letter, ‘reminding me of old times’, but he had not forgotten her, as he has ‘sometimes heard Dr. J. M Bruce speak about you & your family’.

See his entry in the Oxford DNB. 2pp, 12mo. On a leaf of grey paper. In good condition, lightly aged. The recipient was studying at the Royal Academy Schools. Begins: ‘Dear Miss Towgood / Thanks for your letter and enclosed statement by Mr Percy Young.’ He asks to be sent ‘the names of the authors of the various “Cartoons” and “Creswick”’, so that he may have all his material ‘ready for the Council on Tuesday next’. He intended to ask her for the names in ‘the Schools’ (of the Royal Academy at Burlington House), ‘but a sudden attack of Influenza confines me to my room by the Doctor’s order’.

Pauer, who had studied piano with Mozart’s son, gave daily recitals during the Great Exhibition of 1862, and was later appointed Professor at the newly-formed Royal College of Music (later the Royal College of Music), also working at Cambridge University. 2pp, 16mo. In good condition, lightly aged. Folded twice. Reads: ‘Dear Miss Alain / I do not see any chance of being able to arrange for the lessons you desire to take. I need not tell you that I am sorry that I cannot fulfil your wish. / In haste yrs truly / E Pauer’.

See his entry in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged. Folded once. At the foot of the second page, in another hand (no doubt that of the recipient) are written Doyle’s details in red ink. Signed ‘D. A. Boyle’ and addressed to ‘Dear Mr. Dean’. He is returning the photograph he has sent, ‘endorsed in the way you ask’, but his wife agrees with him that ‘the photo you have got hold of is a very bad one so I am sending you another - also enclosed - which I hope you will use for your collection and destroy the other’.

See his entry in the Oxford DNB. 1p, 12mo. In good condition, lightly aged. Folded once. Reads: ‘Dear Mr. Dean, / According to your request, I enclose a signed photo of myself for your collection. / With best wishes, / Yours sincerely, / Peter Gellhorn.’

Redgrave’s entry in the Oxford DNB praises his ‘exceptional administrative skill’, and states that ‘Redgrave and Cole supervised the new South Kensington Museum (now the Victoria and Albert Museum), for which Redgrave designed the innovative art gallery to house John Sheepshanks's extensive collection of British art, given to the state in 1857.’ 1p, 12mo. On grey paper. In good condition, laid down on part of a leaf from an autograph album. Pasted down at the head of the letter is a thin strip on which is printed ‘Inspector-General for Art. R. Redgrave, R.A.’ The male recipient is unnamed.

The material collected here is perhaps unique: it is not clear whether any material relating to Macqueen-Pope’s BBC broadcasts has survived elsewhere. It is hard to overestimate the significance of ‘Popie’ to the history of the London stage. Other items from among his papers offered seperately attest to the regard in which he was held by both actors and those behind the scenes, as the foremost chronicler of a cherished era that was quickly passing into oblivion.

Both items scarce: no other copies traced. In good condition, lightly aged. Disbound from a volume and paginated in manuscript. ONE: Copy of letter from W. L. Maberly to ‘H. Merivale, Esq., / &c. &c. &c. / Colonial Office’, dated from General Post Office, 14 December 1850. 2pp, 8vo. Paginated in manuscript 257-258.

Nash made around 70 films between 1912 and 1927, and was a key figure in the creation of Elstree Studios. His career as a film maker was effectively ended following the screening of his 1921 film 'How Kitchener was betrayed'. See Bernard Ince, ' “For the Love of the Art”: The Life and Work of Percy Nash, Film Producer and Director of the Silent Era’, ‘Film History’, September 2007. See also Macqueen-Pope’s entry in the Oxford DNB. The collection of eleven items is in fair overall condition, with minor creasing and aging to some items.

The present item is excessively scarce: there is no record of it on either OCLC WorldCat or JISC. The Staff College Drag Hunt at the Royal Military College, Sandhurst, was established in 1869 as a private pack which drag-hunted twice a week in the area surrounding Camberley, and after more than a hundred and fifty years, the hunt still rides. 1p, 12mo. Text enclosed in rules with decorative corners. In fair condition, lightly worn and spotted, with traces of stub and mounting on blank reverse. Titled: ‘The Staff College Drag Hunt Song. / By Major M.

See the entries for Long, Forbes and Burgess in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged, with traces of tape from mount along one edge. Signed ‘Edwin Long’. Begins: ‘Dear Sir Richard / I have just had a chat about your kind enquiry with my friend Burgess, who knows everybody’. While Burgess ‘says Stanhope Forbes is the best man coming on & that he has painted some very good portraits’, from what Long himself remembers of his work, it seems ‘very black’. He concludes: ‘Why not give it to Burgess? he is painting capitally just now & I know he would be very pleased.’