AND

Fortnightly publication, founded after the closure of Punch by Sir John Sorrell and the Punch cartoon editor Steve Way. It only lasted for eight months, and this and the second number are said to be scarce. (The only copies listed on JISC are at the deposit libraries.) A 28-page broadsheet. Folded twice. In good condition, on lightly-discoloured and worn paper. Whole of the front page taken up with striking image by Chris Riddle of Boris Yeltsin holding up a piece of paper on which he orders democracy, while dwarfed by a menacing Soviet bear.

See his entry in the Oxford DNB. 3pp, 12mo. On a bifolium. In good condition, lightly aged, with strip of mount adhering to blank reverse of second leaf. Signed 'Sidney Colvin'. The recipient is not named, but is addressed as ‘Dear Madam’. The letter begins: ‘I am afraid I made a mistake yesterday, in addressing you as E. M. Sharpe Esqr. - but it was the address of the Natural History Museum which misled me.’ In order to make sure this time, he is addressing the present letter ‘to the care of Mr.

With the surge of interest in the slave trade attention has lately been directed at Simond and Hankey, a ‘past constituent’ of the NatWest Bank. These two items are nice artefacts of the firm. Both are in good condition, lightly aged, and laid out in the same way, with the bill written out on one side of a 22.5 x 9 cm slip of laid paper. One is for ‘Deux Cent Livres Sterling a trente quatre Sols neuf deniers de gros’ and the other for ‘Cent Soixante Sterling a Trente quatre Sols dix deniers de gros’. Both drawn on ‘Messrs. Vernede & Co’.

See his entry in the Oxford DNB. 2pp, 12mo. On a bifolium. In good condition, lightly aged, with strip of mount adhering to blank reverse of second leaf. Addressed to ‘Dear Mr Fagan’ and signed ‘Sidney Colvin’. He begins by informing him that of the ‘various volumes and packets of prints’ he has been good enough to send, ‘the best is that containing portraits engraved by Ficquet, Savard, & [Marchay de Glury?]. But even of these, we have almost all in the collections here already: so that it will not be worth while to break up the albums by extracting any for the museum’.

See image. It is hard to see how this collection could be bettered, the range of signatures from sanity to madness being of particular interest. All seven examples laid down on a folio leaf extracted from an album. The leaf is in poor condition, creased and with closed tears, but the parchment and paper bearing the signatures themselves in good condition, the six parchment items having the usual discoloration, but the example on paper in excellent condition.

The author of the present item is the last in a line that stretched for around two hundred years. After the passing in 1754 of Lord Hardwicke’s Marriage Act, which prevented minors from marrying without their parents’ consent, English couples would take advantage of laxer Scottish laws. As one of the nearest parishes to England, Gretna Green became the destination of choice, and the marriage was usually conducted before two witnesses by a village blacksmith, who became known as an ‘anvil priest’.

The Gilbert Miller production of ‘Pride and Prejudice’, designed by Rex Whistler, and starring Celia Johnson as Elizabeth Bennet and Hugh Williams as Mr Darcy, was a great success. It opened at the St James's Theatre, London, on 27 February 1936, and closed on 21 November 1936; with a Christmas revival between 26 December 1936 and 16 January 1937. There was a royal performance before Queen Mary on 15 February 1937, and the production went on tour for the rest of the year.

This is a document which would certainly repay investigation. No record of this firm of merchants has been discovered, or even of where they traded. Robison is a Scottish name, and there is an undated reference to a ‘James Robison, merchant in Dumfries’; most Shuttleworth’s hail from the north-east of England, and there is mention of a John Shuttleworth in Manchester in 1820. Other clues in the document suggest a London location: in 1793 Napper and Co.

Singh was deposed by the British in 1889, with accusations of misgovernment, disloyal dealings with the Russian Empire, and a plot to murder his brothers and the British Resident, but as this was deemed contrary to the 1846 Treaty of Amritsar he was reinstated, but with a new ruling council was forced upon him, under the supervision of the Resident. Two slips of paper cut from a letter for display in an album. Both somewhat discoloured and a little ruckled. All the writing is in the same ink, but it is not clear whether the text of the letter is in a secretarial hand.

See his entry in the Oxford DNB. 12mo, 8vo, paginated 1-19 (originally pp.xxi-xxxix). Stitched into light-grey printed wraps. In fair condition, lightly aged and creased. This offprint is scarce: the only copy on WorldCat and JISC is at the Wellcome.

1p, 12mo. In fair condition, lightly aged and creased, with one dog-eared corner. He writes that he has ‘had the engraving photographed’, and can ‘return it together with the casting’, with ‘very many thanks to you for being so kind as to lend it to me’.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 2pp, foolscap 8vo. In fair condition, lightly-aged, with creasing at head, which is annotated by MP ‘(author)’. After thanking him for his letter he writes: ‘It is fatal to have a book published without seeing a proof. In my “G[ilbert] & S[ullivan] Dictionary” I had occasion to mention “The Yeomen of the Guard” 14 times. The comp[ositor], aided by the reader, deliberately channged them to “Yeoman”.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 1p, 4to. On light-blue paper, with letterhead in dark-blue and red. Signed ‘Ralom’, with ‘RALOM & ROSA’ typed beneath. In good condition, lightly aged. Writing to MP at the Evening News, London. ‘There has [sic] been quite a few remarks passed by critics of the “paucity” of Acts in the Variety profession.

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’.

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.

From the Macqueen-Pope papers (see his entry in the Oxford DNB). 1p, 4to. In good condition, lightly aged and folded three times. Signed ‘Basil Ashmore’. Begins: ‘Dear Mr MacQueen Pope, / Im [sic] sorry to keep bothering you about this film on Kean. Last time I saw you, you said “see me in March”[.] This week you said “leave it until they start in April”[.] / You may remember that I am a director, who has recently worked with Michael Powell on his new film.’ Ashmore is ‘anxious to contact the producer of your Kean film in case I can assist on this.

See his entry in the Oxford DNB, with those of Brougham and Goldwin Smith. 3pp, 12mo. Bifolium. In good condition, with thin strip from windowpane mount adhering to the blank reverse of the second leaf. Signed ‘O Gordon’ and addressed to ‘Dear Mr Da [Qeue?]’. An interesting letter, full of content. He begins by thanking him for ‘Ld Broughams letter which I have disposed of as directed’.

JISC records copies in five Scottish libraries, Birmingham University and the BL. Duplicated typescript. 50pp, 4to. Five-page introduction paginated, the rest not. Leaf of addenda loosely inserted. Printed on versos of leaves and stapled into buff paper wraps with title printed on the front. In fair condition, lightly aged and worn. The forty-four pages of the catalogue proper carry a total of 106 scholarly entries on exhibits.

Of the five copies on JISC only that at the BL is from one of the deposit libraries. 21pp, 4to. Collotype of engraving of Caxton as frontispiece. Sewn into grey card wraps with Yapp-style edges and title repeated on cover. In good condition, lightly aged.

Four pages, 8vo, foxed but text clear and complete. I am so forgetful for I have no recollection of saying I would send for Mapp & Lucia. But here it comes to you, with many regrets that I did not send it before. I hope it may amuse you (this is the American edition) and I haven't got an English one). Anyhow our minds must have been moving (like all great ones0 in parallel lines, for I too am being as patriotic as you, & am trying to get together money which I shall devote to helping to pay off the National Debt & to balance the budget.

See his obituaries in The Times, Burlington Magazine and elsewhere. Casting light on the process of reopening the British Museum in the wake of the Great War. From the papers of the recipient, Wilfred Seymour De Winton of Haverfordwest and Cardiff. 1p, 12mo. In fair condition, lightly worn and creased. Signed ‘R. L. Hobson’ and addressed to ‘Dear Mr. de Winton’. He has been ‘back at the Museum about 3 weeks & most of that has been spent in helping to get ready for the public some of the more accessible galleries’.

Redgrave’s entry in the Oxford DNB praises his ‘exceptional administrative skill’, and states that ‘Redgrave and Cole supervised the new South Kensington Museum (now the Victoria and Albert Museum), for which Redgrave designed the innovative art gallery to house John Sheepshanks's extensive collection of British art, given to the state in 1857.’ 1p, 12mo. On grey paper. In good condition, laid down on part of a leaf from an autograph album. Pasted down at the head of the letter is a thin strip on which is printed ‘Inspector-General for Art. R. Redgrave, R.A.’ The male recipient is unnamed.

See his entry in the Oxford DNB. The first letter 2pp, 12mo; the other three 1p, 12mo. All four items in good condition, lightly aged; and all four folded once. Each with the stylized signature ‘Trenchard Cox’. None of the four gives the year, but the first is noted in pencil as being replied to on 14 January 1971, and the last is accompanied by its envelope, with 1972 postmark, addressed by Cox to ‘Peter Wiener Esqr / 2 Napoleon Road / RAMSGATE’. The middle two are from the same period as the fourth.

2pp, 12mo. Seventeen lines of text, with a few lines and the signature written lengthwise on the second page. On bifolium. Accompanied by the letter’s stamped and postmarked envelope, addressed by Power to ‘Mrs Lane / 67 Addison Road / W14’. (Note that she lives in the same street.) Both letter and envelope in good condition, lightly aged. Letter folded once. Signed ‘Geo. Power’. He explains that a friend of his, Rev. Eric O. Norman’, ‘who is a fine musician & pianist is trying to get together a small orchestra for a concert on the 24th. May’ and he wonders whether she would ‘care to join’.

See her entry in the Oxford DNB. An interesting letter, whose circumstances are intriguing. 3pp, 12mo. On two leaves of letterheaded paper. In pencil. From the Asquith papers, and possibly a draft letter to her son Anthony (‘Puffin’). In good condition, lightly creased. Folded once. The signature is a short squiggle. The handwriting is challenging, and the following interpretation is tentative. She begins: ‘My Darling, I felt rather guilty after leaving you about abusing yr. love of blue in yr. pictures. - I can see that nothing I say can alter yr. love of this colour, & I hate hurting yr.

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. 1p, 4to. In poor condition, aged and worn. Folded three times.

The fourteen items are laid down on three pages, on two leaves of grey paper, removed from an album, on the reverse of one leaf are two coloured coaching scenes by Randolph Caldecott, one featuring a highwayman. The overall condition is fair, with creasing and signs of age. The Autograph Letter Signed is from Crane to 'My dear Stanley Little'. 1p., landscape 8vo. With letterhead of Beaumont Lodge, Shepherd's Bush, featuring an illustration by Crane of a shepherd and sheep. 20 September 1892.

On 22 x 14 cm piece of laid paper, cut from the foot of a document. In fair condition, lightly aged and creased, with tiny closed tear to one edge. Folded three times. At head, in the kings hand: ‘[...] terrattelse lander. Stockholms Slott den 6 Maj 1847. / Oscar’. Directly beneath the firm, clear signature, is the embossed circular seal, under paper, 6 cm in diameter, with motto ‘OSCAR SVER NOR GOTH OCH W KONUNG / RATT OCH SANNING’.

See her entry in the Oxford DNB. 1p, long 8vo. In good condition, lightly aged. Headed ‘TORRINGTON SQUARE. / To the EDITOR of The TIMES’. Whether the letter was published or not, and if so whether it appeared in its entirety, is unclear. Clearly a carbon, but with her characteristic signature at end in black ink ‘Margot Oxford’. The forty-seven-line text has four autograph emendations.

On 15 x 11 cm card, with vertical central fold making it into a bifolium with front and back covers, and central text across the opening. In fair condition, a little aged. Perforated outer corner removed from bottom of second leaf, no doubt as proof of use; with slight creasing to first leaf at same point. Printed at the head of the back cover is the word ‘AUTOGRAPHS’, and here in blue ink is the signature ‘Victor Silvester’. There are no other autographs. The front cover is headed ‘T. F. Firth and Sons Ltd.