STAGE

See his entry in the Oxford DNB. 2pp, 12mo. On brittle, discoloured paper, cropped at foot. Signed (‘J. Oxenford’). The recipient is not named, but is clearly the editor of the Athenaeum. Reads: ‘Sir/- / In the name of Mr. C. A. Feiling and myself, I beg leave to thank you for the very handsome and prominent notice of our “German Tales” which appeared in the Athenaeum of the 30th. ult. - You will confer a further obligation by letting the gentleman who wrote the article [know] how much we feel indebted to his kindness.’

See his entry in the Oxford DNB. On 9.5 x 11.5 cm leaf of blue paper, with rounded outer corners, torn from an autograph album. In good condition, lightly aged, with spotting on reverse. Reads: ‘Best Wishes / Tom Walls.’ Good bold writing, with stylistic flourish linking the cross-stroke of the T in ‘Tom’ with the S of ‘wishes’, and two small vertical strokes at the centre of the underlining of the signature. See image

Chambers is not mentioned in Dame Nellie Melba’s entry in the Oxford DNB. She met him in London in 1895, and their affair ended for unknown reasons in 1904. It is clearly the ‘notorious’ affair in whose fame Chambers ‘rejoiced to the last’, according to Somerset Maugham’s devastating assessment of the man in ‘A Writer’s Notebook’ (1946). Harry de Windt gives a markedly kinder account of Chambers in his ‘My Note-Book at Home and Abroad’ (1923). 2pp, 8vo. Bifolium. Twenty-seven lines of text. In good condition, lightly aged. Folded twice. Signed 'C Haddon Chambers'.

See her entry in the Oxford DNB. 1p, 12mo. On grey paper. In fair condition, with a few light creases and two punch-holes to inner margin. Good large signature (‘Anna Neagle.’) in black ink. She thanks him for his letter and kindness in sending the photographs: ‘I think they are excellent.’ She is glad that she was ‘able to get along to the Party’, and thanks him ‘and the Committee’ for making her visit so pleasant.

Chambers is not mentioned in Dame Nellie Melba’s entry in the Oxford DNB. She met him in London in 1895, and their affair ended for unknown reasons in 1904. It is clearly the ‘notorious’ affair in whose fame Chambers ‘rejoiced to the last’, according to Somerset Maugham’s devastating assessment of the man in ‘A Writer’s Notebook’ (1946). Harry de Windt gives a markedly kinder account of Chambers in his ‘My Note-Book at Home and Abroad’ (1923). The recipient would appear to be Chambers’s agent. Regarding the content of this letter, see ‘The Theatre’, 1 November 1894: ‘Mr.

Chambers is not mentioned in Dame Nellie Melba’s entry in the Oxford DNB. She met him in London in 1895, and their affair ended for unknown reasons in 1904. It is clearly the ‘notorious’ affair in whose fame Chambers ‘rejoiced to the last’, according to Somerset Maugham’s devastating assessment of the man in ‘A Writer’s Notebook’ (1946). Harry de Windt gives a markedly kinder account of Chambers in his ‘My Note-Book at Home and Abroad’ (1923).

Toole’s entry in the Oxford DNB describes how ‘Toole was desolate, and his health broke’, after the Tooles’ twenty-two year-old daughter Florence died from typhoid fever on in November 1888, contracted a week before when visiting her parents who were performing at Cork. Her mother, Toole’s wife Susan, died three and a half months later, in February 1889. Both letter and card are in good condition. They are enclosed in a grubby envelop, with stamp and postmarks, addressed to ‘David Cunningham Esq / Belmont / Antrim / Ireland’. Letter and envelope have thick mourning border. ONE: ALS.

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.

Keys features in his son’s entry in the Oxford DNB. (John Paddy Carstairs was christened Nelson John Keys.) Three theatrical autographs - Nelson Keys, ‘G. L.’ and ‘Gordon’ - on one side of a 25 x 20.5 cm piece of card. Apparently a gift from fellow cast-members to the actress playing the ‘Spirit of Spring’ in the Arthur Wimperis sketch ‘The Queen of Hearts’, in the C. B. Cochran London Pavilion revue ‘London, Paris and New York’, which ran for 366 performances between 1920 and 1921. J. P.

See the entries on author and recipient in the Oxford DNB. The subject of the letter Alan Dent, began his career as a prot?g? of James Agate. Although a somewhat histrionic figure, Wolfit's reputation rivalled that of Gielgud and Olivier, and his influence was acknowledged by both Harold Pinter and Peter O?Toole, and Ronald Harwood based his play and film ?The Dresser? on him. 1p, 4to. In fair condition, on lightly-aged and wrinkled paper, with slight nick to bottom-right, and evidence of paper clip. Folded once.

The tickets are all in fair condition, each on one side of a landscape slip of paper (all slips roughly 11 x 7 cm). All five with creases from folding. Each of the five signatures has been scored through in ink, indicating that the ticket was used. All read, ?T. R. D. L. / Admit Two Boxes | Henry R Bishop?, with date at bottom left.

See the entries for writer and recipient in the Oxford DNB. The three items in good condition, lightly aged, with the last carrying minor rusting from paperclip. ONE: 3pp, 8vo. She got his office number from ?Mrs. Popie?, ?but the line has been busy all the time?. She asks for ?a pass for darling Ivor?s [i.e. Ivor Novello?s] memorial service?. The previous week she was ?playing at the Regent Theatre, Hayes, & on the Monday night I was weighed down by a dreadful foreboding of disaster?.

See her entry and that of her husband Fred Terry (1863-1933), brother of Dame Ellen Terry, and of the recipient of these letters W. J. Macqueen-Pope (1888-1960), the foremost British theatre historian of the twentieth century, in the Oxford DNB. The seven items (Neilson?s five letters and carbon copies of two typed letters to her from Macqueen-Pope) are in good condition, lightly aged and creased. The first letter is signed ?Julia Neilson-Terry? and the other four ?Julia?. The first is addressed to ?Mr Macqueen Pope? and the others to ?Popie?. ONE: ALS, 1 March 1949. 3pp, landscape 12mo.

2pp, 12mo. On first leaf of bifolium. Folded three times. In fair good condition, lightly browned. 36 lines, sloping upwards and written in an untidy hand, which renders the following report somewhat tentative. Signed ‘Rachel’. In French. She has been so busy since the resumption of the ‘théâtre français’ that she is only now able to tackle the need to get her ‘étoffes’. She reports that the ‘Comte de Noailles’ is in London, and asks the recipient, who also appears to be there, to go again to the embassy to ask him to send by two or three packets what she needs to make ‘mes robes’.

1p, 4to. In fair condition, lightly aged. Folded once. The printing of the letterhead, in red and black, extends along three edges, with decorations including an oriental-style architectural motif in front of a tree at bottom right. At the head of the page the letterhead reads 'Williamson presents The King and I as originally produced by Richard Rodgers & Oscar Hammerstein 2nd.' The four directors of Williamson Music Limited are named at the foot, including Rodgers, Hammerstein and 'Louis Dreyfus (British formerly American)'. The note, addressed to 'Mr.

1p, 8vo. In good condition, on lightly aged paper. Folded once. Salutation ('My dear Popey -') and valediction ('My love to you both - | Anna.') in her autograph; the rest typed. Good bold signature. Reads: 'It was so very kind of you to think of me on Saturday.

The three items in good condition, lightly aged. An entertaining and characteristic exchange, with MacQueen-Pope's letter (Item Three) dating from between Hicks's two. ONE: ALS from 'Seymour H.' to 'My dear old Poppie'. Undated, with envelope with Capetown postmark dated 6 July 1942, addressed to 'McQueen Pope Ere. | Drury Lane Theatre | Drury Lane | London | W. C. 1 | From Sir Seymour Hicks'. 2pp, 8vo. 79 lines of closely-written text, headed 'Private & Confidential'.

Album Page (extracted), 20.5 x 16cm, very good condition. A full page headed What is Happiness, continuing, Happiness in the abstract is indefinable - but it is also something for which everyone in their lives seems to be consciously or unconsciously searching - I think one should be humble in this search enjoying simple thins rather than wild escapades. She then lists some rules starting One should have a true sense of values (9 lines), concuding Probably if we could achieve any one of these one would be happy - but I think very few people do.

1p, 8vo. Fifteen lines of text, in green ink. In fair condition, lightly aged, folded twice, with short closed tear to edge of one crease. Signed 'Sybil Thorndike'. Although 'deeply gratified', her 'present duties' will detain her 'at the Theatre every evening until 11 o/c', so that she will not be able to 'act as a Steward at the Anniversary of the Royal Literary Fund at the Guildhall, next Wednesday'.

[24]pp, 12mo. Stapled programme, in shiny covers. Strip torn away from back cover, and with staples slightly rusted, otherwise in fair condition. Large signature 'Ivor Novello' diagonally across title on front cover: 'Richard D. Rose | presents | Ivor Novello | in | I Lived With You | A comedy in three acts | by | Ivor Novello'. An illustrated 'magazine' programme, containing articles and advertisements. No copy on OCLC WorldCat. From the papers of Novello's friend and biographer, the theatre historian W. J.

1p, 4to. In fair condition, on lightly aged and creased paper, folded twice. Reads: 'Sir Frank Benson regrets that his departure for South Africa will prevent his having the pleasure of availing himself of the Literary Society's kind invitation to assist at the banquet, on Wednesday, July 16th. -'

An interesting artefact of what was to become the Royal Exchange Theatre, Manchester. See Murray's Guardian obituary, 3 August 2018: 'Murray left Oxford in 1964 without sitting his finals but with a starry reputation.

It is puzzling that Van Druten, one of the most successful British playwrights of the early 1930s, should not have an entry in the Oxford DNB. The present entertaining and informative letter is written from the A. J. C. Ranch in Coachella Valley, which Van Druten purchased with his then-lover Carter Lodge and the British actress Auriol Lee (it was named after the initals of their first names).

A nice artefact of the censorship of pre-First World War British theatre. The London production of Vollmoeller's wordless drama 'Eine Venezianische Nacht' was censored by the Lord Chamberlain's office, and the production at the Palace Theatre, London, in November 1912 was panned by the critics. 15pp, folio, on fifteen leaves gathered together with green ribbon, interleaved with six typed slips of variant text, and with one leaf a composite made up of several sections glued together. Mimeographed typescript. In fair condition, on aged, worn and creased paper, with final leaf detached.

See both their entries in the Oxford DNB. Two long letters. Both 2pp, 4to. Both letters on aged paper, creasing at the head. Each folded twice. Written in a close, elegant hand. ONE: 23 January 1957. Writing on behalf of herself and her 'friend' and business manager Alec Macbeth Beesley she begins: 'Our dear, dear Popie, | It really is fantastic. This morning I wrote you a tiny fan letter, combined with thanks for your radio mentions of me. I then carried it to the little pillar-box at the crossroads near here, in time to catch the 3.40 post.

The three items (two letters from Peter Opie to MacQueen-Pope and carbon copy of his reply to the first of these) are in fair condition, on aged and lightly-creased paper, with a slight nick at the head of the first letter. Inspired by the recent publication of MP's 'The Melody Lingers On: The Story of Music Hall' (1950), Opie writes to MP via his publishers W. H. Allen & Co, and signs both letters 'Peter Opie.' MP writes to Opie at Rockbourne House. ONE: TLS from Opie to MP. 20 January 1951. 1p, 4to.

1p, 8vo. On aged and worn paper, with spots of rust staining from paperclip. Folded twice. Addressed to MP at 359 Strand, WC2. Reads: 'Dear Popie, | Children's Theatre | Sound | This is just to acknowledge your rough draft of the article you suggest. I have not had time to look at it yet, but I will do so as soon as I possibly can. Meanwhile, perhaps your secretary will let my secretary know the latest date for returning it.' MP's reason for sending the article to Donat is not immediately apparent. Donat's papers are in the University of Manchester Special Collections.

ONE: Marsh to MP. 19 November 1951. 2pp, 8vo. In fair condition, lightly aged, with light rust spotting from paper clip. Folded twice. Pencil note by MP. Marsh begins his letter: 'My dear Popie. | Very many thanks indeed for the book. It came on Saturday, & I read nothing else till I finished it this morning. Very many congratulations too, your Achievement story is itself a big achievement, & everyone who loved Ivor will be grateful to you for it. You can imagine how many memories it revived in me, & how much it added to my Knowledge.

2pp, 18mo. In fair condition, lightly aged and creased. Folded once. Written in a close, elegant hand. Written on receipt of a presentation copy of MacQueen-Pope's latest book, the letter begins: 'My dear Popie, | Thank you so very much for St James's, Theatre of Distinction. I think I am enjoying it even more than I usually enjoy your individual-theatre books, because the St James's meant so much to me. It was the first London theatre I ever went to - long before I could read or went to a school.

1p, 4to. In fair condition, on aged and creased paper. The letter begins: 'Dear Mr. MacQueen Pope, | Please forgive me for bothering you, but you are I know, the horse's mouth as regards theatre history.' She explains that she is 'in the throes of a book on ballet' for her publishers William Collins, and she asks him to help her with 'a problem in the section on early ballet in England'. The problem concerns 'the King's Theatre Haymarket' and 'the Italian Opera House'. She gives a facts and dates, asking 'was it all one and the same theatre?