MAGAZINE

See his entry in the Oxford DNB. The recipient Philip Dosse was proprietor of Hansom Books, publisher of a stable of seven arts magazines including Books and Bookmen and Plays and Players. See ‘Death of a Bookman’ by the novelist Sally Emerson (editor of ‘Books and Bookmen’ at the time of Dosse’s suicide), in Standpoint magazine, October 2018. The present item is 1p, 4to. In good condition, lightly aged and creased. Folded twice for postage. Signed ‘Miron Grindea’.

An interesting item, casting light on Victorian London publishing of periodical literature. For Passmore Edwards, to whom London is indebted for innumerable public libraries (many now closed), see his entry in the Oxford DNB. ‘The Biographical Magazine’ was founded in 1852, and the first two volumes were published by ‘J. Passmore Edwards, 2, Horse-shoe Court, Ludgate Hill’.

From the Macqueen-Pope papers. See his entry in the Oxford DNB. Known by his nickname ‘Popie’, Macqueen-Pope was widely regarded as the leading theatre historian of his day. His many books (from histories of individual theatres to a biography of Ivor Novello) sold well, and his broadcasts on the BBC were extremely popular. Eighteen items, providing something a glimpse of his working methods. The last two of the eighteen items are TLsS to MP: one from the editor of ‘Everybody's’ Greville Poke (also see his Oxford DNB entry), and the other Pauline Carter, ‘EDITORIAL’.

From the Macqueen-Pope papers. (See his entry and that of her father in the Oxford DNB.) 6pp, the first four on two 4to leaves, the last two on a 12mo leaf. Signed ‘E. Winnie Parsons / nee / Winnie Burnand’. In fair condition, lightly aged and with some creasing, particularly to the last (12mo) leaf. Slight rust staining from paperclip. A delightful letter, written in a strong and energetic hand, with various words underlined in red pencil for emphasis. She is staying with Desmond Lysart, ‘who in his lovely study has all your delightful books’, and they are both great admirers of MP.

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.

From the Macqueen-Pope papers. See the two men’s entries in the Oxford DNB. Poke’s two letters are in good condition, lightly aged, the second with slight rust spotting from paperclip; the carbons of MP’s letters to Poke on aged, worn and discoloured cartridge paper. ONE: Poke to MP, 12 March 1951. 3pp, small 4to.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) For several decades Humphrey Joel was a leading British commercial photographer, providing the London magazines with scenic and architectural views. In 1914 he was described as the ‘Special Photographer to Fry's Magazine’. 2pp, 12mo. In fair condition, lightly aged and creased. The letterhead incorporates a reproduction of a drawing of Dryden Cottage. Signed ‘Humphrey Joel’.

See his entry in the Oxford DNB. 2pp, 12mo. In good condition, on lightly discoloured paper, with thin neat strip from windowpane mount adhering to edges. Sixteen lines in a neat and stylish hand. Signed ‘T. Crofton Croker’. The recipient is not named, but is clearly John Bowyer Nichols, editor of the Gentleman’s Magazine, in whose number for April 1839 appeared an article, with engraving, by ‘E. I. C.’, on ‘Winchester House, Broad-street, London.’ Croker begins his letter: ‘My dear Sir, / I return E. I. C’s account of Winchester House.

It is hard to overestimate the impact of ‘Ion’ on Victorian audiences in Britain and America. According to Talfourd’s entry in the Oxford DNB, the play was ‘first performed at Covent Garden Theatre, London, on his birthday, 26 May 1836.

See his entry by E. V. Knox in the Oxford DNB. 1p, 12mo. In good condition, lightly aged, with dog-eared corner. Folded once. Reads: ‘Dear Mr. Denselow, / If my erratic and unenviable handwriting has any interest for anyone - except my tailor (who seldom sees it!) you are very welcome to a fragmentary example of it, at its word’. The signature is no doubt deliberately emphatic, with colons to the initials, and a period on each side of the end of the final flourish. In a postscript Reed expresses gratification to hear ‘that my work “touches the spot” occasionally, that’s what it’s “for!”’

A scarce piece of English theatrical ephemera, illustrative of the restrictions imposed following the Second World War. From the papers of W. Macqueen-Pope. (See his entry in the Oxford DNB.) The item is a duplicated bulletin of six closely-typed 8vo pages, on three loose leaves. The text is complete and clear, but the item is aged and with wear to edges. The first page is headed by the following, in capitals, above the address and phone number of ‘The Stage’: ‘According to latest directions from the Ministry of Fuel & Power this is for private circulation only and is distributed gratis.

A curious artefact, indicating Garbo’s iconic status, and an early example of a journalistic trend which has gained ground since the late 1960s. Hayden-Guest, still active as a writer, is the son of the diplomat Peter Haden-Guest, 4th Baron Haden-Guest, and brother of the 5th Baron, Christopher, who is won fame as ‘Nigel’ in the film ‘Spinal Tap’.

Wraps, paginated [i]-ii;105-144; iii-[iv] inc.wraps, mainly good condition, but rusty round staples, one punch-hole (with minor loss of text) characteristic of material from the papers formerly held at the headquarters of the National Indian Association and the Northbrook Society, 21 Cromwell Road, later by its former Warden, Roland Knaster.

For information on Graves see the generous obituary of him in The Times, 18 April 1944. Both items in fair condition, lightly aged and worn, with minor staining from paperclip to first leaf of letter. The work was not published, and although Graves states in Item One that the greater part of the text is 'in the hands of my typist', there is no record of its survival, or of the thousand related documents he states were sent to him by M. H. Spielmann. ONE: ALS from 'C L. G.' to 'Dear Evoe'. 4pp., landscape 8vo.

According to the Oxford DNB entry on Carter's wife the crime writer Margery Allingham (whose book jackets were among those he designed): 'Their amiable, childless marriage was funded by Allingham's increasingly successful fiction. And, although Youngman Carter assisted his wife as a sounding board for plot design, and by producing covers and illustrations for her work, he found it difficult to sell his art.

The interview was published in two numbers of 'Crescendo' ('The world's most authoritative music magazine', founded 1962). The first part, retitled 'Music & Moore | Les Tomkins interviews “The Genuine Dud” – was the leading article (pp.18-19) of the July 1966 number of ), with Moore featuring on the cover. The second part was published in the following number, August 1966, pp.18-19 and 25. Four items, all in good condition, with light aging. ONE: Carbon typescript of first part of interview, with title (replaced on publication): 'The Serious Side of Dudley Moore | A Les Tomkins Interview'.

A total of 8pp of closely-typed text. In good condition. Also present are an additional four-page copy on pink paper of the first letter and its enclosure. First letter signed 'Kevin Bailey', two others signed 'Kevin B.' aq2 One letter lacks its last page and signature.

3pp, 12mo. Bifolium. Fifty-one lines of text in a close neat hand, the last page written lengthwise. In good condition, lightly aged, with traces of white paper mount adhering to blank reverse of second leaf. Folded once. The letter is signed 'Barry Pain'. The recipient is not named, but is James Payn, editor of the Cornhill Magazine, who had just published the story that made Pain's name, 'The Hundred Gates'.

1p, 12mo. In good condition, lightly aged. Folded twice. The recipient is not named, but the item derives from the papers of James Payn, the editor of the Cornhill Magazine, London. Gallenga begins: 'My dear Sir. | The last time I saw you - it may be 20 years ago - you were leaving London to write for Chambers in Edinburgh.

1p, 12mo. In good condition, lightly aged. Folded once. Referring to her son Francis Romano ('Cecco') Oliphant (1859-1894), she writes: 'Dear Mr. Payn | I send you with this in a registered packet by book post a story written by my youngest son, called "The Grateful Ghosts" which he wishes me to submit to you.' Her opinion is that the story 'would bear compression but that is usual to youthful productions'. She will be 'much gratified' if Payn likes it 'and can use it', and feels sure he will give it his consideration.

[8]pp, 12mo, paginated 45-52. Unbound, on two loose bifoliums, one inserted inside the other. Drophead title.

The interview was published in two numbers of 'Crescendo' ('The world's most authoritative music magazine', founded 1962). The first part, retitled 'Music & Moore | Les Tomkins interviews “The Genuine Dud”' – was the leading article (pp.18-19) of the July 1966 number of ), with Moore featuring on the cover. The second part was published in the following number, August 1966, pp.18-19 and 25. Four items, all in good condition, with light aging.

The interview – retitled 'Duke looks back – and forward | in an interview with Les Tompkins' – features on pp.6-7 of the April 1964 number of 'Crescendo'. (Sammy Davis Jr features on the cover, with the announcement 'NOT A WORD ABOUT THE BEATLES!') Three items, the typescript of the interview and two accompanying pieces (one not used). All three in good condition, lightly aged. ONE: Carbon typescript, titled 'That's where the tailoring comes in | Duke Ellington talks to Les Tomkins'. 6pp, 4to. On six leaves, stapled together at a corner.

On 3.5 x 5 cm slip, laid down on slightly larger rectangle of paper, removed from an album. In fair condition, lightly aged and worn. A neat, firm signature, on a small slip of paper. Presumably cut from a letter, in response to a request for an autograph.

See Mitford's entry in the Oxford DNB. At the time of writing he had been retired for five years from the editorship of the Gentleman's Magazine, a post he had held for seventeen years. 3pp, 12mo. Bifolium. In good condition, lightly aged, with minor traces of mount adhering to the blank reverse of the second leaf. Folded twice. Forty-four lines in a close hand.

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

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

Proctor was a much loved individual in literary circles, from the days of the London Magazine to the mid-Victorian period, in which he was the dedicatee of both Thackeray's 'Vanity Fair' and Wilkie Collins's 'Woman in White'. His reputation as a poet was international: he was thought highly of by Pushkin. 1p, 12mo. In good condition, lightly aged, with thin strip of paper from mount adhering to blank reverse. The letter reads: 'Dear [Harris?] | Pray tell me where [?] I can have some conversation with you about some patients of the name of [Lealer? Lester?], whom you know.

3pp, 12mo. Bifolium. In good condition, the blank reverse of the second leaf laid down on a leaf removed from an album. Written in a hurried hand, with the meaning unclear in parts. The letter would appear to discuss the republican and Carlist insurrections against Amadeo I, the only King of Spain from the House of Savoy, who replaced the deposed Isabella II in 1870, and reigned until 1873. Froude begins by explaining that his silence has been due to the fact that he has been 'out of town for the Summer'.

For information on Graves see his generous obituary in The Times, 18 April 1944. Both items in fair condition, lightly aged and worn, with minor staining from paperclip to first leaf of letter. The work was not published, and although Graves states in Item One that the greater part of the text is 'in the hands of my typist', there is no record of its survival, or of the thousand related documents he states were sent to him by M. H. Spielmann. ONE: ALS from 'C L. G.' to 'Dear Evoe'. 4pp., landscape 8vo.