TV

A. TLS, one page, 4to, to Kevin, 17 May [no year given], good conditiopn, text; He has signed some papers, then apologises for the lateness of his TV programme. There isn't much I can do about this, alas. But I hope you enjoy them when you do get the chance to watch.Last weeks', with Carl Sgan, was fun. | I have no sisters, dog, mouse of goldfish, but our house is entirely ruled by a small tortoiseshell cat which is at this very moment sitting on my desk. | Look in at my observatory if you ever find your self Sussex way. B.

See her entry and his in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged. Folded for postage. Signed ‘Ruby’. Begins: ‘Popie, darling, / What are we coming to? / You - as a pierrot with the “Fol-de-Rols”! / BBC/TV must be mad not to let you do a talk on the St. James’s. / But after the Gaiety fiasco I can believe anything of them.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 1p, 16mo. Signed ‘Bill Owen’. In fair condition, lightly aged and creased. Hailing him as ‘the greatest living authority on British Theatre’, he asks for advice. ‘My job is acting, and it has always been an ambition of mine to portray the life of Dan Leno, either on film or TV.

The present item is producer Hugh Burnett's own copy, from his papers, of the transcript of Stevenson's interview with Freeman, broadcast in the groundbreaking BBC television series 'Face to Face' on 22 July 1959. The single-spaced typed transcript was produced for inclusion in Burnett's book 'Face to Face / Edited and introduced by Hugh Burnett' (London: Jonathan Cape, 1964), and is marked up with printing instructions in pencil and red ink, with a few proof corrections in pencil and green ink. 2pp, foolscap 8vo, on two leaves.

See the entries for Warner and Macqueen-Pope in the Oxford DNB. Such was the popularity of Warner’s portrayal of George Dixon, that the Queen told him it had become part of ‘the British way of life’, and he was carried to his grave by six real officers from Paddington Green Police Station. LETTER: 1p, 4to. Folded twice. In good condition, lightly aged. Signature ‘Jack.’ and salutation to ‘My dear Popie’ in Warner’s hand; the rest typed. Letterhead with his name. He is sending ‘the long promised photos’, delayed because he ‘had to get some new prints of the “pipe” one.

See his entry in the Oxford DNB. The two items are from the papers of Sally Worboyes, organiser of the residential arts courses at her home, Fen Farm in Suffolk, who has provided a signed caption on the reverse of both of the prints. Both colour prints. ONE: 23 x 16 cm photograph, in Landscape. Slightly creased at corners. A relaxed Rosenthal, in plaid shirt, jeans and trainers, seated on the steps of a farm outhouse, with five students and Warboyes grouped around him. On the reverse: ‘Jack Rosenthal / with his students / Sally Worboyes’.

See his entry in the Oxford DNB. The three items are from the papers of Sally Worboyes, organiser of the residential arts courses at her home, Fen Farm in Suffolk, who has provided a signed caption on the reverse of each of the prints. All three in good condition. ONE and TWO: Black and white photographs, both 12 x 17 cm. ONE is in portrait, and shows Plater seated at a country table, in shirtsleeves, jeans and trainers, looking over with concentration and expressively spread hands. On back: ‘Alan Plater at my home. / Sally Worboyes’. TWO is in landscape.

Wardle worked as Kenneth Tynan’s deputy on the Observer between 1959 and 1963. Wynne-Rushton had published a play titled ‘The Gull’s Way’ in 1930, and a book on the papacy for Catholic publishers Burns, Oates and Washburne two years later. 2pp, 4to. In fair condition, folded three times, with wear and loss along one fold line of the second leaf, resulting in loss of a few words of text. Signed ‘Irving Wardle’ and addressed to ‘Dear Mr. Rushton’, identified as G. W. Wynne-Rushton by associated correspondence.

The present item is the producer Hugh Burnett's own copy, from his papers, of the transcript of John Freeman's interview with John, broadcast in the groundbreaking BBC series 'Face to Face' on 15 May 1960. This single-spaced typed transcript was produced for inclusion in Burnett's book 'Face to Face / Edited and introduced by Hugh Burnett' (London: Jonathan Cape, 1964), and is marked up with printing instructions in pencil and red ink, with a few proof corrections in green ink. 3pp, foolscap 8vo, on three leaves stapled together.

JJohn Freeman's interview with Jomo Kenyatta was broadcast on 26 November 1961 in the BBC TV series 'Face to Face'. The present duplicated typescript of the interview is from the papers of the programme's producer Hugh Burnett, and is edited for publication in the book 'Face to Face | Edited and introduced by Hugh Burnett' (London: Jonathan Cape, 1964). 1p., foolscap 8vo. Headed 'JOMO KENYATTA', otherwise consisting entirely of the transcript, with no other details.

The present item is the producer Hugh Burnett's own copy of the transcript of John Freeman's interview of Cecil Beaton, broadcast in the BBC series 'Face to Face' on 18 February 1962. Duplicated typescript. 4pp, foolscap 8vo. Numbered, and headed 'CECIL BEATON', otherwise consisting entirely of the transcript, with no other details. Aged and worn, with punch holes for binder. On four leaves which were originally stapled together, but with the first and last leaves now detached. Page references 1-10 (presumably to a shorthand transcript) in the outer margin.

A significant document in the history of BBC Television, casting valuable light on production practices and internal procedure in the years following the end of the BBC's television monopoly. From the papers of distinguished producer Charles Chilton (1917-2013), best known for his radio series 'Journey into Space' and association with the Goon Show. The present item relates to the first of the BBC Television Training Courses.

[2] + 170pp., 8vo. On 172 leaves, held together by a steel stud. In good condition, lightly aged, with discoloring to first leaf and the last seven leaves dogeared. The names of the crew are given on the first covering page, and the cast of characters (but not the names of the actors playing them) on the second. An interesting artefact, indicative of the continuing reassessment and reinterpretation of the works of one of Britain's great writers.