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Charles James Mathews (1803-1878), British actor-manager [The Lyceum Theatre, London; Covent Garden]:
Printed on playbill sheet. Copy of a Letter in "THE TIMES" of Tuesday February 14th 1854. Mr Charles Mathews and the Lyceum Theatre. To the Editor of the Times. On his difficulties with creditors and the temporary closure of the theatre.
Dated 'Lyceum Feb. 12. 1854 C. J. MATHEWS'. Printed for display on one side of a piece of paper 24.5 x 49.5 cm. Text clear and complete. On aged and creased paper with one closed tear and bottom right-hand corner lacking causing slight loss to the last letter of Mathews' name at foot of document. Heading in bold type in a variety of point sizes. Giving a 'brief statement of my fourteen years' struggle and of my latest difficulty'. He has 'stood in a false position towards the world for many years' 'performing an honorable duty under almost superhuman difficulties' while 'the world believes me to be an extravagant thoughtless reckless fellow living an idle dissolute life totally regardless of my own honor and the interests of others'. Excessively scarce: no copy in the British Library on COPAC or WorldCat. Dated 'Lyceum, Feb. 12. [1854] C. J. MATHEWS'. unknown
Référence libraire : 10989
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Eugene Ionesco (1909-1994), Franco-Romanian 'Theatre of the Absurd' playwright; Donald Watson, translator:
Eugène Ionesco 'Theatre of the Absurd' playwright. Typescripts of two translations of his plays by Donald Watson: the 'original text' of 'The Bald Prima Donna. A Pseudo-Play in one act' and 'The Motor Show'.
Neither translation dated but both 'Copyright by DONALD WATSON 13 Oakley St. Chelsea London.'. 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. Introductory note by Watson: 'First acted in Paris by the Company of Nicolas Bataille at the Theatre des Noctambules and the Theatre de la Huchette. Nicolas Bataille made several alterations in this the original text for his production. One or two of these alterations have been noted. Several other small changes were made by the author in the text published by Gallimard.' Includes 'Translator's note' regarding the phrase 'Il s'emmerde.' TWO: 'The Motor Show'. 5pp. 8vo. In good condition on aged paper. Translator's note: 'THE MOTOR SHOW called in French "Le Salon de l'Automobile" was broadcast in March 1952 by the Club d'Essai de la Radiodiffusion Francaise.' Neither translation dated, but both 'Copyright by DONALD WATSON, | 13 Oakley St., Chelsea, London.' unknown
Référence libraire : 16472
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W J Macqueen-Pope [Walter James Macqueen-Pope], theatre historian and theatre manager, associated in particular with the Theatre
W. J. Macqueen-Pope theatre historian. 27 items: fifteen Typed Scripts of BBC broadcasts including eleven concerning different London theatres five earlier drafts three sets of music lists and two letters to MP from BBC producer Mary Treadgold.
Treadgold’s two letters from the BBC200 Oxford Street London both dated 1951. Three of MP’s scripts dated from the same year and the rest of the material from around this time. The material collected here is perhaps unique: it is not clear whether any material relating to Macqueen-Pope’s BBC broadcasts has survived elsewhere. It is hard to overestimate the significance of ‘Popie’ to the history of the London stage. Other items from among his papers offered seperately attest to the regard in which he was held by both actors and those behind the scenes as the foremost chronicler of a cherished era that was quickly passing into oblivion. His entry in the Oxford DNB describes how in the 1950s he was ‘in demand as a lecturer on the theatrical subjects he loved and he appeared often in the same capacity on radio and on television. Ironically he regarded these two forms of public entertainment and television in particular as representing a serious threat to the survival of theatre about which he cared passionately’. A total of twenty-seven items; comprising 15 BBC radio scripts by MP with an additional five earlier drafts of some of them together with two TLsS to MP from Mary Treadgold of the BBC Overseas Service two carbons of notes from MP to Treadgold and three typed music lists by MP for the particular broadcasts. Fifteen of the items Five and Seven to Twenty comprising eleven scripts and earlier drafts of four of them are from a series of ‘Theatre Songs and Stories by W. Macqueen-Pope’ broadcast on the BBC Overseas Service in 1951. The other scripts would appear to have been broadcast on the same channel at the same time. Apart from Item Six which is worn and chipped but with text complete the material is in good overall condition with the inevitable slight aging and wear and with slight rust-staining from paperclips. All items in 4to except for Five and Six which are foolscap 8vo and a total of 131pp. Items Thirteen and Eighteen incomplete; the other twenty-five items complete. ONE and TWO: Two drafts of ‘Half a Century of Musical Comedy / Script and Narration by W. Macqueen-Pope’ both headed ‘Broadcast’. Both 16pp. Undated but from 1951 as states that 1894 was ‘57 years ago’. The second a black ink carbon incorporates the typed emendations in the first a blue-ink carbon. THREE. ‘Bring Back Harlequin’. Dated 27 December 1951 and headed ‘Broadcast’. 7pp with pencil emendations. FOUR: ‘Music From the Theatre by W. Macqueen-Pope.’ Headed ‘Broadcast’. 4pp. FIVE. ‘Theatre Songs and Stories by W. Macqueen-Pope’ concerning ‘The Gaiety Theatre London’. In top right-hand corner of first page: ‘Rough specimen of Broadcast.’ 5pp foolscap 8vo. SIX. ‘1 Memories of Olympia by W. Macqueen-Pope.’ 4pp foolscap 8vo. Items Seven to Twenty are all headed ‘Theatre Songs and Stories by W. Macqueen-Pope.’ with ‘Broadcast’ at top left of first page. SEVEN and EIGHT. Two drafts of ‘No. 2. Theatre Royal Drury Lane’. Both headed ‘2nd Broadcast’. The earlier 4pp; the later also 4pp with ‘Broadcast’ at head of first page by MP in pencil and carrying a couple of pencil emendations. Both drafts refer to the recent death of Ivor Novello the first describing him as ‘an immortal’ whose ‘music will be played so long as there remains a British audience to listen to it’. NINE and TEN. Two drafts of ‘The Adelphi Theatre’. The earlier 8pp with additional leaf carrying typed note headed ‘Broadcast Inset after ‘Nymph Errant’; the later 5pp abridged and rewritten but incorporating the ‘Inset’. Regarding ‘The Quaker Girl’ MP writes: ‘A wonderful show for the wonderful nights of a wonderful period. That first night on 5th November 1910 was a triumph for all concerning and sitting in the stalls with his bride and applauding as enthusiastically as anyone was a young politician named Winston Churchill.’ ELEVEN. ‘The Alhambra. Leicester Square.’ 4pp. Pencil emendation. TWELVE and THIRTEEN. ‘Daly’s Theatre’. 4pp; with first page only of later draft with minor pencil emendations. FOURTEEN. ‘The Holborn Empire’. Dated 21 November 1951. 5pp. FIFTEEN and SIXTEEN. Two drafts of ‘The Palace Theatre’. The earlier 8pp with a few emendations in pen; the later 5pp incorporating the emendations and with pencil addition. SEVENTEEN and EIGHTEEN. Two drafts of ‘The London Coliseum’. The earlier of 4pp with an addition in pencil; the later lacking p.3 of 4pp incorporating the addition. NINETEEN. ‘The Oxford Music Hall’. 4pp with addition in pencil. TWENTY. ‘His Majesty’s Theatre.’ Dated 21 November 1951. 4pp. TWENTY-ONE and TWENTY-TWO. Two sets of music lists. The first of 6pp with the pages headed: ‘Adelphi Music’ ‘Palace Theatre Music - in place of London Pavilion’ ‘Savoy Music’ ‘Daly’s Music’ ‘Alhambra’ and ‘Music for Drury Lane’; the second 3pp with pencil emendations the pages headed: ‘Adelphi’ ‘Palace’ and ‘Adelphi’ followed by ‘Palace’. TWENTY-THREE. Music list accompanying Item Four ‘Music from the Theatre’ headed ‘Tunes for 2nd Broadcast’ with entries ticked in pencil. TWENTY-FOUR and TWENTY-FIVE. Two TLsS from Mary Treadgold Talks Producer General Overseas Service to MP. Each on BBC 200 Oxford Street letterhead. The first 21 June 1951 2pp giving ‘the Music List for Daly’s; the second 20 September 1951 2pp giving a long list of ‘the music - with comments - for both the Coliseum and the Oxford. The programme for the Oxford is being broadcast fairly soon so it is really essential now that we get these two scripts recorded pretty quickly.’ Checked in pencil with autograph notes by MP. TWENTY-SIX and TWENTY-SEVEN. Carbons of TNsS from MP to Treadgold 26 June and 2 August 1951. Each 1p. The first with carbon copy of MP’s signature. In the first he suggests that ‘we use the Merry Widow as the signature tune rather than the Dollar Princess. The Widow was Daly’s most outstanding play.’ The second presents ‘the Adelphi and Palace scripts. The Adelphi is a bit “talk-ey†but we cannot help it. The stories have the merit of being good ones.’ Treadgold’s two letters from the BBC,200 Oxford Street, London, both dated 1951. Three of MP’s scripts dated from the same unknown
Référence libraire : 24274
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[ William John Charles Pitcher Wilhelm (1858-1925), costume and theatre designer; Empire Theatre, London; Leopold Wenzel; Katti
William Wilhelm costume designer. Illustrations of costumes for the Empire Theatre ballet 'The Press' 1898 each representing a Fleet Street newspaper.
Without place or date. Ballet performed at the Empire Theatre London in 1898. In black and white on 34 x 23 cm shiny art paper. Possibly extracted from an unnamed periodical. Lightly aged and worn and ruckled from being laid down on paper backing. Tiny chip lost at foot. Sixteen female figures are shown in costumes representing newspapers from the 'Daily Mail' to 'The Sketch' and including 'Mdlle. Zangfretta as Fashion' around a central representation of a scene from the ballet featuring Adeline Genée as the Liberty of the Press. Mark Edward Perugini in his 'Art of Ballet' 1915 states of Genée that 'it was her performance as the Spirit of the "Liberty of the Press" in the famous Empire ballet "The Press" invented and designed by Mr. Wilhelm with the choreographic support of Mme. Lanner and music by Mons. Wenzel on February 14th 1898 that first marked her "and for many years to come" as a London "star." The ballet gave her scope for some wonderful and proved immensely popular. It was a novel idea artistically carried out and illustrated the history and power of the Fourth Estate. A number of charming coryphees were ingeniously attired as representatives of the various newspapers boys' costumes indicating the morning and girls' the evening journals. The venerable Times was typified by a man in the guise of Father Time with hour-glass and other symbols of his ancient office and accompanied by a retinue. Mme. Cavallazzi represented Caxton Father of the Printing Press; Mile. Zanfretta the Spirit of Fashion; and there were typical costumes for The Standard The Daily Telegraph The Globe The Daily Mail then two years old! The Illustrated London News who announced that she was " Established 1842 " The Illustrated Sporting and Dramatic News The Lady's Pictorial The Sketch The Referee and others too numerous to name. So popular did the ballet prove that this also ran for months and it was not until October of the same year that a new production " Alaska" was staged the scenario of which was by Mr. Wilhelm the choregraphy by Mme. Lanner and music by Mons. Wenzel.' See Image. Without place or date. [ Ballet performed at the Empire Theatre, London in 1898.] unknown
Référence libraire : 19283
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Theatre Guild
The Theatre Guild Anthology V2
Paperback / softback. New. paperback
Référence libraire : B9781494111946 ISBN : 1494111942 9781494111946
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W B Yeats, editor [The Abbey Theatre, Dublin, Ireland; Irish literature]:
The Arrow.
Vol.1 No.2. 24 November 1906. Hely's Limited Printers Dame St. and Acme Works Dame Court Dublin. 4to 8 unpaginated pages. In original grey printed wraps. Text clear and complete. Neat vertical fold. On worn and foxed paper with rust to staples and slight wear and chipping to wraps. The second of the five issues to appear in Yeats's lifetime. In the 'W. B. Yeats Commemoration Number' of Summer 1939 'The Arrow' was described as 'an occasional a very occasional publication by the Abbey Theatre' with only five numbers to have appeared up to that point: 'two in 1906 one in 1907 1908 and 1909' Contains three articles signed 'W. B. Y.' including one on Yeats's own play 'The Shadowy Waters' one article by 'A. G.' and another short one by W. A. H. Vol.1, No.2. 24 November 1906. [Hely's, Limited, Printers, Dame St., and Acme Works, Dame Court, Dublin.] paperback
Référence libraire : 8302
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Eric Idle - Steven Frears, Michael Pennington etc [Henry Miller] - Cambridge University Theatre Company
ERIC IDLE'S OWN PROGRAMME RECORDING HIS 'PROFESSIONAL COMEDY DEBUT' - Just Wild about Henry
Ely Cambridgeshire: W Jefferson and Son 1963. Broadside programme from the estate of former Python Eric Idle which he describes as marking his 'professional comedy debut'. Directed by Steven Frears no less at the Edinburgh Festival in 1963 this was also the British premier of Miller's surreal and only play. A single sheet 25x15cm printed on both sides; a little browned otherwise fine. Recently sold by Eric Idle to a US bookdealer and thence to us. Otherwise unrecorded. Frears' Edinburgh production was mounted on a specially built revolving state which sometimes didn't! Idle went on to achieve comic immortality with Monty Python's Flying Circus and the rest is history. Please contact Christian White Rare Books Ltd for more information or images of this item 1963 W Jefferson and Son unknown
Référence libraire : 8584
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OXFORD COMPANION TO THE THEATREThe Oxford Companion to the Theatre,
edited by Phyllis Hartnoll Second Edition
Oxford University Press 1965T. hardcover. Acceptable. in x in x in. Ex-library book usual markings. Well read with some wear but still very useable. With Dust Cover. SECOND EDITIN REPRINT 1965. Oxford University Press hardcover
Référence libraire : mon0000435682
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N Roqueplan, Theatre manager, editor "Le Figaro", author inc "La Vie Parisienne" (1852).:
N. Roqueplan; Le Figaro Autograph Letter Signed "N. Roqueplan" to an unnamed correspondent. In French.
Opera Theatre de La Nation Paris 14 Sept 184 printed year not completed. Two pages 8vo minor defedcts text clear and complete if somewhat illegible. He begins: "J'ignorais personellement monsieur la Combinaison locative dont vous avex ete vistime et je comprends fort bien que vous la trouvez mediocrement ingenieuse vous nous avez habituee aux plus galant precedes mais . . . " He goes on to say that they won't offer compensation understanding that they are changing their "loge" and will collect what belongs to them etc. Note from website: "Nestor Roqueplan 1804-1870 frère du peintre Camille Roqueplan fut rédacteur en chef du Figaro administrateur de l'Opéra de l'Opéra-Comique et des Nouveautés et le modèle du dandy français au XIXe siècle." Opera, Theatre de La Nation, Paris, 14 Sept 184 [printed year not completed] unknown
Référence libraire : 4858
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[THEATRE -- SET DESIGNS]. GRAIN, Amelia
New art catalog no. 34: stage settings for operas. Library edition; Magnificent stage settings in college colors for gala occasions; Information for my patrons. . . .
Philadelphia PA: Amelia Grain 819 Spring Garden St. Graf & Breuninger Print 1631-33 Germantown Ave. 1934. Three pieces. 1st -- 8vo. 72 pp. w/ 100s of photo text illustrations. Printe & illustrated softcovers in red minor shelfwear former School Library ownership markings lightly stamped at upper fore-edge; 2nd -- 8vo. 4 pp unpaginated. self-printed colour-illustrated softcover w/ cover art of Oriental motif stage in colour; 3rd -- 1 printed leaf w/ center fold. First editions of both the catalogue and brochure touting the tremendous inventory that this scenery rental firm maintained over decades. Scenery could only be rented a week at a time producers needed to deposit the value of the scenery with their local bank and this “Trunk Scenery†was used by religious fraternal educational dramatic and business productions. The well-illustrated Opera setting catalogue encompasses settings and scenery for Grand Opera Mozart Rossini Wagner Puccini Tchaikovsky Verdi etc. Victor Herbert’s Operas De Koven Operas Shakespearean Plays Gilbert & Sullivan and others. Grain 1846-1937 Irish-American owned and operated the Spring Garden Entertainment Bureau in Philadelphia PA for decades often advertising that they were America’s Scenery Rental Service with over 4000 stage settings. They continued to operate as Amelia Grain Scenic Studios until after World War II. Howard Bibliography of Theatre Technology Scenery 5241. Amelia Grain, 819 Spring Garden St., Graf & Breuninger Print, 1631-33, Germantown Ave., paperback
Référence libraire : 57186
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The Living Theatre, Judith Malina, Hanon Reznikov et al
Three card leaflets advertising performances at the East Third Street space
New York: The Living Theatre 1990. Pamphlet. Three card leaflets 8.5x3.75 inches each yellow pink and lavender printed one side only advertising events and productions at the space very good condition. Post 1985 as Beck is not involved pre-1993 as they left the Third Street Space that year. Productions include The Zero Method and Rules of Civility & Decent Behavior in Company & Conversation by George Washington both by Reznikov and a dance and music series. The Living Theatre unknown
Référence libraire : 273277
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Euripedes Robinson Jeffers, englishing John Gielgud, Judith Anderson, theatre
Medea. Robert Whitehead and Oliver Rea present Judith Anderson Dennis King Florence Reed in "Medea" Freely Adapted from the "Medea" of Euripides by Robinson Jeffers; Staged by John Gielgud -with- Medea: The Playbill for The Royale Theatre; The Playbill A Weekly Publication of Playbill Incorporated. Week beginning Monday February 9 1948
New York: Frank Hopkins / The Playbill 1948. Pamphlet. Both items unpaginated about 20p. each respectively 12x9 inches and 9x6.5 inches. Very good copies slightly crimped with handling the two related items as a pair. Frank Hopkins / The Playbill unknown
Référence libraire : 290557
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[ Thomas Longdon Greenwood (1806-1879), lessee of Sadler's Wells Theatre, London? ]:
Thomas Longdon Greenwood lessee of Sadler's Wells Theatre Manuscript of the opening of a Victorian pantomime lacking title featuring 'Hans' and 'Gretchen' with note stating that it is 'in Greenwoods Hand Writing of Sadlers Wells'.
Without place or date but with 'Adelphi' i.e. the Adelphi Theatre London written inside the front cover. 16pp. of which 12pp. in 8vo and 4pp. in 4to. In fair condition on aged and worn paper. Neatly written out with underlinings in red ink. Loosely inserted in the marbled wraps of an exercise book with 'Adelphi' in pencil on the inside of the front cover. The first scene is written out complete on ten leaves from the exercise book now loose with the main text on ten pages and additions on two versos. In addition to this is a grey paper bifolium carrying over 4pp. 4to additional matter to be inserted at the beginning of the second scene. In pencil on two of the pages are actors' names perhaps giving a clue of context: 'Mr Cole' and 'Mr Hill'. The pantomime may bear some relation to the Grimm fairy tale 'Hansel and Gretel'. The first scene opens with the directions: 'Exterior of the Golden Pipkinn by Sunset. Door Practicable. Music. Enter Jacob followed by Peter earnestly conversing.' The directions at the beginning of the second scene are: 'Enter Gretchen with Cloak & Lanthorn'. The language is spirited the first scene beginning: 'Jacob As clean as a smelt as smooth as a scalded pig. Peter What not one left Jacob No nor a ghost of one either.' The second scene ends: 'Gretchen exit in huff after slapping face. O if I had that pig whip here. Then Hans goes to original commencement of Scene.' Without place or date, but with 'Adelphi' (i.e. the Adelphi Theatre, London) written inside the front cover. paperback
Référence libraire : 17992
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John Fawcett (1769-1837), actor and playwright associated with the Theatre Royal, Covent Garden:
John Fawcett actor and playwright. Autograph Letter Signed 'John Fawcett' as Treasurer of the Covent Garden Theatrical Fund to 'C Perkins Esq' regarding money 'intended for the Widow Paulo' and the sending of account books.
'Botley Southampton The proper way to direct to me 9 Sepr 1835'. 1p 4to. In fair condition lightly aged with slight wear at head repaired on reverse with archival tape. The context of the letter is explained in Fawcett's entry in the Oxford DNB: 'In September 1829 Fawcett was superseded in the management of Covent Garden … the theatre in which he had been a main prop for thirty-nine years. With a salary of £100 a year allowed him as treasurer and trustee of the Covent Garden Theatrical Fund he retired to a cottage at Botley near Southampton.' The letter begins: 'Some weeks back I enclos'd you a draft for £10 intended for the Widow Paulo. - Since which I have by Coach directed for you my private Book of Accts. Of C: G: Fund with a request that you wou'd return it to me when done with.' As being without the book is inconvenient to Fawcett and it is unsatisfactory 'to want knowledge of either transmittance reaching their destination' he asks him 'to send my Book directed for me to the care of Mr Joseph Lomer Southampton by Colyers Coach from Bell Savage Ludgate Hill or Old White Horse Cellar Piccadilly' these being two leading coaching inns. Fawcett will be obliged by 'any intelligence about balance or other Fund news'. Postscript: 'Be so kind as to send the Bankers book to be made up – and after it is done – let it come with the other'. 'Botley Southampton | (The proper way to direct to me) | 9 Sepr 1835'. unknown
Référence libraire : 22011
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John Baldwin Buckstone (1802-1879), dramatist and actor-manager of Haymarket Theatre, London [Mercer Hampson Simpson (1801-1877)
John Baldwin Buckstone comedic actor and playwright. Five Autograph Letters Signed all 'Jno B Buckstone' to M. H. Simpson lessee of the Theatre Royal Birmingham regarding arrangements benefits and Mrs Fitzwilliam.
From the Adelphi and Haymarket in London and the Theatre Royal in Liverpool. 20 August August 1839 November 1839 29 April 1840 29 November 1842 and undated. See the appreciative entry on Buckstone by Donald Roy in the Dictionary of National Biography. Interesting and informative letters shedding vivid light on the day-to-day workings of early-Victorian theatre written by a leading London actor-manager and dramatist and sent to a provincial actor-manager regarding the arrangement of engagements benefits and plays. Of particular interest is the fourth letter which refers to Mrs Fitzwilliam Fanny Frances Elizabeth Fitzwilliam née Copeland 1801-1854 with whom Buckstone toured New Orleans and the South c. 1840-1841. Five items. Total of 7pp 4to. Each on a bifolium. Aged and worn each with a central spike-hole and all with traces of mount adhering along one edge. ONE: 20 August 1839; Theatre Royal Haymarket. Reverse of second leaf with broken seal in red wax postmark King Street Covent Garden and address to 'M. H. Simpson Esq Theatre Royal Birmingham'. 1p. Presumably referring to a Birmingham benefit he states that although there is no person he would 'rather endeavour to serve than Mr. Monro' 'Friday the 30th is unfortunately one of the days or rather nights on which “Single Life†is fixed to be acted and Mr. Webster the actor Benjamin Nottingham Webster 1797-1882 lessee of the Haymarket cannot give permission for my absence'. He even 'waited till to-day to see Mr. W & be certain of public arrangement'. He reports that 'We are doing greatly here comedy nights and all' and ends in the hope that 'things are flourishing at Brummagem'. He ends with regards 'to Mr. Monro and Mrs. Simpson'. TWO: Undated on paper with watermarked date 1839; 'Theatre Royal Liverpoo'l. 2pp. Closely written. He begins by explaining that Webster 'brings out a new play of Bulwers on Wednesday in which I am not concerned' and that 'there is not the shadow of a doubt that he will refuse me further leave of absence'. He 'would rather play for Simpson's benefit on Friday the 22nd. which I have no doubt I shall be able to do'. He states that he will arrange with Simpson before he leaves Birmingham adding: 'I enclose you books of the Melodrama of Peter Bell which I think would act well at Birmingham. It will require getting up and can't be too soon put in hand – if you can do it we shall want a waggon and horses'. He enjoins him to 'read it attentively' and give his opinion of a detailed itinerary for the purpose of Simpson making up playbills for four days ending in 'Friday Benefit – Mr Buckstones last new comedy of Single Life and Peter Bell perhaps'. The itinerary features two of Buckstone's plays premiered in London in 1838 and 1839: 'The Duchess de la Vaubaliere - I think I called it The Dukes Bride†- you can refer to the bills and ascertain and “Weak Pointsâ€'. Also 'for this night only “The Lottery Ticketâ€'. He continues: 'What do you say to this arrangement - I shall write positively on Wednesday – but I am so sure of being able to be with you that you may be getting the Duchess and Peter Bell ready.' Postscript: 'My part in Peter Bell will be “Martin†The Tinker'. THREE: 29 April 1840; 'Theatre. Royal. Adelphi'. 1p. Addressed with broken seal in red wax and 1840 postmark to 'M. H. Simpson Theatre Royal Birmingham'. The letter begins: 'Mr. Yates has only this morning decided that he will close on Wedy the 6th. May on Saty. the 9th. at the latest – in which case I can act with you if the time will agree with your arrangements or Monday the 11th. May for 5 nights – or commence Monday the 18th.' He gives a preference explaining that he is 'in treaty with another Theatre for the 18th. or thereabouts'. If his suggested date is agreeable he will send 'the Manuscript of “Poor Jack†premiered at the Adelphi 3 February 1840 and arrange my pieces for the week.' Simpson writes on the cover: 'Engaged for the 11th of May 1840 M. H. Simpson terms as before'. FOUR: 29 November 1842; 'Theatre. Royal. Haymarket. 2pp. 4to. On bifolium with ANS by Simpson on recto of second leaf: 'Accepted. Decr. 3./42 on the terms proposed – except that they are to pay their share of Authors fees on the benefit nights M. H. S.' Begins: 'As I have a long rehearsal of a New Comedy to-day I find I cannot get to Broad Court: i.e. the London street where Simpson was staying at the Wrekin Tavern see Letter Four I have seen Mrs. Fitzwilliam as to an arrangement conjointly with me at Birmingham'. He proceeds to put his proposal regarding arrangements including 'a clean half of the Friday for her benefit or mine whichever we may decide may be most advantageous for all parties … We have plenty of Novelty of a high order – 2 pieces quite new – viz – The Belle of the Hotel or American Sketches and The Snapping Turtles – which I think will run almost through the engagement: Mrs. F has also her own Copyright pieces – Foreign Airsi.e. 'Foreign Airs and Native Graces' by W. T. Moncrieff a play which 'Mrs. Fitzwilliam J. B. Buckstone and others from the Ludlow-Smith company from New Orleans' performed in May 1841 – Out of Place &c. & will play her original part in “Single Life†- indeed I think we can make it of mutual advantage. She will also play “Rosalind†“The Country Girl†&c. as I think we can make a very strong arrangement for the 10 nights – giving you the option if it answers all purposes of taking us on our return to London at a future period'. He ends with reference to 'several Benefits at the Haymarket at which we have been solicited to act'. FIVE: Undated; 'Theatre. Royal. Haymarket. 1p 4to. Bifolium addressed on reverse of second leaf with broken seal in red wax to 'W. sic Simpson Esqr Wrekin i.e. the Wrekin Tavern Broad Court Bow Street London'. A short letter in which Buckstone states: 'After the 2d. Act of The School for Scandal – I have a boy wait – could I see you in my Dressing room – or I shall be at the Theatre tomorrow & every day this week from 12 till 2 – let me know.' Postscript: 'If you call send up your name – or come in at once'. From the Adelphi and Haymarket in London, and the Theatre Royal in Liverpool. 20 August August 1839, [November 1839], 29 April [ unknown
Référence libraire : 22239
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Laura Henderson [ born Laura Forster ] (1863-1944), founder of the Windmill Theatre, London [ Janet Achurch, stage name of Janet
Laura Henderson founder of the Windmill Theatre. Autograph Letter Signed to an actress Janet Achurch praising her performance in 'A Doll's House'
14 Hill Street Berkeley Square London . 'Sunday' 1889 . 4pp. 16mo. In good condition lightly aged and worn. Achurch's entry in the Oxford DNB explains the context: 'In 1889 when she was still only twenty-three she undertook the management of the Novelty Theatre London where on 7 June she appeared as Nora in the first English production of Ibsen's A Doll's House. This was a turning point both in her career and in English critical appreciation of Ibsen.' The letter begins: 'Dear Madam Will you forgive me for writing to you but I should so like to tell you of the intense pleasure you have given my husband & me in “A Doll's House.†We had the pleasure of seeing you in the “Red Lamp†in 1887 & since then have been in India.' On their return home the Hendersons 'made inquiries & to our joy found you were to be in town'. She continues expressing 'the very great pleasure you have given us. I don't expect you can realise what intense enjoyment you give other people'. The Hendersons 'went on the second night & then last week took three friends who enjoyed it as much as we do'. She hopes that 'in a very short time' Achurch 'will have attained the world wide fame which such acting so thoroughly deserves'. She has 'never seen any actress who gratifies my ideal of acting as you do'. 14 Hill Street, Berkeley Square [ London ]. 'Sunday' [ 1889 ]. unknown
Référence libraire : 19734
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John Cumberland (1787-1866), London theatrical publisher [Charles Thompson; Cumberland's British Theatre]:
John Cumberland London theatrical publisher. Autograph Letter Signed 'J Cumberland' to Charles Thompson declining to take on his unpublished play and discussing the question of copyright.
27 October 1834. 'No. 2 Cumberland Terrace Camden New Town' London. 1p 8vo. Aged and worn. Four folds. Panel from envelope attached to reverse with postmark and address to 'Chas. Thompson Esqr. 34 Bedford Street Covent Gard.' He has 'already so many unpublished Plays' in which he has 'the right of Representation' that he must 'decline making any further purchases at present'. But even if he were 'inclined to make further purchases it would most certainly be in Copyright and not in rights to print - which I suppose is what you mean by the term Printing Copyright'. He is however still 'much obliged to you for the offer'. 27 October 1834. 'No. 2 Cumberland Terrace | Camden New Town' [London]. unknown
Référence libraire : 22852
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Robert Clarke, actor-manager, Theatre Royal, Liverpool [Charles Kean (1811-1868), actor-manager, son of Edmund Kean, husband of
Charles Kean and his wife Ellen Tree prepare to return from America. Autograph Letter Signed 'Rt. Clarke.' from Robert Clarke to Benjamin Webster asking on Kean's behalf for 'information respecting Theatres in England' discussing Kean and wife.
2 Bladud Buildings Bath. 27 December 1846. 2pp 12mo. Bifolium endorsed 'Clarke' on reverse of second leaf. In fair condition lightly aged and worn. Folded three times. The letter begins: 'My dear Webster Charles Kean has requested me to give him information respecting Theatres in England in which it is probable he may form engagements on his return from America as he wishes his plans to be arranged if possible previous to his departure from the United States so as he may see his way clearly on his arrival in England.' He asks whether it would answer Webster's purpose 'to make any proposal to him'. Kean's 'new Play by Lovel i.e. George William Lovell the Wife's Secret is effective I understand and the Play was written for Kean and Mrs. Kean but the latter I learn is the feature.' Clarke will write to Kean 'in a few days and I shall have much pleasure in making any communication to him you may wish. His list of parts as well as Mrs. Keans is considerably extended sicne their marriage and you can best judge whether this fact may have attraction.' Clarke trusts that 'the Haymarket with its twin sister the Adelphi are prospering' and his wife joins with him 'in best regards to the Managers of each establishment'. He ends with 'the Season's Compliments' and in a postscript thanks him 'for the Observers you send me'. In the event the Keans made a highly successful return to the Haymarket. 2 Bladud Buildings, Bath. 27 December 1846. unknown
Référence libraire : 22079
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John Frederic Gill (d1899), Second Deemster of the Isle of Man, 1884-1899 [ The Grand Theatre, Douglas ]: d 1
John Frederic Gill Second Deemster of the Isle of Man. Two Autograph Letter Signed both 'J. Fred. Gill' to 'Miss Jull' regarding the arrangements for her to sing at a concert at the Grand Theatre Douglas.
The first on letterhead of Anfield Hay Douglas Isle of Man; the second from Douglas. 3 and 31 December 1896. Both letters 2pp. 12mo. Both in good condition on lightly-aged paper with tape from previous mounting adhering along one edge and in one case overlapping a few words including the signature. The two letters concern a concert 'at the Grand Theatre on 7 January' 'entirely of Manx music' in which the recipient has agreed to sing. Having put her down for two songs he sends her 'our Book out of which all the items of the concert will be taken' with suggestions of two songs and three encores. The second letter gives details of the rehearsal in Fort Street. 'We are trying to have all the songs accompanied by the Orchestra. I hope you will not object. If you prefer the pianoforte - it will be there also.' He complains: 'Miss Wood has failed me. A cold has made her singing impossible. I am extremely sorry. I hope for your own sake & mine that this wretched weather is not affecting your voice.' The first on letterhead of Anfield Hay, Douglas, Isle of Man; the second from Douglas. 3 and 31 December 1896. unknown
Référence libraire : 17833
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Samuel Phelps (1804-1878), actor and theatre manager, the King Lear of his age, noted for his fidelity to the originals in his p
Samuel Phelps actor-manager the finest King Lear of his age. Autograph Letter Signed 'S. P.' to his wife describing his activities including angling whilst on holiday with his sons in his native West Country and plans for his return.
On letterhead of The Western Times Office Exeter. 30 March 185 '. Phelps's entry in the Oxford DNB gives the background to the present letter stating that Phelps 'married Sarah Cooper 1810/11–1867 on 11 August 1826; she was just sixteen. However their marriage was very happy: they were a devoted couple and Sarah later served as Phelps's dresser. Phelps preferred home life with her to clubs or social gatherings. His other delights were angling and shooting and he purportedly knew every trout stream in England. They had three sons and three daughters including William Robert 1828–1867 who became chief justice of St Helena and Edmund d. 1870 who became an actor.' 3pp 12mo. Bifolium. In fair condition lightly aged and worn. Folded twice. The first three digits of the year are printed in the letterhead and have not been completed. The letter begins: 'My dearest/ I promised to write to-day I believe though I can only tell you that I am well and getting lots of fresh air - Yesterday the boys and I went fishing but found the river flooded - it was showery but still delightful - To-day the weather is better and we think of going off to morrow and trying our luck at Axminster'. With reference to his son William Robert noticed above he writes: 'I took a long walk with Bob this morning and had a long talk with him - he seems perfectly settled - Latimer says he gets on famously - his health is very much better and he looks well'. He asks her to write and tell him 'how the Concert went off last night and what was in the house - Mr Latimer is laying down all kinds of plans for my going to all sorts of places but I think I can come home at the end of the week'. If he finds 'any difficulty in getting away' 'Greenwood' - i.e. Thomas Greenwood the lessee of Sadler's Wells - is to 'send a line to say I am wanted'. He ends by asking her to 'have every thing ready to start off for Farningham as soon as I return - the holidays are short and I must make the most of my time - Kiss the boy all over for me God bless you my darling S. P.' On letterhead of The Western Times Office, Exeter. 30 March 185[ ]'. unknown
Référence libraire : 22783
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Daniel Frohman (1851-1940), American theatre and film producer and manager [ Elsie Ferguson (1883-1961), American stage and scre
Daniel Frohman American theatre produced. Autograph Letter Signed inviting General Townshend to 'the Famous Playerrs Ball' where he will met 'some of our leading lights in the picture world' including Elsie Ferguson.
On letterhead of the Lyceum Theatre 43rd Street New York. Undated but circa 1921. 2pp. 12mo. On tinted paper. In fair condition lightly aged and worn. The letter begins: 'Dear Gen. Townshend Won't you come with me to the Famous Players Ball on Wed. eve I am going to ask Miss Balfour. We can all dine here at my office at 7 on that eve - & have time to see later a litttle entertainment prior to the dancing.' He offers to present him to 'some of our leading lights in the picture world especially Elsie Ferguson who is now playng in Arnold Bennetts "Sacred & Profane Love' which appeared in 1921. On letterhead of the Lyceum Theatre, 43rd Street, New York. Undated, but circa 1921. unknown
Référence libraire : 17908
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Yvonne Arnaud (1890-1958), French actress and musician who settled in London [Lyric Theatre; Foulsham & Banfield, London photogr
Yvonne Arnaud French actress and musician. Autograph Letter Signed in English at the time of her first triumph 'Suzanne' in 'The Girl in the Taxi' to a 'Cher Monsieur' regarding having her picture taken by 'Mess. Foulsham and Banfield'.
'11th. 7bre. 11 September 1912. Lyric i.e. The Lyric Theatre Shaftesbury Avenue London. 2pp 16mo. Bifolium. In good condition lightly aged. At the time of writing Arnaud was delighting audiences at the Lyric in her first leading role that of 'Suzanne' in the musical 'The Girl in the Taxi'. Good firm signature. She writes: 'Cher Monsieur Thanks sic you very much for your nice letter. Certainly I will go to Mess. Foulsham and Banfield for a picture perhaps next week and then when they will be ready I give you one with great pleasure. Mes bien sincères salutations. Yvonne Arnaud.' The photographic studio of Frank Foulsham 1873-1930 and Arthur Clive Banfield 1875-1965 was active from the Edwardian period into the 1920s. '11th. 7bre. [11 September] 1912. Lyric [i.e. The Lyric Theatre, Shaftesbury Avenue, London]. unknown
Référence libraire : 22224
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Frederick Yates [Frederick Henry Yates] (1797-1842), actor and proprietor with Charles Mathews of the Adelphi Theatre, London, h
Frederick Yates actor-manager of the Adelphi Theatre. Autograph Letter Signed 'Fred. H. Yates.' accusing actor Thomas Cooke of breaking his word by mounting a production of Fitzball's 'Red Rover' whose copyright he owns outside Edinburgh.
18 January 1830. 'Theatre Royal Adelphi' London. 3pp 4to. Bifolium. In fair condition aged and worn with closed tears and thin vertical strip of paper on reverse of second leaf which carries a seal in black wax and Yates's address to 'T. P. Cooke Esqre. 28 Manchester Street Manchester Square'. An interesting letter regarding a Victorian stage dispute. In an understated style Yates makes a serious accusation: Cooke has broken his word over the manuscript of Fitzball's play 'The Red Rover' Yates had produced the piece with himself in the title role in 1828 and would do so again in 1831. The subtext is that by such an action Cooke is not a gentleman. It begins: 'Sir. Since you have done me the honor to address me by Letter I conceive it incumbent upon me to return you a written answer. The M S. of the Red Rover Mr Mathews & my property I allowed you to have copied upon an express understanding & pledge that you were to make use of it in the Edinboro Theatre only. Upon your refusal to comply with the terms of your Engagement here you thought proper to make use of the copy I permitted you to take of our M. S. with an additional act compiled by yourself at the Surrey Theatre - which I consider to be a positive breach of your word.' He continues in the same tone stating that he has learnt that Cooke has 'paid Mr Grove our Prompter a Guinea for making the Copy' and that Cooke is also claiming the first two acts as his property. As 'possessor of the Copyright' Yates can only return the manuscript with a 'veto that they shall only be made use of in Edinburgh' but as Cooke has 'already considered his promise as not binding' Yates does not expect him to 'pay any attention'. 18 January 1830. 'Theatre Royal | Adelphi' [London]. unknown
Référence libraire : 22848
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[ Conference of Delegates, Workmen's International Exhibition, 1870; Theatre of the Society of Arts, John Street, Adelphi, Londo
Printed pamphlet. Workmen's International Exhibition 1870. Report of the General Conference of Delegates held at the Theatre of the Society of Arts John Street Adelphi on Monday January 10 1870.
London: Published at the Offices of the Workmen's International Exibition 150 Strand W.C. 1870. Dunlop & Co. Printers King's-head Court Shoe Lane E.C. 40pp. 12mo. In small print. In good condition in brown paper wraps with manuscript label. Giving the text of speeches by delegates including the MPs Samuel Morley Thomas Hughes W. H. Smith and A. J. Mundella; Auberon Herbert; and the chairman T. H. Huxley. Stamp and shelfmark of the Board of Education Library on title-page and stamp on front wrap. London: Published at the Offices of the Workmen's International Exibition, 150, Strand, W.C. [1870.] [Dunlop & Co., Printers, Ki paperback
Référence libraire : 16471
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William Moy Thomas (1828–1910), journalist, theatre critic, novelist and associate of Charles Dickens [Sir John Hare (1844-1921)
William Moy Thomas theatre critic and associate of Charles Dickens. Autograph Draft signed with initials 'W M T' of long 'Letter to Hare i.e. actor-manager John Hare about Grundy's Comedy An Old Jew produced at the Garrick Janry 6 1894'.
At head of first page: 'Copy January 16 1894'. A highly interesting letter from a leading Victorian dramatic critic Thomas describes himself in the letter as 'For five & twenty years . theatrical critic of the Daily news & the Graphic' who has 'served under at least thirteen editors' to a leading actor-manager Hare was knighted in 1907 on the subject of alleged editorial pressure on Fleet Street's theatre critics. 4pp 8vo. On four leaves. Aged and worn but with text complete and clear. Thomas has noted on the reverse of the last leaf: 'Letter to Hare about Grundy's Comedy An Old Jew produced at the Garrick Janry 6 1894.' Grundy wrote 'An Old Jew' for Hare who portrayed the main character Julius Sterne. Draft of long letter with numerous minor emendations. He was glad to read Hare's letter despite its 'lingering trace of the languor of the sick room'. 'To me so many years your senior it seems strange indeed to find you speaking of the close of your stage career. I can only say on that head that I hope to live to see you for many more years gathering fresh laurels'. On the subject of Grundy's play he states that he does not believe that 'the journalistic world has any claim to be exempt from the satire or even the extreme caricature which is freely allowed in the case of other classes. Literary cliques & côteries undoubtedly do exist as they existed in the days of Delatouche's Tour de Faveur & Delavigne's Comédiens and Scribe's Camaraderie'. He deplores critics who 'will now fall down & worship certain Scandinavian idols & their crude & offensive methods'. He cannot conceive of 'editors who give instructions to critics to denounce plays contrary to their real opinions'. He can 'only say that I have never met with any such editor. For five & twenty years I have been the theatrical critic of the Daily news & the Graphic & for some years of that time I occupied the same post on The Academy besides writing drama notices occasionally for other journals. Altogether I have served under at least thirteen editors and I can conscientiously affirm that never did any one of these attempt to entice me to speak ill of what I thought or might think a good paly or performance or vice versâ.' After some more observations he concludes: 'Depend upon it the whole thing will be forgotten ere long or remembered only to excite wonder that any sensible journalist of decent standing should have made a fuss about it'. At head of first page: 'Copy | January 16, 1894'. unknown
Référence libraire : 21220
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Sir John Hare (1844-1921), actor and manager of the Garrick Theatre, London [Willy Clarkson [William Berry Clarkson (1861-1934),
Sir John Hare actor-manager to Willy Clarkson theatrical wigmaker and homosexual blackmailer. Autograph Letter Signed 'John Hare' giving instructions on a wig 'of great importance' required for an American tour.
On letterhead of 'Mr. John Hare's Autumn Provincial Tour 1900' Birmingham Liverpool Manchester. 15 September 1900. 2pp 12mo. In good condition lightly aged. The letter casts an interesting sidelight on the practicalities of the late-Victorian theatre. He begins by explaining that he is sending back a wig he made for him which was 'an admirable one in every way' and asking that he make him 'one like it for America & to bestow your best skill on it as it is of great importance to me'. He instructs him to 'make the wig a shade darker something of the color it is dyed behind & put a little natural white hair on the temples each side'. He urges him to be 'very careful that the waive is a natural one & not overdone it looks bad from the front see Mr in Julius Caesar'. He ends with the assumption that Clarkson will 'do your best for me'. James Morton in his 'Gangland Soho' 2012 alleges that Clarkson who has a blue plaque to his name at 41-43 Wardour Street was not only a repeated insurance fraudster but a notorious homosexual blackmailer after whom the public lavatory in Dansey Place was named 'Clarkson's Cottage'. On letterhead of 'Mr. John Hare's Autumn Provincial Tour, 1900' (Birmingham, Liverpool, Manchester). 15 September 1900. unknown
Référence libraire : 22014
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Jonathan Routh (1927-2008), television presenter who brought 'Candid Camera' to Britain [ W Macqueen-Pope (1888-1960), theatre h
Jonathan Routh television presenter. Typed Letter Signed as showbusiness editor of 'Everybody's' to theatre historian W. Macqueen Pope regarding his relation Lily Brayton and 'Chu Chin Chow'.
On 'Everybody's' letterhead 114 Fleet Street London. 20 December no year . 1p. 8vo. On aged and creased paper. Lily Braytonis is a 'vague relative' of his and she sends her 'good wishes . a propos the Chu Chin Chow article'. She would like to 'read through the relevant proofs' and Routh sends on her address. Brayton appeared in more than 2000 performances of 'Chu Chin Chow'. For more on Routh see his obituary in the Independent 8 June 2008. On 'Everybody's' letterhead, 114 Fleet Street, London. 20 December [ no year ]. unknown
Référence libraire : 17863
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Herman Finck [ born Hermann Van Der Vinck ] (1872-1939), composer and conductor [ The Palace Theatre, London ]:
Herman Finck composer and conductor. Autograph Letter Signed as musical director of the Palace Theatre 'To The Gentlemen of the Orchestra' informing them of the abolitiion of 'the system of sending deputies'.
On letterhead of The Palace Theatre Limited Shaftesbury Avenue London. 15 January 1912. 1p. 4to. On aged and worn paper. Reads:'To The Gentlemen of the Orchestra Commencing with February 17 '12 the system of sending deputies will be entirely abolished in this orchestra. To those members who are not desirous of continuing their engagement under this new rule I would ask that they gave their names to Mr Honrig before friday evening next in order that they may receive notice of the termination of their engagement four weeks from that date - 19th inst: Herman Finck Musical director'. Finck's 'In the Shadows' was one of the last tunes played as the Titanic went down. On letterhead of The Palace Theatre Limited, Shaftesbury Avenue, London. 15 January 1912. unknown
Référence libraire : 19680
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The Shakespeare Memorial Theatre Endowment Fund; H C Lacey, Organising Secretary [ Stratford-upon-Avon; Cecil William Townsend,
The Shakespeare Memorial Endowment Fund. Five items: circular signed by H. C. Lacey Organising Secretary publicity booklet notice'Donation & Subscription Form' 'Associate's Card' of C. W. Townsend.
Memorial Endowment Fund Shakespeare Memorial Theatre Stratford-upon-Avon. 1923. Five items in good condition lightly aged and worn. From the papers of C. W. Townsend who acted in six productions at the Shakespeare Memorial Theatre in 1922. No other copies of any of the items located either at the Folger on COPAC or on OCLC WorldCat. ONE: Typed Circular Letter with genuine signature of 'H C Lacey'. on letterhead in red and black ink with Shakespeare's of 'Shakespeare Memorial Theatre Stratford-upon-Avon Endowment Fund.' 1 November 1923. 1p. 8vo. Addressed to 'Dear Madam'. 32 lines of text. After two paragraphs praising Shakespeare in inflated tones 'Other nations have produced a Goethe a Dante an Ibsen a Tolstoy a Moliere but no other nation has produced a Shakespeare.' Lacey explains: 'November 8th. is the tercentenary of the publication of the first Folio of his Works. Yet it is to our reproach that the one great Memorial to Shakespeare on English soil – the Theatre Library Sculpture and Art Gallery Reading Room and Lecture Hall at Stratford-upon-Avon is unable to complete its catalogue maintain a librarian or fully develop its educational facilities owing to lack of funds. The entire Press of the English-speaking world the leaders of Politics Art Drama Literature and Society the Lord Mayor of London and the Mayors of the principal cities and towns warmly endorse the appeal of the Governors of the Memorial for funds to enable the intentions of the Founders to be fully realised. To this end November 8th. is to be observed as National Shakespeare Day. …' TWO: Publicity booklet explaining 'The Appeal for the Endowment of the Shakespeare Memorial Theatre Library Art Gallery &c. at Stratford-upon-Avon' and 'National Shakespeare Day Appeal for Tribute to Shakespeare To endow the Memorial Theatre Library Reading Room Art Gallery and Lecture Room Erected in the Poet's Memory in Stratford-upon-Avon the Town of his Birth'. 4pp. 32mo. Landscape bifolium. The recto of the first leaf carries a reproduction of a painting of a river scene with 'Our “Common Heritage.â€' above and 'The Shakespeare Memorial Theatre Stratford-upon-Avon.' below. The two central pages carry an explanation in small print of 'The Appeal in Brief' with sections headed 'The Hope' 'The Measure of Realisation' 'The Great Need' and 'Will you pay tribute' The reverse of the second leaf lists in two columns some of the 'numerous patrons governors hon. governors and life members' supporting the appeal from the Prime Minister Stanley Baldwin to 'Madame DE NAVARRO'. At the foot of the page is a quotation from The Times 23 April 1923. THREE: Notice headed 'SHAKESPEARE MEMORIAL THEATRE'. 1p. 8vo. Printed in red with Shakespeare's coat of arms. Reads: 'NOVEMBER 8th. 1923. The Governors earnestly appeal to every Life Member and Associate to mark the Tercentenary of the Publication of the First Folio by securing the support of their friends and enclose Circulars etc. which they trust will be passed to those interested.' FOUR: 'Donation & Subscription Form.' 'To the Treasurer Memorial Endowment Fund Old Bank Stratford-upon-Avon England.' 1p. 12mo. Headed 'NOVEMBER 8th. 1623 Publication of the First Folio of SHAKESPEARE'S PLAYS. His Glorious Gift to Humanity. NOVEMBER 8th. 1923. NATIONAL SHAKESPEARE DAY For the Endowment of his Memorial at Stratford-upon-Avon. This is Your Opportunity to Pay Tribute In return for his Priceless Gift. Is it not worth a donation to keep his work alive If you cannot send pounds send shillings if you cannot send more at least send one.' FIVE: Printed 'Associate's Card' Shakespeare Memorial Stratford-upon-Avon. Made out for 'Mr. C. W. Townsend. The Maples. Clevedon. Somerset.' and signed 'A. Crowhurst. pp. K.E.' Dated April 1923-1924. Printed on both sides of a card with text on one side at 32mo and the card folding into a 16mo bifolium with grey covers and 'Associate's Card.' printed on the front. Text in small print on ten lines beneath associate's details beginning: 'Associates are admitted to the Festival Club the Library Picture Gallery Tower and Gardens. .' Memorial Endowment Fund [ Shakespeare Memorial Theatre], Stratford-upon-Avon. 1923. unknown
Référence libraire : 20475
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Alfred Turner [ 'Tubby' ] (d1941), manager of actor Cyril Maude and General Manager of Saville Theatre, London [ Herman Finck [
Alfred Turner Manager of the Saville Theatre. Autograph Letter Signed a letter of condolence to the widow of the composer Herman Finck.
On his letterhead as General Manager of the Saville Theatre Shaftesbury Avenue London. 21 April 1939. 1p. 8vo. In good condition lightly aged. John Bennion Booth discusses Turner in his 'Old Pink 'un Days' 1925. 'My Wife and I want to express to you and your daughters our great and very real sympathy in your great loss. I sincerely mourn with you for I have lost a very old friend of many years.' He hopes that 'Time the great healer' will help her in her sorrow. Finck's 'In the Shadows' was one of the last songs played as RMS Titanic went down. On his letterhead as General Manager of the Saville Theatre, Shaftesbury Avenue, London. 21 April 1939. unknown
Référence libraire : 19626
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Theatre Royal, Williamson Square, Liverpool [Edward Murray; Vernor & Hood, London publishers]:
Theatre Royal Williamson Square Liverpool: details of benefits. Autograph Letter from 'Edwd. Murray' to Vernor & Hood proprietors of ''The Monthly Mirror' giving a 'correct Statement of Benefits at the Liverpool Theatre this season'.
Theatre Royal Williamson Square Liverpool. 20 September 1800. 1p 4to. Bifolium. In fair condition lightly aged and worn and folded several times. The main text reads: 'Gentn By inserting the following correct last word underlined Statement of Benefits at the Liverpool Theatre this season in your next Mirror you'll particularly oblige your most obt. Servt. Edwd. Murray'. Beneath this is a list of the names of 15 individuals with the amount of money made by each one's benefit coming to a total of £2665. The list begins with 'Miss Murray £263' and ends with 'Mr Simmons 101'. The penultimate entry is for 'Mr Wild Prompter 103'. It also includes 'Miss Millan 261' and 'Mr Mattocks 157'. [Theatre Royal, Williamson Square] Liverpool. 20 September 1800. unknown
Référence libraire : 22015
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'John William Calcraft' [stage name of John William Cole (c1793-1870)], actor, dramatist and lessee of the Theatre Royal, Dublin
'John William Calcraft' stage name of John William Cole actor and lessee of the Theatre Royal Dublin. Two Autograph Letters Signed both 'J. W. Calcraft' regarding debts and plans for productions.
4 March 1847 and 31 January 1848. Both from the Theatre Royal Dublin. Both letters 2pp 12mo. In good condition lightly aged. Cole's handwriting is difficult. The recipient is not named. The first letter 34 lines long concerns a bill which Cole has drawn on the recipient of the letter. It is coming due and he is uncertain whether it is for £90 or £100. He asks him to withhold payment for a while as 'Lent is always a dead time with me'. He is 'going to try the experiment of Mr Butter for 6 nights' and has 'good hopes of the result'. The second letter begins: 'My dear Sir I have made most liberal offers to Farren Mrs. Nesbitt & Mr. Glen as Mr Lee will tell you & with the exception of the old lady none of the parties appear to have the least consideration or wish to accommodate or help a manager who pays them so liberally as you do - It is not I am sorry to say an uncommon case.' The latter part of the letter is not easily read but concludes: 'I sincerely hope the Keans & the Wife's Secret are showing you full houses.' 4 March 1847 and 31 January 1848. Both from the Theatre Royal, Dublin. unknown
Référence libraire : 22838
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Peter Ustinov [Sir Peter Alexander Ustinov] (1921-2004), Academy Award winning film and theatre actor, author [his mother the ar
Peter Ustinov film and theatre actor. Autograph Card Signed 'Peter USTINOV' describing himself as a 'lousy correspondent' regarding his mother's death and his own 'shyness'.
Paris. 23 June 1975. Seventeen lines of text on both sides of a piece of grey card. In good condition. Written in felt-tip pen and difficult to decipher in places as for example the Paris address and name of recipient. Begins: 'Surprise surprise dear it is no longer true that I have not answered a single letter. Dear Nadia was so popular a person that I am still struggling with an Everest of condolences and this far happier event has given me a momentary pause in my labours'. While admitting to being a 'lousy correspondent' he expresses great pleasure in writing to the recipient 'since you occupied a very special place in Nadia's heart and in my admiration'. He does not feel his writing is 'terribly coherent since I incline towards shyness and what the French call “Pudeurâ€'. He would like to renew their acquaintance and will make contact again on his next visit to Paris. Paris. 23 June 1975. unknown
Référence libraire : 22043
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Alfred Wareing [ Alfred John Wareing ] (1876-1942), founder of the League of Audiences and repertory theatre pioneer:
Alfred Wareing repertory theatre pioneer. Autograph Letter Signed 'Alfred Wareing' a letter of condolence to the widow of conductor Herman Finck.
On letterhead of The League of Audiences London. 27 April 1939. 1p. 4to. In fair condition lightly aged and worn. 'Your dear husband was one of my oldest and most valued friends in my Savage Club circle; his place can never be filled as you more than any of us know and with deep sorrow.' Wareing joined Sir Frank Benson's company in 1900. In 1909 he founded the first Citizens' Theatre in an English-speaking country. On his death The Times 13 April 1942 referred to him as 'a repertory theatre pioneer'. The word 'Answered' is written at the head. Finck's 'In the Shadows' was one of the last pieces played by the orchestra on the Titanic. On letterhead of The League of Audiences, London. 27 April 1939. unknown
Référence libraire : 19605
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Charles Kean [Charles John Kean] (1811-1868), Irish-born actor and manager of the Princess's Theatre, Oxford Street, London; hi
The autograph signatures of the English actor Charles Kean and his wife Ellen Kean nee Tree.
Place not stated; 25 June 1852. On one side of a piece of laid paper approximately 11.5 cm square. Minor traces of glue to corners on the reverse. Good firm signatures provided for an autograph hunter. The husband signs first: 'Charles Kean Friday 25 June 1852'. Beneath this is the wife's signature: 'Ellen Kean'. Place not stated; 25 June 1852. unknown
Référence libraire : 11323
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John Baldwin Buckstone (1802-1879), actor, playwright, and manager of the Haymarket Theatre [Thomas John Dibdin (1771-1841), pl
Autograph Letter Signed 'Jn B Buckstone' from the actor John Baldwin Buckstone to the playwright Thomas John Dibdin regarding a meeting 'of all the dramatic authors' to make arrangements following 'the new act' Bulwer Lytton's copyright reforms.
29 Walcot Place Kennington; 14 June 1833. 1p. 4to. 15 lines. On aged and worn paper. The letter reads 'Dear Sir/ A general meeting of all the Dramatic Authors will take place at the Garricks head in Bow Street on Monday nexxt at One o'Clock. Can you continue to come among us as it is for the purpose of making some arrangements and appointing an agent under the new act - As many of your plays have been written within the last ten years the act being so far retrospective it is to your interest to understand all its advantages - I undertook to write you on the subject and also to inform you that Douglas Jerrold and Thomas James Serle will become subscribers to your work. One copy each - Am very happy to hear that your list of names are sic increasing'. The final reference is to Dibdin's 'Last Lays of the Last Three Dibdins' 1833 a collection of 200 songs which according to the Oxford DNB he published 'encouraged by Bulwer-Lytton's copyright reform . under royal patronage and wide theatrical subscription'. Dibdin is not named as the recipient but the item comes from a small collection of his papers. 29 Walcot Place, Kennington; 14 June 1833. unknown
Référence libraire : 11371
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Alfred Bunn (1796-1860), theatre manager, lessee of Drury Lane and Covent Garden Theatres [Anne Mathews [nee Jackson] (d1869), s
Autograph Letter Signed 'A Bunn' from the theatre manager Alfred Bunn to the widow of the actor Charles Mathews praising her husband while defending an accusation of inconsistency on his part. With two notes by Mrs Mathews.
6 Maddox Street Bond Street; 11 August 1840. 3pp. 12mo. Fair on aged paper. Mathews begins by quoting contradictory passages from letters of Charles Mathews one from Mrs Mathews' 'Memoirs of Charles Mathews Comedian' 1839 and the other from Bunn's 'The Stage: Both before and behind the Curtain' 1840. Regarding a performance in Dublin in 1811 the letter Mrs Mathews quotes complains that although Mathews had been led to believe £600 would be raised and despite a full house 'When every account was closed the sum-up was 470l.' In the letter quoted by Bunn Mathews states that he never 'played to one full house in Dublin but once in Crow Street; and then they knocked down the door-keepers and got in for nothing. 289/. was returned for the greatest number of people ever collected in the building' Mrs Mathews has clearly taken offence at Bunn's printed comment that the account given by Mathews in the letter in his book 'does not exactly tally' with that given in the letter in her book. He attempts to placate her with a generous tribute to her husband: 'In all the relationships of life public or private I ever found ever reported & ever shall report my departed friend as a pattern of greatness not to be surpassed.' Bunn hopes she will permit him to pay his respects 'ere the week wanes'. In a postscript he writes: 'I had a chat with Charles about this very letter before he started for Dublin.' At the foot of the first page Mrs Mathews notes of the £289 'This alludes to the first account. A M'; and along the foot of the second and third pages 'Money was afterwards paid in which brought the total receipt to 470 A M'. 6 Maddox Street, Bond Street; 11 August 1840. unknown
Référence libraire : 11313
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Theatre Royal, Drury Lane, and its historian, W Macqueen-Pope [Walter James Macqueen-Pope] (1888-1960) [BBC Radio]:
Theatre Royal Drury Lane. Carbon of Typed BBC script of ‘2nd Broadcast’ in the series ‘Theatre Songs and Stories / by / W. Macqueen-Pope’ on the Theatre Royal Drury Lane.
Undated but shortly after the death of Ivor Novello on 6 March 1951. BBC Radio London. From the Macqueen-Pope papers. His entry in the Oxford DNB describes how in the 1950s he was ‘in demand as a lecturer on the theatrical subjects he loved and he appeared often in the same capacity on radio and on television. Ironically he regarded these two forms of public entertainment and television in particular as representing a serious threat to the survival of theatre about which he cared passionately’. The present item relates to the theatre with which he was most closely connected serving for more than two decades 1935-1956 as press agent there and even acting as its Air Raid Warden during the Second World War. His book on the place had appeared in 1945. 4pp 4to. On four leaves of discoloured and heavily-creased cartridge paper. At top left of first page: ‘2nd Broadcast’. Title: ‘Theatre Songs and Stories / by / W. Macqueen-Pope / No. 2. Theatre Royal Drury Lane. / Signature Tune ‘Ma Belle’. Traces the history of music at the theatre from its foundation in 1663 with reference to Nell Gwynne and Pepys Garrick’s ‘Heart of Oak’ and Arne’s ‘Rule Britannia’ to Ivor Novello whose ‘recent tragic death saddened the whole country’. MP who would produce a biography of his friend Novello at the end of 1951 adds in the final paragraph: ‘And indeed Ivor Novello’s life who wrote and composed that song did indeed belong to us. He dedicated it to the public and to the Theatre - and he loved and revered no Theatre more than Drury Lane for which he did such yeoman service. He has gone but Drury Lane goes on - musically too. “Oklahoma†broke every record it ever made and “Carousel†still runs gaily after a whole year of service.’ Undated, but shortly after the death of Ivor Novello on 6 March 1951. [BBC Radio, London.] unknown
Référence libraire : 24585
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Ifan Kyrle Fletcher (1905-1969), theatre historian and antiquarian bookseller [Walter James Macqueen-Pope (1888-1960), theatre h
Ifan Kyrle Fletcher theatre historian and antiquarian bookseller. Typed Letter Signed to fellow theatre historian W. J. Macqueen-Pope regarding theatrical ephemera he is supplying for ‘the redecoration of the Whitbread house in Covent Garden’.
16 March 1951; on letterhead of Ifan Kyrle Fletcher Rare Books 12 Lansdowne Road Wimbledon SW20 London. From the Macqueen-Pope papers see his entry in the Oxford DNB. 1p 12mo. In good condition lightly aged. Folded once with one dogeared corner. He thanks him for ‘having mentioned my name in connection with the playbills prints etc. needed for the redecoration of the Whitbread house in Covent Garden’. He believes MP will be ‘seeing my selection within the next few days’ and hopes that ‘in general you will approve of it’. He assumes that MP will be writing the booklet that accompanies the collection and asks him to make a note ‘for Miss Halford’ of any item he’d like to see represented. ‘I know for instance that there is nothing about the O.P. riots but I am already on the track of some posters.’ 16 March 1951; on letterhead of Ifan Kyrle Fletcher, Rare Books, 12 Lansdowne Road, Wimbledon, SW20, London. unknown
Référence libraire : 24530
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Clan Chattan Association: Murdoch Macintosh, FSA Scot, editor of its journal [Walter James Macqueen-Pope (1888-1960), theatre hi
Clan Chattan Association. Autograph Letter Signed from the editor of its journal Murdoch Macintosh to theatre historian W. Macqueen-Pope discussing the Macqueen family in Scotland and his own wartime service.
3 May 1952; on letterhead of the Clan Chattan Association The Castle Inverness Scotland. From the Macqueen-Pope papers. See his entry in the Oxford DNB. The Clan Chattan Association is a confederation of highland clans. 2pp 4to. In fair condition lightly aged with slight creasing to one corner and rust staining from paperclip. Folded twice for postage. Addressed to MP’s London address in Coventry Street. ‘I’ve heard about your James MacQueen. His name appears in quite a few locally published papers &c. on Culloden. His new teeth are quite famous up here.’ He accepts the proposal for an article: ‘if you could go to 900-1000 words I’d be happy’. He reports: ‘Our President - The Mackintosh has just been returned unopposed as representative of the parish of Moy & Dalarossie on Inverness County Council. He was also the other day commissioned as a Deputy Lieutenant. / During the last two years of the Home Guard I commanded a platoon - about 300 strong! - located outside Inverness and mostly in the Mackintosh country’. He names locations adding: ‘I had a big number of MacQueen’s in the platoon. About half dozen in the Farr section were very strict Wee Frees and wouldn’t turn out to drill on the “Sabbath†our chief day for drills!’ He continues with reference to ‘a coast defence battery’ he recruited and ends with reference to his recent ill-health. 3 May 1952; on letterhead of the Clan Chattan Association, The Castle, Inverness, Scotland. unknown
Référence libraire : 24560
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Nat Travers, music hall artiste (b c 1875), 'The Pearly King Cockney Singing Comedian' [Walter James Macqueen-Pope, theatre hist
‘Can anyone beat my record’: Nat Travers ‘The Pearly King Cockney Singing Comedian’. Autograph Letter Signed to theatre historian W. Macqueen-Pope boasting of sixty years in the theatre and asking for help getting radio and television work.
14 November 1957. ‘Guest Turn Royal Oak Dagenham’. On letterhead of ‘The Grand Old Timer Nat Travers / “The Pearly King Cockney Singing Comedian†/ Radio & Television Star’ 265 Bancroft Road Mile End E1 London. From the Macqueen-Pope papers. See his entry in the Oxford DNB. 1p foolscap 8vo. In fair condition lightly aged and creased. Begins: ‘Dear Mac Im going great and I dont use THE MIKE. I enclose Bill of Last Week / I first Worked 60 Years ago. Mac I want to get. to Broadcast. THIS. IS. Your. LIFE / I Started when I was 9 Year Old. Im now 82. Can anyone beat my Record.’ He gives details of booking at the ‘Metropoliton sic Music Hall Edgware Rd. I was first there. 1901. NOVEMBER 4 Weeks / Of cours sic I was There many Times. Mac you ought to try and get me on Television. or. Radio. I could do 1/4 or 1/2 Hour Show. you could be the one to ask me: I enclose your letter you wrote me 6 June 1956 not present’. Concludes: ‘I would like to hear from you. / Best Wishes & God Bless You / from your Old China Nat’. 14 November 1957. ‘Guest Turn, Royal Oak, Dagenham’. On letterhead of ‘The Grand Old Timer Nat Travers / “The Pearly Kin unknown
Référence libraire : 24550
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Jean-Denis Malcles (1912-2002), French artist, illustrator and costume, set and poster designer for film, theatre, ballet and op
Jean-Denis Malclès Five Autograph Letters Signed in French from artist and designer Jean-Denis Malclès to an unnamed correspondent regarding the sale of maquettes of costumes of a production of 'Orphée aux Enfers'. With price list of 31 items.
The five letters from 152 rue Leon-Maurice Nordmann Paris. One from 1980 and the other four from 1982. The first four letters are each 1p. 12mo; and the fifth letter is 1p. 4to. The price list which accompanies the last letter is 2pp. 4to. All items in good condition on lightly-aged paper. In the first letter 4 May 1980 he replies to his correspondent thanking him for a letter 'concernant la representation d'Orphée aux Enfers que vous avez vu à Oxford en 1977'. He declares: 'Je suis très touché et très flatté par votre appreciation au sujet des costumes de ce spectacle et cela m'a fait un très grand plaisir.' He still possesses 'les maquettes originales de ces costumes - et je suis parfaitement disposé éventuellement à en vendre - Je vous indique le prix de ces dessins - 3000FS. la maquette.' In the next letter 28 May 1982 he acknowledges receipt of a cheque for the price of 'la maquette de "Diane" d'Orphée aux Enfers. Je vous en remerci beaucoup et je suis très flatté que vous ayez été seduit par ce costume de Diane et j'espère que la maquette de ce même costume vous plaira de la même façon'. The third letter 7 June 1982 accompanied the 'Diane' maquette. Malclès asks for confirmation of receipt and of the correspondent's satisfaction and informs him that another drawing has been sold. In the fourth and fifth letters 8 and 26 July 1982 concern the sending of photographs of other drawings the latter being accompanied by a numbered list giving the titles and prices of 31 items from '1 planche 4 costumes pour "la Cagnotte" de Labiche. 5000' to '31 Colombe de Jean Anouilh Mde. Alexandra. 4000 la maquettes sic avec 3 danseuses "la Fiancee du Diable". 6000' The five letters from 152 rue Leon-Maurice Nordmann, Paris. One from 1980 and the other four from 1982. unknown
Référence libraire : 12985
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[Guido Orlando (1906-1988), Italian-American press agent] Walter James Macqueen-Pope (1888-1960), theatre historian and journali
Guido Orlando Italian-American press agent. Copy of Typed Article on Orlando by W. Macqueen-Pope titled ‘“Enfant Terrible†of Public Relations’ with TLS to MP from Sidney Gordon of ‘Everybody’s’ magazine rejecting the article as too scandalous.
Gordon’s letter to Macqueen-Pope is dated 28 December 1950; on letterhead of ‘Everybody’s’ 114 Fleet Street London EC4. Macqueen-Pope’s article without date or place but contemporaneous. From the Macqueen-Pope papers. See his entry in the Oxford DNB. The subject of MP’s article is the press agent and publicist Guido Orlando who came to the United States from Italy with his family in 1917. MP may have come into contact with Orlando in his own position as press agent for Drury Lane and other theatres. He was most active in Hollywood from the 1930s to 1960s. His papers are in the Academy of Motion Picture Arts and Sciences Margaret Herrick Library. He also has an uncredited part in Godard’s 1960 ‘Nouvelle Vague’ classic ‘À bout de souffle’ ‘Breathless’. ONE: Sidney Gordon to MP. TLS 28 December 1950. 1p 8vo. In good condition lightly aged and creased with slight rust spotting from paperclip. As the editor Greville Poke is away from the office he has ‘read the article carefully and I really do not think that he would consider it is suitable for Everybody’s. As you may have noticed it alludes to various scandals incidentally the latest and obvious “tie-up†for the article is now dead as far as public interest is concerned and generally is not quite in line with what we want for this paper. My opinion is strengthened by the fact that we were submitted an article on Orlando some months ago and it was turned down because of a certain flashiness.’ He ends by conveying a message from Poke on another matter. TWO: Typed article titled ‘“Enfant Terrible†of Public Relations’. 17pp 4to each page on a separate page of cartridge paper. Double spaced with title on an eighteenth leaf. In good condition lightly aged apart from a hole in the final leaf resulting in loss of five or six words from the final paragraph. MP is not named as the author but since he is submitting the piece it is presumed that he is. Begins: ‘The grim summer of 1950 would have been even more of a nightmare for millions of newspaper readers if front pages burdened with battles and casualty reports had not been brightened by a royal romance between a king and a sixteen-year-old American schoolgirl. / The king Egypt’s fabulous Farouk apparently was spending a good deal of his time chasing Little Mimi Medart from St. Louis Missouri through Europe’s most plush-lined playgrounds. From Deauville and Biarritz the swankiest of France’s watering spots on the Atlantic Coast to San Sebastian in Spain the king trundled along in Mimi’s wake dragging the royal entourage behind him. / On both sides of the Atlantic the king and the commoner became front-page news. Only Farouk’s announcement of his engagement to Narriman Sadek ended the suspense. When it came Mimi’s mother breathed a sigh loud enough to be heard round the world and exclaimed to newsmen: / “Thank God! Now my daughter can go back and finish her studies in peace.†/ All of this it should be explained is one man’s idea of how to sell hamburgers in St. Louis. It sounded like a fairly far-fetched method until you realize that the man is Guido Orlando the gift of the American public relations profession to Europe.’ The article finishes with the Farouk business after the first five pages. There follows a description of Orlando’s appearance and background before an account of his other activities with reference to ‘Don Jaime the Duke of Segovia’ ‘Mayor Jimmy Walker of New York’ and ‘the Maharajah of Kapurthala’. Gordon’s letter to Macqueen-Pope is dated 28 December 1950; on letterhead of ‘Everybody’s’, 114 Fleet Street, London, EC unknown
Référence libraire : 24557
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John Vickers, theatre photographer [W Macqueen-Pope (1888-1960), theatre historian and press agent for the Theatre Royal, Drury
John Vickers theatre photographer. Duplicated Typed set of terms for ‘THEATRE PHOTOGRAPHY’ on his letterhead.
Dated September 1951. On his letterhead: ‘John Vickers / Photographer 29B Belgrave Road London S.W.1 Victoria 4915’. From the Macqueen-Pope papers. See his entry in the Oxford DNB. A nice piece of theatre and photographic ephemera. Vickers has five items in the National Portrait Gallery which provides the following information: ‘John Vickers began his career by working as assistant to photographer Angus McBean in the 1930s. From 1939 until the time of his death he ran his own studio. After the war he became well known as a theatre photographer working for theatres including the Old Vic. He photographed over 1000 productions and his portraits of actors writers and musicians gained him a high reputation. For the last twenty years of his career he worked mainly on advertising and commercial photography.’ Macqueen-Pope would have come into contact with Vickers through his work as Drury Lane press agent and he and his daughter were photographed by McBean. 1p 4to. Modern-looking letterhead printed in black punctuated with red stars. Somewhat creased and previously folded into a packet. Subheadings on ‘Photographs taken on stage’ with charge for Press and Display prints and ‘Glossy Press Prints’ ‘Studio Portraits’ and ‘COPYRIGHT’. First paragraph reads: ‘In order to avoid dramatic increases in the Fees for Theatre Photography slight changes in the method of submitting the results have been adopted. Substitution of chargeable Press Prints in place of rough proofs gives the Press Representative a wider choice of pictures especially useful where “exclusive†papers requiring one print only have to be considered.’ Dated September 1951. On his letterhead: ‘John Vickers / Photographer * 29B Belgrave Road, London, S.W.1 * Victoria 4915’. unknown
Référence libraire : 24568
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W Macqueen-Pope [ Walter James Macqueen-Pope ] (1888-1960), theatre historian:
Walter James Macqueen-Pope theatre historian. Two Typed Drafts of article: 'It Was Top of the Bill The Story of Music Hall.' One draft with autograph emendations. With copy of covering letter to Greville Poke editor of 'Everybody's' magazine.
Drafts without place or date. Covering letter to Poke dated 20 January 1951 without place . ONE: The earlier of the two drafts titled 'It Was Top of the Bill The Story of Music Hall. by W. Macqueen-Pope.' 14pp. 4to. Paginated 1-12 with two further pages carrying material to be inserted. With a few autograph emendations including an addition to the ending. Macqueen-Pope writes knowledgeably and with a passion for his theme which is that 'Music Hall reflected public taste even more accurately than did the "legitimate" Theatre because it was created by the people themselves. The basis of the Drama of the Theatre - was religion. The origin of Music Hall was the public house and the Tavern.' Among those discussed are Marie Lloyd Herbert Campbell Dan Leno Harry Champion George Robey. The article begins: 'Music Hall - real Music Hall - is dead. There is something called Variety which appears to flourish today but it bears no more resemblance to true Music Hall than "Othello" bears to "Oklahoma". It takes place on a stage it has a succession of "turns" but there the likeness ends.' TWO: Later version of the two drafts incorporating the emendations in the first. Same title. The ending reads: 'And there in the words of one of the remaining members of that class of real Londoners who made the Music Hall - the type that Chevalier Alec Hurley and Gus Elen showed on the Music Hall stage is the chief reason today why Music Hall is dead. Yet in a few artists it lingers on like its melodies refusing to die whilst there remains sic some individuals with their own style and not just truants from the Radio Studios - and there is still Gracie Fields . . . . she is Music Hall.' THREE: Typed carbon copy of letter to 'Dear Greville' from Macqueen-Pope: 'Here is the story of "Music Hall". It looks a bit long but it is a big subject and I hahve packed it full of stories. It is in a sense an epitome of my book "The Melodies Linger On" recently published by W. H. Allen Ltd - and so is in the news. I dont think anyone has told the real truth about Music Hall before - and why it died.' In a postscript he assures him that 'The bit about the bus conductor is the solemn truth.' Drafts without place or date. Covering letter to Poke dated 20 January 1951 [ without place ]. unknown
Référence libraire : 17437
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[Laurence Olivier [Lord Olivier] and Vivien Leigh] W J Macqueen-Pope [Walter James Macqueen-Pope] (1888-1960), theatre historian
Laurence Olivier and Vivien Leigh in Rattigan’s ‘Sleeping Prince’. Duplicated typescript of article by W. Macqueen-Pope: ‘This is Real Theatre / The Oliviers Return to Town’ with carbon of covering TL and commissioning ALS by Barbara Beauchamp.
Beauchamp’s commissioning TLS: 15 September 1953; on letterhead of publishers Newnes & Pearson’s London. Carbon of MP’s covering TL: 24 September 1953. MP’s article undated but contemporaneous. From the Macqueen-Pope papers. The occasion of the article was the forthcoming premiere of Rattigan’s play ‘The Sleeping Prince’ Olivier’s production of which at the Phoenix Theatre in London opened on 5 November 1953. The movie rights were bought by Marilyn Monroe and the Hollywood film appeared in 1957 as ‘The Prince and the Showgirl’ with Olivier reprising his stage role and Rattigan also writing the filmscript. See the entries on the Oliviers and Macqueen-Pope in the Oxford DNB. Interest in Beauchamp’s novels has grown in recent years. All three of the present items are lightly-aged and in fair condition; the first two somewhat creased at extremities the third less so. Item One with rust spots to one corner from paperclip. ONE: ALS from ‘Barbara Beauchamp / Fiction Editor’ Newnes & Pearson’s London 15 September 1953. 1p 12mo. Sheila Gould has informed her that MP ‘will be able to write us a 1500 word feature article on the new Terence Rattigan play which the Oliviers are appearing in’. The publishers are planning the feature ‘as a double spread in our issue of the 5th November which is incidentally both the opening night and I believe Vivien Leigh’s birthday’. She asks for the article before the end of the month and suggests ‘a payment of forty guineas for British Empire serial rights’. The following two items are typed on 4to leaves of cartridge paper. TWO: Carbon of MP’s covering TL to Beauchamp 24 September 1953. 1p 4to. With short autograph pencil filing note by MP. Begins: ‘Here you are - the Olivier and Leigh First Night story - not critical naturally as being written before the event - but an attempt to show the whys and wherefores of the importance of this occasion and a little of the Theatre atmosphere.’ He asks her to excuse his typing: ‘being in the middle of hectic rehearsals at Drury Lane and without a secretary throws it all on me’. In a postscript he suggests a future article on ‘the inside story of a first night’. THREE: Duplicated Typescript of MP’s article ‘This is Real Theatre / The Oliviers Return to Town / by / W. Macqueen-Pope’. It does not seem to have been published in book form nor does it appear to have left a digital footprint. 6pp 4to with each page on its own leaf. Double-spaced. MP begins in anticipation of a first night ‘providing a thrill which no other type of entertainment can give a thrill beyond anything which the Films the Circus Radio or Television can compass and which even Grand Opera never reaches in general appeal’ when ‘the Leader of his Profession and his Leading Lady take the stage again’. He places the occasion within a wide context with historical references beginning with ‘the first true Theatre in Europe - that playhouse so rightly called The Theatre in Shoreditch where it arose in 1576’. After mentioning a number of notables in the history of the London stage he praises Rattigan’s play of which he gives a synopsis. He continues in fulsome terms: ‘Everybody who is Anybody - and a sprinkling of those who are not - will be there. . It will be like one of the great days of old. . an Occasion of Occasions’. Beauchamp’s commissioning TLS: 15 September 1953; on letterhead of publishers Newnes & Pearson’s, London. Carbon of MP’s c unknown
Référence libraire : 24525
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Helen D Willard [Helen Delano Willard] (1905-1979), Curator, Harvard Theatre Collection [Andrew Block, London bookseller]:
Helen D. Willard Curator Harvard Theatre Collection. Autograph Letter Signed and Autograph Card Signed to London bookseller Andrew Block regarding visits to ‘beloved England’; the letter with reference to Arthur Colby Sprague.
LETTER: 31 May 1963; on letterhead of the Harvard College Library Theatre Collection Cambridge Mass. CARD: 16 June 1965; on letterhead of Harvard College Library with ‘Theatre Collection’ in Willard’s autograph. The obituary of the recipient Andrew Block 1892-1987 in ‘The Private Library’ was subtitled ‘the doyen of booksellers’; his business was established in 1911. Both addressed to ‘Dear Mr. Block’. LETTER: 1p 12mo. In fair condition lightly aged. Folded twice. Signed ‘Helen D. Willard’. She is hoping to be able to see him in London the following month. ‘I called in you sic briefly last year then got swept up into many activities that kept me from returning to browse.’ She has a very pleasant memory of their conversation. ‘It was Arthur Colby Sprague who told me about you.’ She gives her London address and asks him to write to her there with his opening hours. CARD: Plain card addressed to Block at his shop in Barter Street. Two postmarks and additional postage stamp. In fair condition lightly aged. She thanks him for his ‘gracious’ act of writing to her while on holiday.She hopes to see him within a week ‘deo volente’. ‘There are many reasons here why I have to say I hope last word underlined twice I’ll be there in beloved England for my holidays.’ LETTER: 31 May 1963; on letterhead of the Harvard College Library, Theatre Collection, Cambridge, Mass. CARD: 16 June 1965; on l unknown
Référence libraire : 24139
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Fred Lewis, 'The Well-known Character Impressionist and Entertainer' [W Macqueen-Pope (1888-1960), theatre historian]:
Fred Lewis ‘The Well-known Character Impressionist and Entertainer’. Autograph Letter Signed to theatre historian W. Macqueen-Pope on striking illustrated letterhead with copy of his publicity leaflet with photographic portrait.
Letter: 30 June 1957; 44 Montagu Street Kettering Northants. Leaflet without date or place. From the Macqueen-Pope papers. See his entry in the Oxford DNB. Letter: 1p 4to. On cream paper. In good condition lightly aged and creased. Folded twice for postage. The letterhead headed ‘â€The Meaning of Versatility†/ Fred Lewis / Creating a good impression.’ has an illustration of a series of footprints up the left margin some with faces in them and such slogans as ‘Mirthful Medleys’ and ‘Brilliant Burlesque’. The feet creating these ‘impressions’ are disappearing at the head of the page. He writes: ‘Dear “Popey†/ A really most enjoyable evening & I was very disappointed I did not see you at the “finaleâ€. However I hope to see you again in the near future. I am very keen on the MUSIC HALL that was! & would like to do my impressions over the air or on television - can you suggest to whom I might write’ Leaftlet: 3pp 12mo. Printed in brown with photographic portrait of Lewis in black on a bifolium of shiny paper. In good condition folded once. On cover beneath the portrait of a smiling Lewis in hat jacket and tie: ‘Fred Lewis / The well-known / Character Impressionist / and Entertainer / 44 Montagu Street Kettering Phone 2350’. The third page announces that ‘FRED LEWIS has a very extensive repertoire of Comedy Songs Character Impressions and a fund of Good Stories.’ A list of his engagements begins with ‘B.B.C. Variety Programmes’ and ends with ‘De Montfort Hall Leicester / and / All Principal Variety Theatres in Great Britain’. Letter: 30 June 1957; 44 Montagu Street, Kettering, Northants. Leaflet without date or place. unknown
Référence libraire : 24564
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Phyllis Hartnoll (1906-1997), theatre historian, musicoloist, poet and publisher [ Barry Duncan [ Horace Alexander Barry Duncan
Phyllis Hartnoll theatre historian and poet. Four Typed Letters Signed to the theatrical bookseller Barry Duncan with other material relating to the purchase of items from him.
Three of the letters on Oxford University Press letterheads. Other items addressed from her home Hobbits Nether Westcote Kingham Oxon. 1945 and 1946. Nine items. In fair condition on aged and worn paper. Heavily annotated by Duncan. The letters each 1p. long two in 4to and two in 8vo concern her orders and wants'. On 23 April 1945 she writes: 'I find on looking through the Play Pictorial bound volumes that No. 28 His Highness My Husband is missing. It is not a very important one in fact I don't remember hearing of the play before but if you happen to have a copy among your single numbers I should be glad to have it in order to complete the volume. If you have not got it perhaps you would keep a look out for it and send it to me when it turns up.' Also present are an Autograph Note Signed an Autograph Card Signed a Typed Card Signed as well as two carbons of letters from Duncan one an invoice and the other a letter apologising for a 'missing number'. For more information on Hartnoll see her obituary Times 28 January 1997. Oxford Companion to the Theatre 1951 Three of the letters on Oxford University Press letterheads. Other items addressed from her home, Hobbits, Nether Westcote, King unknown
Référence libraire : 19233
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Michel Kovatchevitch [Kovatchevitch] (1891-1961), Paris-based Slav actor and writer in French on the theatre [W Macqueen-Pope, t
Michel Kovatchévitch Kovatchevitch Paris-based Slav actor and author. Typed Letter Signed in French to English theatre historian W. Macqueen-Pope requesting information for his book on the Anglo-American black actor Frederick Aldridge.
4 May 1956; on his letterhead 36 Rue de la Clef Paris. From the Macqueen-Pope papers. See his entry in the Oxford DNB. 2pp 4to. Signed ‘Michel Kovatchévitch’. On aged and worn paper. Folded twice for postage with closed tears at edges of vertical fold and nicks and creasing along one edge. He is working on a biography of Frederick Aldridge ‘tragédien noir de langue anglaise 1807-1867’ and asks for help in establishing the date of his debut ‘dans le rôle d’Othello au Royalty Theatre’. He gives a long extract from an English work before stating that he has consulted a number of English newspapers of the period ‘sans trouver trace de cette représentation d’Othello par Mr. Keene nom que portait le tragédien noir à cette époque’. He gives some of the information he possesses including details of Garrick portraits of Aldridge. He ends with a final question: when did Sunday performances start in the English 4 May 1956; on his letterhead, 36 Rue de la Clef, Paris. unknown
Référence libraire : 24571
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