TWENTIETH

14 + [1]pp, 8vo. Stapled eight-leaf pamphlet. Publishers' slug on reverse of final leaf. In good condition, lightly aged and worn. Scarce: no copy at the British Library, and the only copy located on OCLC WorldCat at Princeton. A pleasing memento of a grand affair, attended by a host of dignitaries, including Princess Margaret, the Prince of Wales (who read the first lesson) and Betjeman's publisher John Murray (who read the second lesson).

2pp, 8vo. In fair condition, lightly aged and worn. A very good and informative letter. Written from the A. J. C. Ranch, which Van Druten had purchased with his former lover Carter Lodge (now his business manager) and the British actress Auriol Lee. Van Druten left his interest in the ranch to Lodge, together with the rights to his work, including the play discussed here, 'I am a Camera', an adapatation of Christopher Isherwood's stories. (For the relationship between Van Druten and Isherwood, see Peter Parker's biography of the latter.) This entitled Lodge to income from the film 'Cabaret'.

For information on Russell see the Oxford DNB entry on his wife from 1957, the social worker Kit Russell [Katherine Frances Russell, née Stewart] (1909-1998). Both letters are in fair condition, lightly aged and creased. ONE: Signed 'Joyce Grenfell'. 2pp, 12mo. She begins the letter with a question: 'Dear Sheridan Russell. | What is Time and Talents?

Joad's rise and fall are admirably described in Jason Tomes' entry on him in the Oxford DNB. The present letter was written after the disgrace which followed his 1948 conviction for fare-dodging. Not only was Joad dropped from the programme which had made him a nationwide celebrity, 'The Brains Trust', as a result, but his well-founded hopes of a peerage were dashed. It is interesting to note from the present letter that Joad continued to work for the BBC after his disgrace. The letter is 2pp, landscape 12mo. In fair condition, aged and creased, with two punch-holes at head.

Postcard with printed stamp. In good condition, on aged paper. Address by her to 'Miss Johnson [identified in pencil as Isa Johnson] | 23 Weltje Road | Hammersmith | London - W'. The card reads: 'My thanks for your letter - I am sorry I did not see you to speak to the other day. I hate leaving here in next few days it has done me such a lot of good.'

Five items in good condition, all lightly aged. ONE: ACS. Signed 'Kathy'. 1 March 1990. Clearly a covering note on sending the other material. Simply reads: 'Good to speak – | love | Kathy'. TWO: Duplicated copy of typescript of speech by 'Fr. John Gilling'. Headed: 'REQUIEM MASS: St. Mary the Virgin, Bourne Street. 7th February 1990. | JONATHAN GRIFFIN'. 2pp, 8vo.

1p, 4to. In good condition, lightly-aged. Folded three times. Sixteen-line poem, neatly typed (with one error overtyped an autograph proof mark separating two words) titled 'For Andrew Young. 1885-1971.' Signed at bottom 'Richard Church.' A charming poem, which was published in the Cornhill Magazine in 1971.

2pp, landscape 12mo. In good condition, lightly aged. Begins: 'Dear Christopher Fry, | I am sorry to contradict you, but I showed my co-editor, the poet Rodney Pybus, your poem “For Edmund Blunden”, and we both [last word underlined] feel it should be published, and that we would like to publish it. Please.' In the hope that Fry will agree, he asks him to 'sign and return an acceptance form and send us the biog. note you would like to print alongside the poem'. He continues: 'I do hope you'll agree.

1p, landscape 12mo. In good condition, folded twice. With envelope addressed to Fry at his East Dean address. Fry has written at the head of the cover of the envelope: 'From Norman Nicholson'. After thanking Fry for his 'good wishes at Christmas', Nicholson continues: 'I, too, am sorry that we have not met, which – unless you are ever in Cumberland – seems less likely than ever, as I am much less mobile since the death of my wife.' He presumes Fry has learnt of his bereavement from Edward Lowbury, 'for I know that you were a friend of his father-in-law's'.

Printed in black on one side of a 51 x 39 cm piece of light-green paper. Heavily inked, in the variety of types and point sizes typical of the period. Printed on high-acidity paper, and perhaps a unique survival. Aged and worn, with chipping and short closed tears to extremities. Reads: 'Imperial College | Literary and Debating Society | [thick-thin rule] | A LECTURE | ON | “The Interaction of Life | and Matter” | BY | SIR OLIVER LODGE, | D.Sc., F.R.S.

1p, 8vo. In good condition, lightly aged and creased. Folded once. 'I was hoping you would make a suggestion about price. I had at first thought of asking £5 for each copy, but if you would throw in that copy of my father's book (my own is in pieces) I suggest £12 for the three. Of course I want you to make your profit.' He ends by asking if Hancox would like the books signed.

Nine letters (eight ALsS and one TLS) totalling 16pp, 12mo, in close and neat autograph; and 2pp, 4to, typed. One from 1932 and the other eight from 1933. All signed 'Arthur Bryant'. In good condition, on lightly-aged paper, with slight rust-staining from paperclips to a couple of the letters. An interesting correspondence, in which Bryant gives an assessment of Pepys, and describes his approach to writing his biography. In one long letter (5 May 1933) Bryant describes his wider approach to the writing of history.

1p, 12m. In good condition, lightly aged. Linklater writes that he is enclosing, as requested, his own copy of 'The Devil's in the News'. He asks Ashmore to 'consider the play your own property for the next six months', and to 'take any profit you can from it'. He does not expect royalties. Ashmore is 'at liberty to make any minor alterations, additions, or subtractions' that he may 'consider advisable'. The letter concludes: 'This is my only copy, and I shall be glad if some day you will return it.'

1p, 4to. In fair condition, lightly aged and worn, with the top part of the blank reverse pasted onto a slip of paper cut from an album. Adressed to 'Miss Constance M. Evans, | Raventhorpe, | Carmel Road N., | Darlington.' She begins by stating that Evans's letter has been forwarded to her by Julian Herbage.

The letters are in fair condition, lightly aged; the card is discoloured and stained. Loosely inserted in a copy of Williams's 'Thomas Cranmer of Canterbury', 75 + [1]pp, 8vo, with the ownership signature 'Christopher Fry' on the front free endpaper, in worn binding with fraying at head of spine. Delightful and revealing letters, mixing personal and business (Williams worked for the Oxford University Press and Fry was published by them). ONE: ALS from Southfield House, 17 December 1941. 2pp, 12mo. Thirty lines of closely-written text, on a leaf of ruled paper torn from a notebook.

115pp, 12mo. In good condition: sound and tight, on browning War Economy paper, in green cloth with slight bloom, and in slightly worn and chipped browning dustwrapper. (The subtitle 'A Play in Three Acts' features on the dustwrapper, but not on the title-page.) Fry's ownership inscription 'Christopher Fry' is in blue ink at the top right-hand corner of the recto of the front free endpaper. A verse drama from the library of the leading twentieth-century English exponent of the genre, after T. S. Eliot.

55pp, 8vo. In fair condition, internally tight and sound, on browning paper, in lightly-worn blue cloth binding. No dustwrapper. Slight dink at head of spine. Ownership inscription 'Christopher Fry' in blue ink at top right-hand corner of recto of front free endpaper. Fry and Williams were on cordial terms, the latter working for Oxford University Press and the former being published by them.

[12]pp, 8vo. Paginated to 14, but twelve pages on six leaves, comprising half-title, title and eight pages of text. Sewn into raspberry printed wraps. Title with engraving of the church, duplicated on front cover. Internally in fair condition, with slight creasing, but with blue ink (or wine?) stain at foot of outer edge of front cover. Bloomfield & Mendelson A46, which states that the edition was printed in November 1963 and limited to 250 copies, 'sent out to a number of personal friends whose names were mainly suggested by Mrs. MacNeice'. In this case, from the library of Christopher Fry.

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.

Both 1p, 8vo, and each in fair condition, on aged paper, with creasing along one edge. The first letter with smudged date of receipt in one corner. The first letter signed 'Paddy Carstairs', the second 'John Paddy Carstairs'. ONE: Begins: 'Dear Miss Greenwood | What can I possibly say? I am “set” for my next pic, but always want very unique stories – who doesn't?! | In 22 years (nearly!) I've only sold 3 originals for the screen and none of my novels – you see, there aren't any rules'.

1p, 12mo. In good condition, on lightly-aged paper. Folded once. Signed 'Rafael Sabatini'. After thanking her for her letter of sympathy, he notes: 'In the past I have had plenty of cause for complaint, but nothing quite so flagrant.' He has been 'avenged by the Press, which described the unutterable scenario from which the film was made in terms similar to those which I employed when I requested that my name be removed from the “author credits”'. He ends with good wishes to her 'laudable enterprise'.

For the context of the letter see Pamela M. King's 2007 paper 'Twentieth-Century Medieval-Drama Revivals and the Universities', which states that at the time of the writing, there was in Canterbury 'to be a new play by Robert Gittings about St Alphege and the Danish invasion entitled Makers of Violence', and that at the Pilgrim Players in Norwich planned to put on, at the church of St Peter Mancroft, a production of Fry's 'Sleep of Prisoners'. 2pp, 8vo. In fair condition, lightly aged, with a little light damp spotting. Folded once.

1p, 12mo. In fair condition, lightly aged and worn. Folded twice. Signed, over a red 'Postage Revenue' 2d stamp: 'Alfredo Compoli. | August 13th. 1947'. Above this the receip, in Compoli's autograph, reads: 'Received £500 (five hundred pounds) in full, (£200 deposit – and £250 in cash – also cheque value £50 (dated August 11th. 1947) for Sale of Music Library (Salon Orchestra, & Trio)'. Accompanying the document is an unsigned autograph receipt on a worn slip of white paper, reading: 'April 28th. 1947 | Received, from Jack Salisbury Esq.

1p, 8vo. In good condition, lightly aged, folded twice. He does not have a copy of his book 'Flying Eggs', but intends 'to order a few. Since computerization, ordering is a longwinded business, but there's reasonable hope they'd arrive before the Christmas post.' He gives instruction concerning payment and postage. He makes a suggestion if McPherson should 'at any point in the future [be] tempted to buy my first book of short stories, PENNINE TALES' (go for the paperback which is cheaper and 'much better edited').

De la Mare's definitive answer to the oft-asked question regarding the meaning of his best-known poem - and also one of the most celebrated English poems of the twentieth century - 'The Listeners'. 1p, 4to, in good condition, lightly aged, folded twice. After thanking her for her 'kind letter', he adds: 'I am afraid you may not find my answer to your question a very satisfactory one.

1p., 4to. The salutation 'My dear Rowe,' and the valediction 'Yours sincerely | Hugh Gaitskell' are in Gaitskell's autograph, written in red ink; the rest of the letter is typed. Aged and worn, with discoloration and a small insect crushed onto a blank part. Reads: 'Many thanks for your kind Christmas note and good wishes.

Sequeira was born in Aldgate. In the years following his service in the London Regiment during the First World War, he acted in Shakespeare at the Old Vic, and he would continue as an actor into the age of film and television. In addition to acting Sequeira taught (including a youthful Peter Cushing) at Guildhall School of Music and Drama, painted, and in 1953 published a book on stage make-up. The present four items, all undated, are in good condition, lightly aged. ONE: Autograph duologue titled 'Seeing the Coronation'. 5pp., foolscap 8vo. With revised conclusion, 1p., 12mo.

32pp., 12mo. In blue-green card wraps with light blue-green printed label on front cover. In good condition, lightly aged. Florid ownership inscription in thick black ink at front: 'Margaret (Sackville) | to | Henrietta | with love | 1936.' A question mark has been deleted in one poem, presumably by Sackville. Twenty-four poems in the Georgian idiom, some of which had previously appeared in Country Life, Chamber's Journal, Observer, Harper's Bazaar abd the Glasgow Herald. Now uncommon. Six copies on COPAC.

28pp., 12mo. In printed blue-green card wraps. Shaken and aged, in worn wraps. Eleven poems in the Georgian idiom, eight of which, according to a note by the author, had previously been published by 'Messrs. Lewis' in 'The Lyrical Woodland'. From Sackville's own papers, and including some pencil markings, presumably by her, including the emendation of 'blank' for 'dank' and 'the' for 'that'. Now uncommon. Six copies on COPAC.

32pp., 12mo. In blue-green card wraps with light blue-green printed label on front cover. In very good condition. Twenty-four poems in the Georgian idiom, some of which had previously appeared in Country Life, Chamber's Journal, Observer, Harper's Bazaar abd the Glasgow Herald.. Now uncommon. Six copies on COPAC.