CLASSICAL

The two signatories sign on separate sides of a 13.5 x 16.5 cm leaf of faded pink paper torn from an autograph album. In good condition, lightly aged. Schnabel's large firm signature is on the recto: 'Artur Schnabel | 19. X. 1934'. Goossens signs in a large bold hand on the reverse: 'Yours sincerely | Léon Goossens | 1934'. A small photographic portrait of Goossens, cut from a newspaper, has been tipped-in at bottom left, and another party (presumably the recipient) has written the word 'ABERDEEN.' at bottom right.

Signature on an irregular piece of paper torn from the bottom right-hand corner of a leaf. The valediction to a typed letter. Reads: '[...] gards from us all. | [...] ncerely, | Carl Dolmetsch'.

On 13 x 18 cm leaf of light-pink paper, torn from an autogaph album. Good firm large signature, rising upwards: 'Guila Bustabo.' Nothing else written on either side of the leaf.

On 13.5 x 18 cm leaf of cream paper, torn from an autograph album. Good firm signature, rising upwards, and reding 'Toti Dal Monte | 1956'. Nothing else written on either side of the leaf.

3pp., 12mo. Bifolium. In good condition, lightly aged. He praises Macgregor's book for representing 'most faithfully the spirit of the original. This I take it is the chief merit of any translation.' Macgregor's 'employment in this manner so distinct from the ordinary pursuits of the leisure of an officer, proves the work to be “con amore”'.

4pp., 12mo. Bifolium. In fair condition, aged and worn. A good long letter, full of content, thanking him for a presentation copy of his 'Translations from the Greek Anthology' (published without date in London by Nissen and Parker). He has perused most of Macgregor's translations 'with great pleasure, & several with a sentiment which the word pleasure too coldly expresses'. He has not 'examined them critically, comparing them minutely with the Greek text, in order to satisfy myself, whether the meaning of the Authors was faithfully rendered.

[4] + [18 pages paginated 371-388], 8vo. Stitched, in grey printed wraps. Aged and worn, with some light damp staining. Faded ink inscription at head of front cover: 'Rev. Robert Frew | with compliments | Alb. Lybyer'. Scarce.

On one side of an 11.5 x 17.5 cm page removed from an album, dated 2 March 1934 and headed 'THE NEW ENGLISH SINGERS'. In good condition, lightly aged. To the right of the page are the signatures of 'Dorothy Silk' and 'Nellie Carson' (sopranos), and 'Martin ' and 'Mary Morris'; to the left are those of 'Vernon and 'Cuthbert Kelly' (bass). According to Chapter One of 'The Travel Diaries of Peter Pears, 1936-1978' (1999), titled 'American Tour with the New English Singers (1936)', the ensemble was 'a vocal sextet specializing in Elizabethan madrigals and English folksongs.

2pp., 12mo. In good condition, on lightly-aged paper, with slight traces of mount adhering at head of reverse of leaf. 40 lines of text. The letter concerns a singing instructor named 'Mr. Arnold' who has offered to teach Mrs Ruskin or a member of her family 'at half fees'. Having been asked his advice Henderson begins: 'It is extremely difficult to give an opinion about the right kind of training required. The Bel Canto singing from the point of voice production is undoubtedly the very best. It means smooth even singing.

On one side of an 11.5 x 17 cm leaf extracted from an album. In good condition, lightly aged and worn. Large bold signature, slightly smudged by Menuhin, written diagonally and upwards at the centre of the page. Reads: 'Yehudi Menuhin | Nov. 65, 1934'. On the reverse have been lightly tipped-in two cuttings from magazines.

Good firm large signature in blue ink on 13.5 x 18.5 cm leaf of cream paper torn from an album. In good condition, lightly aged. Reads 'Rafael Kubelik | 25.X.37.' No other writing on either side of the leaf.

Printed in black ink on both sides of a 13.5 x 8.5 cm postcard. In good condition, lightly aged and worn. Inscription reads: 'To F J Watt. | With best wishes | Tomasini | Feb 29/37'. The inscription is written on the photographic portrait of 'ALFREDO TOMASINI' (head and shoulders shot in suit and tie, looking dreamily upwards), which is captioned: '(Canadian baritone,) for the past nine years has been singing leading roles in the principal Opera Houses of Italy; Covent Garden, London; State Opera Houses of Finland, Latvia, and Estonia; and the Royal Opera House, Malta.

2pp., 4to. In fair condition, on aged, worn and creased paper. Written in a hurried, difficult hand. He begins by saying he was 'just thinking' of him, 'and wondering!' He then invites him to dine the following Sunday in the 'usual way'. He continues: 'No, I didn't write about H. H. . There was a <?> ordinary notices in the D[aily]. T[elegraph]., but by whom written I can't say. I didn't really know enough about him.' He is 'going with Mr. Crawshay to the Elgar performance: it appears the new things are wonderful.

1p., 12mo. On grey paper. In good condition, lightly aged. Reads: 'Dear Sir | As I am unknown to you further than by Concert on Ap. 28th. may I be permitted to say that I am a Candidate for the Conductorship of the London Phil[harmoni]c. Society and to hope it may prove an acceptable item of news.'

1p., 12mo. On bifolium. In fair condition, on lightly aged paper. She thanks him for his note and states that her 'terms will be ten guineas, and I shall be very happy to introduce Miss Gabriel's songs &c &c'.

On 5.5 x 11 cm. slip of paper taken from letter. In fair condition, lightly aged. Closely-cropped, with the lower part of the final flourish of the 'z' in Ganz's name shaved off. Ganz established himself as accompanist to singers including Jenny Lind and Adelina Patti. He became sole conductor of rthe concerts of Henry Wylde's New Philharmonic Society orchestra in 1879, renaming them the following year 'Mr. Ganz's Orchestral Concerts'. He conducted the London premieres of Berlioz's Symphonie fantastique and Liszt's Dante symphony.

Written one above the other on one side of a pink 12mo leaf of paper removed from an album. In fair condition, aged and worn, with small square of tape staining at head, and some light offsetting of ink over Nicholls' signature. Reads: 'Yours sincerely | Ben Davies.' and 'In remembrance of | Agnes Nicholls'.

2pp., 12mo. In fair condition, lightly aged and worn. She considers the wind 'much too cold to allow me to venture where there is any current of air', so she has 'most unwillingly' had to 'give up the pleasure of using the ticket gave [sic] me'. She has given them 'to our French Nephew & Neice so that they are not lost and they will enjoy the treat immensely.'

The subject of this letter is Huntingford's 'Pindari Carmina', 'excudit R. Watts sumptibus T. Cadell et W. Davies', published in London in 1814. Watts had been made Printer to the University of Cambridge in 1802, resigning in 1809 because, as Stokes notes in his 'Cambridge Stationers, Printers, Bookbiinders, &c' (1919), 'the Press did not prosper under his rule, although, when he left Cambridge, he did good work as a printer of Oriental volumes'. Between around 1812 and 1815 he was working in Broxbourne. In 1816 he moved to London, where he established the Oriental Type-Foundry, Temple Bar.

2pp., 16mo. Bifolium. In good condition. On his monogram letterhead. He states that he is still too ill to teach an arranged lesson to 'Mlle Shillito', and seeks to rearrange the date.

5pp., 12mo. On two bifoliums. With the Society's oval Adelphi date stamp. In fair condition, on lightly-aged paper, with slight rust-staining from paperclip. She begins by asking if 'there would be any difficulty in my examining Barry's paintings at the Adelphi, & taking a few notes on them. | My old friend & my husband's colleague at the British Museum, Mr.

Both items in good condition, lightly aged, and both in yellow wraps, with plastic clamp at spine holding the loose leaves together. ONE: Autobiography. [3] + 46pp., 8vo. Illustrated with two full-page photographs of Fischer, one showing him as a ten-year-old boy, with autograph caption. The item is signed at the end 'Martin', and has the following inscription on a leaf of green paper at the front: 'Dear Richard, | Times went by, I promised to send you these pages because always the memories of our friendship and your Kindness are a big joy for us.

Michael Howard's obituary of Ticehurst in The Times, 30 October 1975, describes him as 'a persuasive pioneer among those who sought to reestablish the harpsichord as a serious musical instrument'. ONE: Carbon typescript, 7pp., 4to. Headed 'Harpsichord to Australia | by John Ticehurst.' With a few minor manuscript marks. In autograph next to the title: 'April 1951/Feb 1952'. In good condition, on lightly-aged paper, with slight rust staining from paperclip.

Two good tight copies, on lightly aged paper, in worn original bindings with gilt decorations on front covers, with engravings on browning paper because of high acidity content. Both volumes with bookplate of Alan Angele and manuscript library shelf label. ONE: 'The Comic Latin Grammar'. 163 + [3]pp., 8vo. Eight engravings and numerous illustrations in text (the first engraving is positioned as frontispiece rather than at p.23 as specified).

Hf. lea., ]xxxii].766.162. Formerly a poor copy rescued by sympathetic rebacking, wear and tear and some internal damage (staining, one blank endpaper torn with some loss of page), text complete and clear. Heavily annotated throughout in English and occasional Greek by Frederick W. Farrar whose bookplate when he was at Trinity College, Cambridge, is loosely inserted and whose signature appears on the recto of the front free endpaper ("Frederic W. Farra/ Trin. Coll.

28pp., 8vo. Stitched into grey printed wraps. Aged and worn, with the firm ownership signature 'John Carter' in ink in the top-left corner of the front cover. A few passages are highlighted in pencil. Now scarce.

'Plato and his Dialogues' was Lowes Dickinson's last book. It was warmly received on its posthumous publication, with its contemporary relevance recognised. In a review of May 1932, the Classical Association's journal 'Greece and Rome' declared: 'Here is material for the most exciting and stimulating discussions'. The same review said of the BBC series on which the book was based: 'if all such talks could have so happy an issue, wireless might be said to have justified itself'. And in October 1932, in another BBC radio talk, Lowes Dickinson's literary executor E. M.

'Plato and his Dialogues' was Lowes Dickinson's last book. It was warmly received on its posthumous publication, with its contemporary relevance recognised. In a review of May 1932, the Classical Association's journal 'Greece and Rome' declared: 'Here is material for the most exciting and stimulating discussions'. The same review said of the BBC series on which the book was based: 'if all such talks could have so happy an issue, wireless might be said to have justified itself'. And in October 1932, in another BBC radio talk, Lowes Dickinson's literary executor E. M.

1p., 8vo. Bifolium. In fair condition, on aged and worn paper, brittle and chipped at edges. Addressed on reverse of second leaf to 'Fr. Thomas Maxon Esqr. | 6 Little Friday-Street'. 24 lines of text. The letter begins: 'This is Dr. Parr's birthday, & Dr. John Johnstone was to have a grand commemoration of it, to which he invited me. Mrs. Barker is on the whole better, but I cannot say that any great progress has been made towards a recovery, & probably much time will elapse first.

1p., 4to. On bifolium. Written in an elegant assured hand. Addressed on second leaf, 'To | Mr Francis Wingrave'. In fair condition, on lightly aged and worn paper. Reads: 'Dear Frank | I shall be much obliged to you if you can possibly get the copies I leave with this, inserted in the Gazeteer, the Public, & the Ledger, & the Morning Chronicle, we suppose it of consequence to the success of our exhibition, the interests of which I have greatly at heart. | Yours sincerely | J Stuart | Any expence attending the publication I shall gladly reimburse you'.