THOMAS

Thomas was for upwards of twenty-five years the theatrical critic of the London papers Daily News and the Graphic. See his entry in the Oxford DNB. 1p, 12mo. On first leaf of bifolium. In fair condition, lightly aged and worn, with evidence of mount adhering to the blank second leaf. Folded for postage. Addressed to ?Will Williams Esq? and signed ?Moy Thomas?. He would have answered Williams?s note sooner, but he has been ?on the Continent for a few days?.

See his entry, with those of his brother Lionel and Lacy, in the Oxford DNB. 1p, landscape 8vo. On grey paper. Neatly placed in a trimmed windowpane mount, with a triangle of paper lost on opening the seal skilfully replaced with paper. In fair condition, folded for postage. On the reverse is a penny red stamp, a black wax seal, and two postmarks, with the address by Brough: ?T. H. Lacy Esqr. / 17 Wellington Street / Strand / London?, and Brough?s initials ?R. B. B.? at bottom left.

See his entry in the Oxford DNB, and Antony Chessell?s 2009 biography of Hayward (subtitled ?one of the Two Best Read Men in England? - the other was Macaulay). 1p, 12mo. On first leaf of bifolium. In good condition, lightly aged. Folded twice. The recipient is not named. Reads: ?It is now nearly three weeks since I heard from you. What is the cause. / I send you the Morning Post with a long review of my book. / All goes well with me. / Ever yours / A Hayward?.

See his entry and that of the Duke of Sussex in the Oxford DNB. 1p, 12mo, on first leaf of bifolium. In fair condition, lightly aged and worn, with strip of tape from mount adhering to blank second leaf. With two folds. The recipient is not named; signed ‘Thomas Coutts’. Twenth-two lines of text, neatly written and sloping upwards. Begins: ‘My Dear Sir / I send for your personal attn from The Duke of Sussex by which you will see he has promised to attend The Subscription Dinner for the benefit of decayd artists & cannot dine with me but says he will call before a day with Mrs Coutts’.

See his entry and Manby’s in the Oxford DNB. 4pp, 12mo. On bifolium with mourning border. In good condition, lightly aged, folded, with thin strip of tape from mount adhering to reverse of second leaf. Addressed to ‘My dear Manby’ and signed ‘Alfred Paget’. He begins by saying that there seems to be nothing ‘here about’ to prevent him from going with Manby ‘to Barnaby [presumably Nathaniel Barnaby, Assistant-Constructor of H.M.

See his entry and Manby’s in the Oxford DNB. 4pp, 12mo. On bifolium with mourning border. In good condition, lightly aged, folded, with thin strip of tape from mount adhering to reverse of second leaf. Addressed to ‘My dear Manby’ and signed ‘Alfred Paget’. He begins by saying that there seems to be nothing ‘here about’ to prevent him from going with Manby ‘to Barnaby [presumably Nathaniel Barnaby, Assistant-Constructor of H.M.

2pp, 4to. In good condition, lightly aged. Folded twice. Thirty-nine lines, closely written. Signed ‘Gilbert Thomas’. He begins by thanking him ‘most warmly for your letter and the most kind and generous review to hand this morning.

See his entry in the Oxford DNB. The recipient Philip Dosse was proprietor of Hansom Books, publisher of a stable of seven arts magazines including ‘Books and Bookmen’ and ‘Plays and Players’. 1p, 4to. In good condition, lightly aged and worn. Folded twice for postage. In autograph: ‘Dear Philip Dossé [sic]’ and ‘Yours sincerely / Richard Acland’. He begins by thanking Dosse for his ‘most generous letter’ with regard to his autobiography ‘Four Years Hard Labour’, and for the offer of a free advertisement in ‘Books and Bookmen’, continuing: ‘But how sad.

From the Henry Williamson papers. The present text does not feature in Williamson’s 1941 memoir of Lawrence ‘Genius of Friendship’, and appears to be unpublished. (According to Williamson’s entry in the Oxford DNB, the publication in 1927 of ‘Tarka the Otter’ ‘attracted the attention of T. E. Lawrence, whose letter of praise started a correspondence and friendship between the two.

Davidson is the longest-serving Archbishop of Canterbury since the Reformation. See his entry, and that of Cremer, in the Oxford DNB. Both items in good condition, lightly aged, and each with a postage fold. The first with glue to margin from mount. ONE (20 January 1891): 2pp, 12mo. Bifolium. Signed ‘Randall T. Davidson’. He thanks Cremer for his ‘letter about Mr Phillips’, and will bear in mind what he has said.

See his entry in the Oxford DNB. 2pp, 12mo. On first leaf of bifolium. In good condition, lightly aged. Folded once. Addressed to ‘A. [?]. King Esqr.’ and signed ‘Gambier Parry’. After thanking him for his note he assures him that he ‘had no thought one way or other about the immediate pub[licatio]n: or delay of the Pamphlet or Spirit Fresco.’ He thinks ‘it might be well to give one last look at it before it is actually published -’ (last two words both underlined twice).

In his 1902 biography L. A. Banks quotes Dr David Gregg of Brooklyn: ‘There is but one man in the American pulpit that can draw, and hold, and thrill, twice every Sabbath the year round, an audience of 8,000. There is but one man on the globe that preaches the Gospel every week through the press to 25,000,000.’ 3pp, 8vo. Bifolium, with the final page written lengthwise on the reverse of the first leaf. In good condition, on discoloured paper, with remains of stub adhering to blank reverse of second leaf, which also carries a pin hole to one corner. The recipient is unidentified.

See his entry in the Oxford DNB. 1p, 12mo. In good condition, lightly aged and folded twice for postage. One corner very slightly cropped. Signed ‘Tho. Hughes’. In response to a request for an autograph he writes: ‘My dear Madam / I have only just returned to town where I find your note, with the request contained in which I have much pleasure in complying & sending you my signature below, though it is not a good specimen as I have got hold of a rascally bad pen.’ See Image.

With Thomas Carlyle recognised by the Victorians as one of their two greatest historians. See his entry in the Oxford DNB. 1p, 12mo. On grey wove watermarked paper. In good condition, lightly creased and aged. Folded twice. Reads ‘Dear Miss Richardson, / I am extremely sorry that I have an engagement which will make it impossible for me to have the pleasure of dining with you on Wednesday fortnight / Very truly yours, / T B Macaulay’.

See the two men’s entries in the Oxford DNB. In good condition, on the first leaf of bifolium. (There are extensive pencil annotations in a later hand on the second leaf.) Very neatly written. Addressed to ‘J. G. Wilson Esqre.’ and signed ‘Anstey Guthrie’. He has ‘much pleasure’ in answering Wilson’s question. ‘‘Shut Out’ is a short story of mine which was published in Longmans Magazine about 1895 or 6, afterwards included in a volume of short stories under the title of “The Talking Horse”. I think published by Messrs. Smith & Elder - but now long out of print.

From the Sylvia and Robert Lynd papers. Scarce: three copies on JISC and in NLI. The Lynd copies of the first and third editions of the work to which this is a response are offered separately. 76pp (vi + 66 + [4]), 12mo. Stapled. In printed card wraps with vertical red, white and blue bands on the cover. Grubby and worn, with slightly-rusted staples, and short closed tear to fore-edge of front cover. Includes four-page index.

From the papers of Sylvia and Robert Lynd. Four copies traced: National Library of Ireland, Trinity College Dublin, the British Library and Oxford University. BL identifies the author as ‘Thomas T. Shaw’; another source states ‘Thomas J. Shaw’. 47pp, 8vo. In green printed wraps. Stapled. Lightly aged, in worn wraps, and with slight blooming at head of first few leaves. The author goes about the ‘self-imposed task’ of his ‘little brochure’ with copious statistical evidence, including an eight-page appendix of tables.

See his brothers’ entries in the Oxford DNB. 4pp, 12mo. Bifolium. Folded once. In good condition, lightly aged, with slight rust spotting at head of last page. Erroneous attribution to Earl Brassey in small type at the head of the first page. Addressed to ‘B. Hobbie Esq’ and signed ‘Albert Brassey’. He doubts whether you will be able to attend the public meeting at Oxford on 28 May.

See his entry in the Oxford DNB: ‘In 1848 he was articled to the staunchly Quaker P. B. Alley, then in partnership with Richard Lane, the leading neo-classical architect of Manchester. In 1853 his education was completed with a ten-month tour of France, Italy, and Germany, after which he set up in practice as an architect in Manchester.’ (Waterhouse’s first success would come with his winning design for the Manchester assize courts in 1859.) 1p, 12mo. On the first leaf of a grey-paper bifolium. In good condition. Folded for postage. Addressed to ‘Thomas Haigh Esq:’ and signed ‘A Waterhouse’.

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.

A large, attractive printed certificate, somewhat in the style of an early Victorian public notice, with heavily leaded font. Printed in black on one side of a 32 x 41 cm piece of cream vellum paper. Discoloured and ruckled from having been rolled up, but in good overall condition, and highly suitable (once flattened out) for framing. At bottom left, signatures of six ‘Commissioners, and Members of the Board’, one above the other: ‘Adolphus Fieldmarshal / W. H. Clinton / Thomas Bradford A Gnl / J Gardiner DAG / G Scovell Govr. M. Genl. / T W Taylor Col: Lt Governor’.

Something akin to a CV in a neat contemporary hand (perhaps Ord’s own, in pursuit of preferment or a pension?). A useful summary of Ord’s career features in ‘Commissary Wilson’s Orderly Book. Expedition of the British and Provincial Army, under Maj. Gen. Jeffrey Amherst, against Ticonderoga and Crown Point. 1759.’ (New York, 1857): ‘THOMAS ORD was appointed Captain in the Royal Artillery on 1st March, 1746. He was an excellent Officer, and stood high in the Duke of Cumberland’s esteem, by whom he was selected to Command the Artillery in Braddock’s Expedition.

The second of these ballads, 'Silver Threads Among the Gold', by the American Eben Eugene Rextord (1848-1916), was immensely popular on its release in 1873 with music by Hart Peas Danks (1834-1903). The earliest reference to the first ballad, 'Could you lend my mother a saucepan?' is in an 1885 number of 'All the Year Round'. The song is an absolute hoot, but its text is not to be found anywhere on the internet.

See his entry, and that of his father the civil engineer, in the Oxford DNB. 2pp, 12mo. On separate letterheads. The recipient is not named and there is no salutation (though the letter is complete). Signed ‘Brassey’. In good condition, lightly aged. Folded once. Begins: ‘I have two maxims for [hourly?] use. / I do the little I can do and leave the rest to thee / What thou livest live well. The rest commit to Heaven / Nor should the last message of the greatest sailor since the world began ever be forgotten / England expects that every man this day will do his duty’.

See his entry in the Oxford DNB. The poem, one of Watkins’ best, is printed under the heading ‘VERNON WATKINS | Poet and Goldsmith’ on both sides of a 12mo leaf, paginated 13-14. In fair condition, lightly aged and creased. On the lower part of the second page is a reproduction of an attractive pen drawing of Richmond Bridge by Eleanor Poore. After the end of the poem and above the illustration is Watkins’ assured signature, good and clear: ‘Vernon Watkins’.

See his entry in the Oxford DNB, together with that of the Williams family. (The recipient Joseph Lionel Williams (c.1832-1877) was son of the wood-engraver Samuel Williams (1788-1853).) 2pp, 12mo. On paper with mourning border. In good condition, lightly aged and worn. Folded twice.

An interesting letter regarding the man who was regarded as Ireland's national poet before the appearance of William Butler Yeats. See Croker’s entry, and that of Thomas Moore, in the Oxford DNB. The former contains a paragraph discussing the association between the two men, the conclusion of which explains the context of the present item: ‘At the end of his life Croker (by his own account) was working on a biography of Moore, whom he termed 'an actor—a hypocrite—a swindler—a sensualist and a habitual liar' (Irish Book Lover, 50).

See the various entries in the Oxford DNB. Typed carbon copy. 1p, foolscap 8vo. Text complete, on aged piece of carbon paper, worn and chipped at edges. No signature. Addressed at foot to ‘E. F. Benson Esq.’ Thirty-one lines of text. He begins by stating that Benson, in his ‘work on Charlotte Brontë’, has ‘made a very correct study of her’. After discussing a point about Branwell Bronte, he states: ‘We cannot rely on Charlotte’s assertion that he knew nothing whatever of their ventures in publishing.

Thomas broadcast many of his programmes from the Hammersley Hill estate, overlooking the Catskills. 1p, foolscap 8vo. On cream paper with letterhead in green. In good condition, folded twice for postage. Thomas’s bold signature, also in green, rises at an angle. Reads: ‘Dear Mr. McCormick, / I’ve entirely forgotten. / If you know of an extra copy I would like to add it to my collection. / With best wishes. / Sincerely, / Lowell Thomas’.

Although he later repudiated his position, Mackintosh is notable for having defended the French Revolution from Edmund Burke's strictures. See the two men’s entries in the Oxford DNB. With regard to Maurice's oriental studies, it is worth noting that Mackintosh was Recorder of Bombay, 1804-1811. The three items are in good condition, lightly aged and worn and folded for postage. The last two show slight evidence of the breaking of the wafer, and the last has minor traces of brown paper mount. All three are bifoliums, and all are signed ‘James Mackintosh’.