TWENTIETH

See his entry in the Oxford DNB. On 10 x 7 cm piece of paper, cut down from letterhead. In good condition, lightly aged, with pin holes at top left. Clearly sent in response to a request for an autograph. Reads: 'Yours very truly / W. W. Jacobs'. See scan

Novello’s three decades of unprecedented success began with the First World War song ‘Keep the home fires burning’. See his entry in the Oxford DNB. 8.5 x 13.5 cm publicity photograph on postcard, printed in sepia. In good condition, with tiny dink at top left. Captioned at foot ‘MR. IVOR NOVELLO’. Prim-looking with side-parting in white shirt, tie, and dark double breasted suit, the darkness of which makes the signature ‘Ivor Novello’ rather difficult to make out. Scan on application

A scarce and interesting piece of Queen Mary ephemera. No other copy traced. 13 x 16 cm bifolium card. In fair condition, lighly aged and worn. Printed on the front cover in metallic grey and bronze is an image captioned on the back cover: 'One of the three large mural carvings by John Skeaping, Starboard Gallery, Promenade Deck, R.M.S. Queen Mary.' On reverse of cover: 'KOCKTAILS / AND / KISSES / With HARRY HAYES / To-day's great thought: / Are You happy in your work?' On recto of second leaf: 'Amongst the Guests: / Bill Bailey and Liverpool Staff / Dr.

Two good substantial letters, filled with personal and professional content. See the entries for Thorp and Wrench in the Oxford DNB. Both letters in brown ink in Thorps calligraphic hand. ONE (to Sir Evelyn Wrench): 2pp, 8vo. On cream paper with brown italic letterhead. In good condition, lightly aged and worn. Folded twice. Signed ‘Peter’. Begins: ‘My dear Evelyn / We are going to make a great change in our way of life. For a long time I have felt that both physically & financially this house is beyond our strength.

See his entry in the Oxford DNB. The first letter, and probably the second, were written around the time when his ‘Down the Garden Path’ (1932) and its two sequels had made Nichols wildly popular, eliciting several parodies. ONE (TLS to ‘Mr. Bryon’): 1p, 12mo. Discoloration along top part of outer edge, otherwise in good condition. Folded once. Good clear signature ‘Beverley Nichols’. He thanks him for sending the interview. ‘I think it is admirably written, and expresses my views very clearly.’ TWO (conclusion of TLS): 1p, 12mo. Twenty-nine lines of text. In good condition, lightly aged.

Betjeman’s daughter Candida Lycett Green, in her edition of her father’s later letters, refers to Moore as the his ‘gentle secretary’, ‘whom he always called “Dorinda,” and who lived on the other side of the street’. She also states that after his stroke in 1981, the poet could no longer sign his name, and dictated letters to Moore. 1p, foolscap 12mo. In good condition, lightly aged and creased. Folded once for postage. On his letterhead (‘Sir John Betjeman’ at top left, and address at top right) printed in brown ink on cream paper. Addressed to ‘Mr. Furness’.

Olivier’s luminous achievements are well described in his entry in the Oxford DNB. An 8 x 11 cm photographic image, printed in black and white on an 8.5t x 13.5 cm card, with the actor's autograph signature mostly on the blank area beneath the image: ‘L Olivier’. In fair condition, lightly aged and worn. An attractive image of the head of the young thespian, staring moodily to his right, hair slicked back, with part of white shirt and smart dark jacket just visible. Not present among the 114 portraits of Olivier in the National Portrait Gallery inventory.

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 Forster’s entry in the Oxford DNB. The postcard carries on one side a photograph of a ‘famous entrance hall’, part of the series ‘Simon McBride’s England’. In fair condition, a little browned and worn, with small pin hole at head. Addressed to ‘Miss Margaret Forster / 11 Boscastle Road / LONDON NW5 1EE’. Begins: ‘How nice you are to write about the C4 review of “Lady’s Maid”. She was ‘so pleased’ to see Trollope’s novel ‘The Lady’s Maid’ ‘sitting deservedly in the top ten for so many weeks - roll on the paperback!’ Concludes: ‘And I love the look of your garden. / Joanna T.’

See his entry in the Oxford DNB. 1p, 12mo. On worn and aged paper, with L-shaped closed tear at left-hand edge. Folded for postage. Addressed to her at Bebington in the Wirral. Loose, smudged signature ‘St John Ervine’. He thanks her for her ‘letter and its enclosure, which I return. If I were to rebuke every cub reporter who wrote so stupidly as the young man to whom you refer, I should fill The Observer with my reproofs, apart altogether from the fact, that I should be giving the young man an exaggerated sense of his importance.

A good informative letter. See Abse's entry in the Oxford DNB, along with that of Gaston Berlemont, proprietor of the French House (the nickname of the York Minster), Soho. 2pp, 12mo. In good condition, lightly aged. Folded one for postage. On a leaf of light-grey paper, in matching stamped envelope with postmark, addressed to Furness in Battersea. One of a number of letters from British poets in response to enquiries from Furness with regard to their pub memories.

See his entry in the Oxford DNB. Menu printed in blue on one side of 4to leaf, folded into 16 x 15 cm bifolium-style card. Front cover with patches of discoloration, and back cover bearing evidence of previous mounting (layer of dried out glue), otherwise in good condition. Front cover reads: ‘Scottish Music Merchants’ Association / Festival Luncheon / Royal British Hotel, Edinburgh / Wednesday, 30th August 1950 / Chairman: / R. W. Cresswell’. In space between ‘1950’ and ‘Chaiman:’ is large clear signature ‘Betty Beecham.’ At foot of page is large signature ‘Thomas Beecham’.

See his entry in the Oxford DNB. 2pp, 4to. In good condition, lightly aged, with pinholes to one corner. Signed ‘Julius Harrison’. Begins ‘Dear Boosey, / From the recent batch sent, I return the enclosed which I fancy may all be useful in the English market. / I am struck with the “Flowers in the Valley” as a possible Alto lead number. Please see my remarks thereon.’ He explains that he is ‘trying to find an Alto lead piece for Cleethorpes Festival next July’, and could include the ‘Flowers’ if it were ‘published in C as soon as possible’.

See his entry in the Oxford DNB. Both items in good condition, lightly aged. The first on thinner paper and lightly creased. Both folded for postage. Each addressed to 'My dear Francis' and signed 'Julius Harrision' ONE (27 May 1935): 2pp, 4to. He is supervising examinations at Worcester, and discusses arrangements. 'My people left Stourport for Worcester many years ago, but I rather fancy that Worcester will be too far from Birmingham to stay there. I shall, I think, stay in Birmingham itself.' He will be 'away down the Mediterranean until the 14th.

The present image is not in the National Portrait Gallery, but the licencing rights are held by Getty Images, by whom it is dated to 1 May 1928. 24 x 18.5 cm bromide print, on 25 x 18.5 cm matt.In fair condition, discoloured and with light creasing at extremities. Chaplin's genuine signature is at bottom right: 'Yours Truly / Charlie Chaplin'. Wittzel's monogram (featuring 'WITZEL' and 'L A') is printed at bottom left. An excellent and unusual artistic image of a figure of world renown.

1p, 4to. On lightly aged and somewhat creased paper. Folded twice for postage. Addressed to ‘Leonard Hyman, Esq.’ and signed ‘Clarence Raybould’. He has received his Catalogue No. 87 and is sorry to learn of his ‘impending retirement from your business’. ‘The world is always the poor when someone of your integrity decides he has had enough of the intrigues of present-day life!’ He wishes him ‘a happy period of quieter days’: ‘I myself cease to bulk of my work in June of this present year, when I terminate a long association with the Senior Orchestra of the Royal Academy of Music.

Sarah Shannon (married name Sarah Dickinson) was a fine poet in her own right (see the blurb quoted in Item One below), and it is unfortunate that she allowed herself to be eclipsed by her husband the self-styled ‘poet and impresario of poetry’, Patric Dickinson. He occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud.

From the papers of Sarah Emmeline Hamilton, mistress of the poet Patric Dickinson. (His extraordinary correspondence with her, including 171 original and mostly-unpublished poems, 474 autograph letters and 349 post cards, is offered separately). See his obituary by John Mole’s in the Independent, 31 January 1994. The present item is 4to, and consists of 14 unpaginated pages over ten leaves. Stitched into brown wraps printed in black. Cover, title-page and colophon with illustrations from Sandys in brown, otherwise printed in black. Tastefully printed.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See his 1965 autobiography 'The Good Minute' and John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

John Stanton Ward was a noted portrait painter, who resigned his membership of the Royal Academy in protest at the ‘Sensation’ show of 1997. See his obituaries in the Telegraph, Times, Guardian and Indpendent. Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See his 1965 autobiography 'The Good Minute' and John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.

Patric Dickinson has not received his due. A self-styled ‘poet and impresario of poetry’, Dickinson occupied a central position in the cultural landscape of post-war Britain. As an editor and broadcaster he worked with poets such as Dylan Thomas, Cecil Day Lewis and Roy Campbell, actresses Flora Robson, Peggy Ashcroft and Jill Balcon, and actors Robert Donat, Ralph Richardson, John Gielgud. See his 1965 autobiography 'The Good Minute' and John Mole’s obituary in the Independent, 31 January 1994. From the papers of Dickinson’s mistress Sarah Emmeline Hamilton.