MONTAGUE

See his entry in the Oxford DNB. The letter is addressed from the house of Frederick Goodall (also see ODNB), which at other times was occupied by Laurence Alma Tadema and James Murray. 2pp, 12mo. On the first leaf of a bifolium. In good condition, lightly aged. Addressed to ?My dear Mrs. Calkin? and signed ?Frank Holl?. Twenty-six lines of text in a hurried hand. He thanks her for her ?kind trouble - & for the rifle which my model called for and brought with him this morning?. He is sorry that her son George has been injured.

See Gould's entry in the Oxford DNB. 2pp, 12mo. In good condition. The two leaves of the bifolium on which the letter is written have been separated, and each bears minor evidence of mounting on the blank reverse. He thanks Ashford for allowing him to ‘look through your very interesting collection of autographs’, which ‘does equal credit to your energy and to the good nature of mankind in general’. He continues: ‘The pages of an autograph book always make me realise that people are not so crabbed and disagreeable to each other as pessimists imagine or profess to believe.

A marvellous slice of unexplored Edwardian social history, raising questions of morality, censorship, art and pornography, from the papers of William J. Taylor, Secretary of the London Female Preventive and Reformatory Institution. The 'Living Statuary' controversy arose over 'the propriety of the living statuary exhibitions in music-halls' (Daily Chronicle, 30 April 1907), and in particular the performances of the Australian artiste Pansy Montague (b.

1p, 12mo. In good condition, lightly aged. At top of page: 'From: Lord Strabolgi.' Headed beneath the letterhead: 'TO WHOM IT MAY CONCERN.' Reads: 'This is to certify that Mr. T. Avery Radford worked for me as my Private Secretary when I was Member for Hull, from 1919 to 1921. He performed his duties most efficiently, was entirely reliable and trustworthy, an a great help to me in my political work.

1p., 4to (31 x 32 cm). 26 lines, signed at end 'Montague Smith | Temple | 9 Dec 1862'. In fair condition, on lighly-aged paper, with minor damp damage to one edge. Docketed on reverse '1862 | Case for the Opinion of Mr. Montague Smith', with 'Took 3 Gu[ine]as' (Smith's fee) and initials in another hand. At foot, in a third hand: 'Thomas B. Knight | 34 Lime Street | City. E.6.', and beneath this, in a fourth 'Cox | Honiton'.

Mackenzie's letter is 1p., landscape 12mo. 16 lines. Good, on lightly-aged paper, with a crease to one corner. He thanks MP for his 'encouraging letter' and discusses his own 'silly slip about the Faery Queen's entrance' in a radio broadcast: 'I was so much concerned with giving listeners the difference between the O.P. and the Prompt side that it became a question of physician heal thyself.' He continues: 'I wasn't sure of the year Mille Le Garde [sic] sang that song. Probably '97. Rose Dering was the Aladdin. She was second boy. Ted Young was the Widow Twankey.

Monty Shaw's 'Banks and Miles: Thirty Years of Design Evolution' was supposedly published by Lund Humphries (London) in February 1993 but no copy can be found on the internet (one listed on WorldCat appears to be a ghost).. This collection, in a buff card folder, contains material relating to Shaw's monograph, grouped as follows: ONE.

An interesting assemblage of twenty-six items relating to a leading figure in twentieth-century British typography and design. David Kindersley's best-known work (in conjunction with his third wife Lida) is the iconic gates to the British Library at Euston. The collection is in very good condition. Among the items are three booklets, four keepsakes, one brochure, and ten letters and cards. ONE. Copy of David Kindersley's book 'Eric Gill, Further Thoughts by an Apprentice (London: The Wynkyn de Worde Society, 1982). 12mo, xii + [iv] + 24. Finely printed in green printed wraps. Very good.

The collection is in very good condition, containing four items of autograph correspondence from Ruszkowski to Shaw, all signed 'Zdzis'. One: Autograph Letter Signed. Undated. 8vo, 3 pp. Expressing his extreme disappointment with 'the proposed arrangement of the double-page and the suggested treatment of the illustrations. 'Nearly one third of the drawing [sic] is left out and alters the sense of the theme. Each illustration is composed to stress the situation and can't be mutilated at the will to suit the arrangement at the page.

Dimensions 29 x 12 cm. Pasteboard mount, 31 x 14.5 cm. In blue, black and white. In good condition on lightly-aged paper. In front of a background of ricketty railings, a jolly bespectacled penguin [with Tschichold's sprightly eyes], with a Penguin book under his left arm, and preceded by a letter P and followed by an n, drags a bespectacled, bearded man (looking a little like a young Michael Bentine) towards the right of the drawing.

The text area is about 13.5 x 30 cm, on the top half of a slip of paper around twice as long. Text clear and complete. Good, on lightly-aged paper. The lower half of the slip is blank apart from the pagination 196. Headed 'EPILOGUE | COWKEEPER'S TUNE', and beginning 'Unless your window is fitted with very strong iron bars and, just to make sure, your window locks, | Do not attempt to keep a Dexter cow in your window box.' Signed in type at end 'M.

Typescript of 'The Balloon': landscape 8vo, 24 pp. Text clear and complete. On aged paper. With pencil emendations (including the deletion of a number of passages) on practically every page. Described by Cross as a 'radio composition' and a 'fantasy for broadcasting', 'The Balloon' presents an absurd take on T. S. Eliot's verse plays. It was transmitted on the Scottish Home Service of the BBC in 1946, with music by Cedric Thorpe Davie (1913-1983). There is no record of it having been published. The five typed letters total seven 4to pages. The autograph letter is landscape 12mo, 1 p.

Folio, [ii] + 16 pp. Text clear and complete. Fair, on aged and spotted paper. First page headed in pencil 'Mr. John Keir Cross' and with the following, also in pencil, at foot: 'Transmission: Sat. 29th January, 1949. | 7.45-8.25 p.m. Third Prog.' First two pages give details of the production, including the names of the producer Noel Iliff and of the seven 'Speakers': Alan Wheatley, Laidman Browne, Valentine Dyall, Patricia Jessel, Anthony Jacob, Robert Marsden and Raf de la Torre. Second page includes instructions regarding the characters of the 'Voices' and a 'Production Suggestion'.

All texts clear and complete. Autograph item with some creasing, otherwise in good condition on lightly-aged paper. Ten items signed 'Compton Mackenzie', and two ''. Eight of the items each one page of landscape 8vo; one 8vo, 1 p; another 12mo, 1 p; the autograph note 4to, 1 p; and the card 16mo, 1 p. The first item (4to, 1 p, in autograph) is dated 22 September 1948. Having met Brett-James he thanks him for sending the proofs of his war memoir 'Report My Signals' (London: Hennel Locke Ltd, 1948): 'I was much impressed by it, and supported it strongly for a Book Society Recommendation.

On the recto of a piece of pink paper, roughly 17.5 x 23.5 cm, removed from an autograph album. Good, on lightly aged paper. Phillips's autograph is in the top left-hand corner, reading 'Montague F. Phillips | March 1927.' Above it are four bars of musical notation, marked 'allegro' and titled 'The Fishermen of England. The Rebel Maid" - both by Phillips).' Beneath this, and divided from it by a diagonal line, is Phillips's wife's autograph: 'Yours sincerely | Clara Butterworth'. The couple met while both students at the Royal Academy of Music.

12mo: 1 p. Very good. 14 closely-written lines. 'A friend of mine was asked by our dear old kind friend Chorley to assist in procuring for a Protege of his a musical education. I think the young person was originally introduced to him by Lady Devonshire. A sum was promised for two years, and the time is approaching for the payment to be made.' Asks if she can tell her 'anything about this'. 'You will be glad to hear I know that my husband is still well - His birthday the 21st. Novr. found him 84.'