THEATRICAL

3pp., 12mo. Bifolium with mourning border. In good condition, on lightly-aged paper. He is 'willing to undertake the office' under the rules mentioned: 'the two theatres you mention shall invariably be noticed - also the Panorama'.

8pp., 12mo. Stapled. Heavily aged and worn. A trim little catalogue, with 158 books described on the first seven pages, and the last page devoted to prints. Beneath the drophead title: 'Post Office Orders to be made payable at High Holborn. | No books or prints sent on approval.

2pp., 12mo. Bifolium. In good condition. In stamped envelope addressed to Boas at the Royalty Theatre, Dean Street. He thanks Berman for drawing his attention to the two versions of the play, adding: 'I feel that in this Goethe Centenary year, when the Urfaust is so rightly being performed, some English manager should put Marlowe's play on the stage for a few performances.'

Both items in good condition, with minor signs of age and wear. The black and white photographic print is 24.5 x 19.5 cm, and depicts a chubby Hall, in shirtsleeves and tie, leaning over a seat at the back of a darkened theatre, with a positive look of concentration on his face, as he stares at the stage, a playscript in his hand. The reverse carries two stamps by 'Tony Armstrong Jones, one of them declaring his copyright. Also on the reverse are pencil calculations of dimensions for cropping for publication.

[4] + 81pp., 8vo. The four pages 50-53 have been deleted in pencil, and a new version, on four pages also paginated 50-53, has been loosely inserted. Duplicated typescript, on 85 leaves, stapled together. In fair condition, aged and worn, with minor damp staining at head. 'No. 22' in red ink at head of cover. The play is said to be 'based on fact; on an actual historical situation', and is 'set in Cape Town and London between July 1899 and March 1992'. Aaronson was the author of 23 books on royal subjects. The present title is not to be found on either OCLC WorldCat or on COPAC.

8pp., 8vo. Unpaginated. Stapled and unbound. In fair condition, aged and worn. Foreword on 'The Raymond Mander and Joe Mitchenson Theatre Collection', and 'Introduction to the Exhibition by Raymond Mander & Joe Mitchenson'. The body of the pamphlet is taken up by a list (52 items) of 'The Plays of George Bernard Shaw in order of writing'. The final page lists the five films of plays by Shaw, with a photograph of Mander and Michenson. In manuscript at head of front cover: 'With Compliments | Raymond Mander & Joe Michenson'.

Watson's translation of 'La Cantatrice Chauve' (1950) was first published in London by Calder in 1958, and his version of 'Le Salon de l'Automobile' (1951) by the same publisher in the fifth volume of Ionesco's plays in 1963. The two scripts typed in uniform style, on rectos of leaves, and stapled together. ONE: 'The Bald Prima Donna'. 19pp., 8vo. In good condition, on aged paper, with somewhat-appropriate child's markings in black ink on blank parts of first page.

105pp., 8vo. Duplicated typescript, in two parts, each with title-page, continuously paginated. In good condition, lightly aged and worn. The piece, described as a 'musikdramatiskt' (music drama), was produced in 1976 by the Kungliga Teatern, Operan, and in 1977 on the Sveriges Radio. No other copy traced, either on COPAC or OCLC WorldCat.

In his obituary in the Independent, Lane was described as 'one of those writers whose published oeuvre is only matched by the supreme fiction of their own existence'. The present two pieces, both unpublished, date from his time studying theatre design at Wimbledon Art School, before 'launching himself across the globe, seemingly supported only by his verbal brilliance, good looks, perfect wardrobe and genius to amuse'. ONE: '"ANAGRAMS [no closing quotation mark] | A One Act Play - by Simon Lane'. [3] + 19pp., 8vo. Duplicated typescript on loose leaves held together by paper clip.

2pp., 8vo. In very good condition, on lightly-aged paper. She begins by asking whether the recipient is 'the same gentleman who wrote to me from Bournemouth', and to whom she replied that she was 'unable to give the information required, for many years before my husband's death we were seperated [sic]'. She explains that when Fisher was not 'travelling about in the Country he lived with his Father I believe, who has now been dead some years. The whole thing was very tragic and painful, & I shall feel obliged to you not writing to me again on the subject'.

Dibdin's letter: 1p., 12mo. On bifolium, with the Signed Autograph Copy of Chapple's reply (also 1p., 12mo) on the reverse of the same leaf. Reverse of second leaf addressed to 'C. Chapple Esq', with a nineteenth-century shelfmark at the foot of the page: 'C.68.Coll.CR.' In fair condtion, on aged paper.

The fifteen items are in good condition, lightly aged and worn. Totalling 19pp., 12mo; 4pp., 8vo; 1p., 4to. Eleven signed 'Rudge', three 'J. Rudge Harding', and one 'J. Rudge H.' Ten addressed to 'My dear Alderson', four to 'My dear Horne', and one to 'My dear Alderson Horne'. A friendly, chatty correspondence.

1p., 4to. In fair condition, on aged and worn paper. He found Wheeler's letter on his return from a trip abroad, and is 'most interested to hear that there is a scheme on foot for another theatre'. As far as 'financiers who are likely to be theatrical patrons', those known to him will probably already know any Baring might suggest. He concludes: 'Personally I believe the old Court Theatre plan was the best & in fact the only possible way of getting those kind plays done.'

On both sides of an 8.5 x 11 cm card. The item has been soaked in order to remove it from backing, and this has resulted in fading of the ink and slight ruckling. She explains that she would have been pleased to accept the recipient's offer 'under usual circumstances', but that 'firms are volunteering to let me have their articles at wholesale prices', so she is 'bound in the interest of Boys and Girls to accept their more favorable terms'.

1p., 16mo. In fair condition, lightly aged and creased, with slight rust spotting at head and trimmed margins. Concerning 'quattro versi di numero, i quali dicono soltanto un idea che mi venne spontanea'.

1p., 12mo. In good condition, on lightly-aged paper. Reads: 'My dear Young | Jack Calthorpe-Clayton is in the country: and I don't know when he will be home. He will be much grieved, I know, not to be here to welcome you back to our dingy old capital, when he knows of your apparition here | Yours very truly | J Palgrave Simpson'. The identity of 'Jack Calthorpe-Clayton' is uncertain. The name is certainly spelt thus, but may be a mistake for 'Colthorpe-Clayton'.

1p., 12mo. In fair condition, on aged paper, but with loss at foot and traces of mount on reverse. The letter is addressed to 'Mrs Ashurst Morris | Victoria Hotel | ' (the last word damaged at the foot of the page). It reads: 'Dear Madam, | Thanks for your letter. Pardon my delay in answering, but our plans have been a little uncertain. We shall not be staying in London after the date mentioned, otherwise, we should have been very glad to continue our present sojourn at your comfortable flat.

Unattributed, but in Wheatley's hand. The 'List of Plays seen by Pepys from 1660 to 1669' is 5pp., foolscap 8vo, on loose leaves of unwatermarked ruled paper. In fair condition, aged and worn. It is neatly written out in ink, with occasional pencil emendations, giving dates, theatres and titles. A few comments on the theatres are included, for example on 'Davenant's New Theatre in Lincolns Inn Fields'.

On one side of a piece of 2.5 x 8 cm thin card. In good condition, lightly aged and worn, with slight creasing (not affecting text). Possibly in response to a request for an autograph. Reads: 'Nigel Playfair'.

16pp., 8vo. Stapled. Printed in brown on white. In fair condition, lightly aged and worn. One correction in manuscript: on p.5 'Peter O'Toole' replaces the subject of the sentence 'Miss Jean Simmons carries the script used in the film Hamlet.' Other worthies involved in the service are: Douglas Fairbanks, Michael Caine, Maggie Smith, Paul Scofield, Derek Jacobi, Ian McKellen, Dorothy Tutin, Frank Finlay, Albert Finney, Sir John Mills, Peggy Ashcroft, Sir John Gielgud, Sir Alec Guinness. Uncommon: the only copies on COPAC at the British Library and London Library. The ticket ('No.

One page, 12mo, bifolium, sl crumpled and stained, small closed tear in middle, text clear and complete. "Gentn.| Please to send me the Cash for the last Number (£5..00) and also a copy on octavo." Clint was obviously contributing to something (perhaps a periodical) but I don't know what.

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'.

1p., 4to. In fair condition, on lightly aged and creased paper. He thanks her 'for giving me the wrongly addressed envelope'. He has tried ringing her 'a dozen times' and gives her number for checking. He ends by inviting her to dinner.

2pp., 8vo. In good condition, on lightly aged and worn paper. The letter has been marked up in manuscript for publication, with the heading: 'Mr. Clement Scott: A Contradiction.' [last two words amended from 'An Explanation'] The letter begins: 'My Solicitors who advised me that the paragraph in your last issue connecting my name directly with a slanderous rumour to the effect that a well know dramatic critic had been bribed by a theatrical manager has handed me your letter of <?> date.

Thirteen of the fourteen photographs are in black and white, with the largest 21.5 x 15.5 cm (with slight paint staining at edge), another 17.5 x 12.5 cm, and the other nine roughly 12.5 x 9 cm. The other print is a colour polaroid, with paint smudges from Sonnabend's portrait on the white mount. Other than the paint marks to three of the prints, in good condition, although six of the smaller ones have aged due to acid in the paper stock.

1p., 12mo. Good, on lightly-aged paper. He begins by stating that his book 'contains the details' his correspondent requires, and continues: 'I am sorry to say that I made a little mistake when I was talking to you over the telephone about "Pulcinella". I think I said there was a long description of that ballet in my "Diaghilev Ballet in London", but of course it is the "Complete Book of Ballets".

Gladys Jones ('Gwen John') lived with her sister the suffragette Winifred Jones in Lincoln's Inn. Her play 'The Prince' - three corrected copies of which are in the present collection as Items Three to Five - was retitled 'Gloriana' [= Elizabeth I] when performed at the Adelphi Theatre in London in December 1925, with a youthful John Gielgud in the role of Sir John Harrington. Items One, Six and Seven below relate to the volume 'Plays of Innocence' by 'Gwen John', published in 1925 by Ernest Benn (by whom Victor Gollancz was then employed).

4pp., 12mo. Bifolium. In good condition, on lightly-aged paper, with slight loss at the head of the second leaf affecting a couple of words of text. The letter begins: My dear Sir, | I have on different occasions interfered to prevent gross abuses at the Theatre to which you call my attention, and have I believe to a certain degree procured their correction. But thhere is great reason to fear that by attempting too much more may be lost than gained.

All three items in good condition, on lightly-aged paper. All signed 'Ralph Straus'. ONE: TLS. 6 January 1939. 1p., 8vo. After expressing his willingness to have 'the programme of Wat Tyler and the Bil of Madame Sala for 1827', he expresses his desire to acquire playbills 'of Sala's grandfather, in a King's Theatre ballet 1776 onwards - particularly if it gives his Christian name of Claudio. I know of one in Jan. 1788.

2pp., 12mo. Written lengthwise across the paper, so that the letterhead runs up the left-hand margin of the first page. She thanks him for his letter and 'the Cocteau profile (most interesting and infuriating - splendid misunderstanding - written down with such authority.)', as well as '"The Holy Terrors" notices'. She has been delayed in sending him the script of 'The Confidential Clerk' as she had to go to King's Lynn. She is sending the script now, and asks for it to be returned 'fairly soon, as it is Henry Sherek's and he may suddenly scream for it!' (Sherek was the play's producer.)