THEATRE

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.

9pp, 8vo. Complete carbon typescript. On nine leaves, stapled together. Title at head of first page: 'THE BOAT THAT MOOED.' Fry's signature in blue ink at top left of first page: 'Christopher Fry:'. Fry has cut down the story by deleting and removing a passage. The lower part of the leaf carrying the sixth page of the story has been cut away, and the original seventh page has been removed, hence the typescript pagination 1-6, 8-10 has been amended in manuscript to 1-9. A lighthearted faux-naive story, replete with symbolism. Begins: 'Tom Crunch lived on a boat. All round the boat was water.

Contemporary duplicated typescript, from the Christopher Fry papers. 14pp, 8vo. Each page on a separate leaf. In fair condition, lightly aged. Fry's introductory talk is present in its entirety on pp.1-5, this is followed by an unpaginated page, then pp.8-15 with p.[10] also unpaginated. Hence p.6 or p.7, beginning the extracts from the play, would appear to be absent. On the front page, between the heading and transmission details is: 'Rehearsal: Thursday 4th June 1953: 10.00 onwards | Recording: Thursday 4th June 1953: 12.15 - 1.00 p.m. 3A | Recording of Insert: [BLANK]'.

Four-page programme on bifolium, stapled into covers of shiny art paper. In fair condition, worn and aged, with rusted staples. Folded once. The covers are printed on the outside only. On the front are two illustrations in Georgian style, with the caption 'George Barnwell's Contrition'. On the back is a drawing of 'Portsmouth Old Theatre', 'Reproduced by kind permission of Arthur Moreland.' The small signature ('Nigel Playfair') is at top right of front cover. The first page of the programme carries five 'Producer's Notes' by 'Lessee & Manager' Playfair.

1p, 8vo. Aged and worn. Four folds. Panel from envelope attached to reverse, with postmark and address to 'Chas. Thompson Esqr. | 34 Bedford Street | Covent Gard.' He has 'already so many unpublished Plays' in which he has 'the right of Representation', that he must 'decline making any further purchases at present'. But even if he were 'inclined to make further purchases, it would most certainly be in Copyright and not in rights to print - which I suppose is what you mean by the term Printing Copyright'. He is however still 'much obliged to you for the offer'.

3pp, 4to. Bifolium. In fair condition, aged and worn, with closed tears and thin vertical strip of paper on reverse of second leaf, which carries a seal in black wax and Yates's address to 'T. P. Cooke Esqre. | 28 Manchester Street | Manchester Square'. An interesting letter regarding a Victorian stage dispute. In an understated style, Yates makes a serious accusation: Cooke has broken his word over the manuscript of Fitzball's play 'The Red Rover' (Yates had produced the piece with himself in the title role in 1828, and would do so again in 1831).

Both letters 2pp, 12mo. In good condition, lightly aged. Cole's handwriting is difficult. The recipient is not named. The first letter, 34 lines long, concerns a bill which Cole has drawn on the recipient of the letter. It is coming due, and he is uncertain whether it is for £90 or £100. He asks him to withhold payment for a while, as 'Lent is always a dead time with me'. He is 'going to try the experiment of Mr Butter for 6 nights', and has 'good hopes of the result'. The second letter begins: 'My dear Sir | I have made most liberal offers to Farren, Mrs. Nesbitt & Mr.

1p, 12mo. In good condition, lightly aged. The recipient is not named. An interesting letter, indicating the relationship between two major theatrical figures in Victorian London. The main body of the letter reads: 'Dear Sir, | You really must excuse my incurring any such responsibility as that you would impose upon me. I am unable to controul Mr.

Four-page programme on bifolium, stapled into covers of shiny art paper. In fair condition, worn and aged, with rusted staples. Folded once. The covers are printed on the outside only. On the front are two illustrations in Georgian style, with the caption 'George Barnwell's Contrition'. On the back is a drawing of 'Portsmouth Old Theatre', 'Reproduced by kind permission of Arthur Moreland.' The small signature ('Nigel Playfair') is at top right of front cover. The first page of the programme carries five 'Producer's Notes' by 'Lessee & Manager' Playfair.

1p, 8vo. Aged and worn. Four folds. Panel from envelope attached to reverse, with postmark and address to 'Chas. Thompson Esqr. | 34 Bedford Street | Covent Gard.' He has 'already so many unpublished Plays' in which he has 'the right of Representation', that he must 'decline making any further purchases at present'. But even if he were 'inclined to make further purchases, it would most certainly be in Copyright and not in rights to print - which I suppose is what you mean by the term Printing Copyright'. He is however still 'much obliged to you for the offer'.

Both letters 2pp, 12mo. In good condition, lightly aged. Cole's handwriting is difficult. The recipient is not named. The first letter, 34 lines long, concerns a bill which Cole has drawn on the recipient of the letter. It is coming due, and he is uncertain whether it is for £90 or £100. He asks him to withhold payment for a while, as 'Lent is always a dead time with me'. He is 'going to try the experiment of Mr Butter for 6 nights', and has 'good hopes of the result'. The second letter begins: 'My dear Sir | I have made most liberal offers to Farren, Mrs. Nesbitt & Mr.

Phelps's entry in the Oxford DNB gives the background to the present letter, stating that Phelps 'married Sarah Cooper (1810/11–1867) on 11 August 1826; she was just sixteen. However, their marriage was very happy: they were a devoted couple, and Sarah later served as Phelps's dresser. Phelps preferred home life with her to clubs or social gatherings. His other delights were angling and shooting, and he purportedly knew every trout stream in England. They had three sons and three daughters, including William Robert (1828–1867), who became chief justice of St Helena, and Edmund (d.

On one side of a slip of laid paper cut from the end of a letter: roughly 4 x 17 cm, the reverse being blank. In good condition, lightly aged. Good neat signature to the valediction of a letter. Reads: 'I am my d [Phippen?] | (in great haste | Yours very truly | Jos: S: Munden'. Munden eas the subject of one of the "Essays of Elia" (Charles Lamb).

The two letters in fair condition, lightly aged and worn. Both with contemporary annotation at head of first page. ONE: From 13 North Crescent, and signed 'John M Morton'. 2pp, 12mo. Addressed, with a second signature, to 'J. P. Harley Esq'. Begins: 'Tho' not quite finished, you will see enough of the drift of the piece, to enable you to say whether you fancy it or not. I have written it out without amendments, which are rarely made, if you approve - I began Dainty (you remember the name?) for Mr. [Humby?], but broke down'.

Stanford's study of Fry in the British Council's 'Writers and their Work' series was re-published several times, and the early letters in the present collection refer to the preparation of the fourth edition, published by Longmans in 1971 (the bibliography to which Stanford refers as 'CHRISTOPHER STATE PAPERS'). A total of twenty-six items. The material in good condition, lightly aged. Stanford's nineteen letters total 65pp, 12mo. In an undisciplined hand, in different-coloured ink, on different-coloured paper. Stanford's 19 letters between 17 February 1970 and 31 October 1978.

A nice collection of material, including five letters in which an American actor writes to a London friend while on a visit to England. The recipient of McDonough's letters is John Jabez Stocken (d.1892), head of a leading City of London firm of tobacconists, and an antiquary. (His son Frank Lacy Stocken (1867-1937) was later an actor under the name 'Frank Lacy'.) From the correspondence it is clear that McDonough stayed with Stocken during his stay in England.

4pp, 12mo. Bifolium. In fair condition, lightly aged, with pin hole to one corner. Folded once. The recipient is not named, but would appear to be a fellow member of the Women's Institute. She apologises for having been 'unable to attend the former meetings, as I am just convalescent from blood-poisoning followed by a bad nervous break down'. She will 'certainly come on Friday at 3-30.

2pp, 16mo. Bifolium. In good condition, lightly aged. 'Alice' will be 'charmante' if she can let him know when he can see her 'chez vous'. 'Je voudrais vous parler de l'affaire de Deauville pour laquelle Plumkett [sic] a écrit à mon frère.' He asks again to be sent 'un mot' telling him when he can see her, any time other than 4 pm will do. He ends by remarking how long it has been since he last had 'le plaisir de vous serrer la main!'

1p, 16mo. In good condition. He begins by telling her that he will not be travelling anywhere that summer for work, but that he may go and rest at Aix, 'et voilà tout'. He continues: 'On m'a dit que vous etiez charmante dans Andrea, mon premier soir de liberté sera pour vous aller voir . . . . | J'irai vous dire bonsoir et vous raconter l'histoire de mon depart de la Comédie'.

An interesting period piece. Two synopses of Percy Nash's review 'The Charm', the second dated by him to 1951, and with reference to the nationalisation of the coal industry. Together with the typescript of a song from the play about the 'Man of Might' Winston Churchill, and the Labour Party, who 'Have sullied the Fair name | of dear old England'. Also present is a watercolour drawing by Percy Nash's nephew the Bournemouth artist Eustace Nash of the intended backdrop to the first act of the review, together with an ALS discussing his ideas for the design of the piece.

The Times, 16 February 1860, announces 'the new drama, called A TALE OF TWO CITIES', at the Royal Lyceum Theatre, 'Sole Lessee and Directress, Madame Celeste'. ('Madame Céleste' [Céline Céleste-Elliott] (c.1815-1882) was a French dancer and actress.) 3pp, 12mo. Bifolium. In good condition, lightly aged. Folded three times. The recipient is not named. The letter has a large signature ('Henry Betty.') with florid underlining.

1p, 12mo. In fair condition, lightly aged, with traces of grey-paper mount on blank reverse, and minor discolouration at one edge from glue used. The actor Henry Leigh Murray (1820-1870) is identified in pencil as the recipient. The letter begins: 'My dear Sir, | You are quite welcome to a P[rivate]. Box if there is one to spare'. He asks him to 'call or send to Mr. Massingham at the Box Office at 1/2 past 4 o'clock who has received instructions to attend to your wishes, if all the Boxes are not let by that time'.

See Meadows' entry in the Oxford DNB. The recipient of the letter is not named, but it comes from the album of the actor Henry Leigh Murray, which also contained a letter regarding a theatre box from Charles Kean (offered separately). 1p, 12mo. 1p, 12mo. In fair condition, lightly aged, with traces of grey paper mount on reverse, and slight discolouration at corners from glue. Written with mock-pomposity, and beginning: 'My dear Sir | I hereby give you notice that Mr C. Kean has delivered unto me a Card for a Private Box for to-morrow Augt. 19th.

2pp, 12mo. Bifolium. In good condition, lightly aged and worn. Folded twice. The letter begins: 'My dear Lloyds, | However I may grieve at any misunderstanding between you and James - I cannot interfere.

The three letters in good condition, lightly aged, tipped-in onto a leaf removed from an album. The first 1p, 12mo; the other two each 1p, 8vo. All three signed 'Edmund Gwenn'. In the first he thanks him for his 'great courtesy during my visit', and for reproducing 'that old programme'. In the second letter he acknowledges 'a further proof of your kindly interest', received at his hotel after sending his first letter. The article was 'extremely interesting', as was 'the Photograph of Irving in his robes', a copy of which, he asks to purchase.

See his entry in the Oxford DNB. 12mo bifolium, with the two-page letter on both sides the first leaf, and the list of plays on recto of second leaf. In fair condition, aged and worn, with closed tear. Folded three times. Addressed: 'To/ | Chas. Perkins Esqr. | 2 North Place | Hampstead.' The letter begins: 'My dear Perkins, | I have not been able to reply to your last earlier - having been confined to my bed-room ever since the 31st. of July by a most severe attack of inflammation.' He has been obliged to postpone his 'Cork engagement on account of this unseen misfortune'.

An attractive and unusual item, tastefully printed in green and red on both sides of a 30.5 x 60 cm strip, entirely covered in cream satin, and edged in silk ribbon, folding into a triptych each panel of which is 30.5 x 20 cm. In extremely good condition, all the more remarkable considering the ephemeral nature of the item. As folded into itself, the item has a front cover carrying the title in green ink, with a photograph of Kipling printed in red; and the back cover carries the royal crest of the Queen's printers Eyre and Spottiswoode.

196pp, 4to. In ruled notebook. Internally in fair condition, on aged and lightly-worn paper, with covers detached and worn. Providing an interesting view of the day to day challenges of amateur dramatic production in the 1970s. Each set of minutes is signed by one member of the committee. The first set, 7 June 1973, list Philip Rayner as chairman, Bernard Wigginton as secretary, Philip Hickson as Treasurer, with other committee members Gill Ager, Derek Barrett, Peter Orton and Sue Rowlands.

The text is on one side of a 13 x 16 cm piece of laid watermarked paper. The signature 'J. Kemble' is at bottom left, in slightly-darker ink than the fifteen lines of text. Lightly aged and with short closed tears at edges of two folds. Slight traces of brown-paper mount at top corners on reverse, which carries a capable ink drawing of 'the Caducean Trident' mentioned in the text: a dragon with two sets of wings, body stiff as a rod, encircled by two snakes.

No information regarding 'Pam Chelsea' (female impersonator?) has been discovered, but the appearance of the document, and its presence in a batch of material relating to 1920s entertainment and broadcasting, date it to that period. 5pp, folio. 'No. of words. 1,063.' Written in a bold hand. In fair condition, on lightly aged and worn paper. The article was clearly accepted for publication, as '£1 11. 6 paid' is written at the top of the first page, and '5 line drop cap' at the start of the article.