CLASSICAL

On a piece of yellow paper, 18 x 23.5 cm, removed from an autograph album. Dimensions of image 12.5 x 17.5 cm, neatly enclosed within a border. Good, on aged paper discoloured at extremities of margin. An accurate and detailed drawing of the organ in its setting on the balcony, with ceiling above and the surrounding steps, columns and alcoves.

On one side of a piece of printed music paper, roughly 21 x 22 cm. Laid down on a page removed from an album. Good, with one dogeared corner. Seventeen grand staff bars, arranged on four levels, followed by 'Yours sincerely, W G. Webber | Feb 1928'. Webber was at the Royal College of Music at the same time as the father of Andrew and Julian Lloyd Webber, who changed his name from W. S. Webber to W. S. Lloyd Webber to avoid confusion with him. No record of "The Curate's Gavotte" found.

On one side of a leaf of green paper, roughly 17.5 x 23.5 cm, removed from an autograph album. Good, on lightly aged paper. Thirteen bars, with staves for soprano, alto, tenor and bass. Covering the greater part of the page, and followed by 'From Mass in C minor. | for five voices. | [signed] Ronald. M. Brunker. | June 28th. 1927'.

On a leaf of pink paper, roughly 18 x 23.5 cm, removed from an album. Good, on lightly aged paper. The score, on the recto, consists of eight grand staff bars, titled 'St. Andrew | A + M 403. | Jesus calls us; o'er the tumult | E. H. Thorne'. The score is folowed by the signature 'A. E. Thorne | 30th. Aug 1929.' The autographs, on the reverse, read 'Yours Very Sincerely | Russell Thorndike. | (Death in Everyman.) | Grey Friars Mar. 1929.' and 'Harry Alfred Harding | June 1. 1929.' Thorne was a leading figure in the late-Victorian Bach revival. Thorndike was the detective novelist.

On one side of a piece of pink paper, roughly 18 x 23.5 cm, removed from an autograph album. Good, on lightly aged paper. Eight bars of music and libretto, with staves for 'Soprani', 'Alti', 'Tenori' and 'Bassi'. Covering most of the page, and followed by 'From "The Waters of Babylon" (Psalm 137) | (May 1935.) | E. Phyllis Roberts. | June 15th, 1935.' Twenty-nine line poem 'To the Gentle Owner of this Album' on the reverse, signed 'Moir Carnegie | 21-6-10'. (in whose name a "prestigious" prize was given).

All three items in very good condition. Clear, bold signature, on a cropped piece of paper three inches by five wide, reading 'Leonard Bernstein | Edinburgh | <'73>'. The first photograph (six and a half inches by eight wide, and with the stamp of the Scottish Tourist Board on the reverse), shows a smiling Bernstein in a Prince of Wales check double-breasted jacket with a bespectacled old gentleman in a single-breasted pinstripe jacket, admiring a bagpiper in full regalia at a British railway station (Edinburgh Waverley?).

On a light-green leaf (11 x 14 cm) removed from an autograph album. Lightly aged and creased. Reads 'Hugh P. Allen | Nov 8. 1928'. Lightly docketed in pencil. Two other autographs on reverse.

On piece of laid paper paper (roughly 11 x 16 cm) cut from diary. Good, on lightly-aged paper. Under the heading 'June 25'.

On a fragment, roughly 11 x 16 cm, of a page of laid paper from a diary. Good, on lightly aged paper. Two signatures, under the heading 'July 22': 'Spencer <?> | Steuart Wilson.' Lightly docketed in pencil.

On piece of laid paper (roughly 13 x 11 cm). Aged and chipped. Reads 'Yours truly | Frank Barrington Foote'. Chipping to the outer edge, very close to the last couple of letters of the signature. Foote, who frequently sang with Adelina Patti at Covent Garden, ended his days destitute in New York City.

On one side of a leaf (roughly 11 x 16 mm), removed from an autograph album. Good, on lightly aged paper, with some show-through from amusing drawing on reverse by L. E. H. Phipson. Bold signature reads 'Yours Sincerely | Marie Novello'. Drawing on reverse depicts a monocled old fogey protesting his love to a pretty young thing regarding herself in a handmirror. Captioned 'I'd rather be a young man's slave!' Signed by the illustrator 'L. E. H. Phipson | 6/12/1917'. Docketed in pencil.

On piece of laid paper (roughly 8.5 x 16 cm) cut from diary. On aged paper with wear and 1 cm closed tear at head. Clear and clean signature, beneath the heading 'July 17'.

On light-yellow page (roughly 11 x 14 cm) removed from autograph album. Four glue stains showing through from the reverse (not affecting the signatures), otherwise good. Reads 'Dora Stevens | Ethel Hobday | Marjorie Hayward | Cedric Sharpe'. Lightly docketed in pencil.

On a leaf of pink paper, roughly 13.5 x 11 cm, removed from an autograph album. Lightly creased and with a thin glue stain along inner margin (not affecting text). The inscription, in a top outer corner, reads 'Noël Eadie | 21. 1. 24'. It is somewhat smudged, either having bled or been badly blotted.

On leaf (roughly 10 x 15 cm) torn from autograph album. Good, on lightly aged paper. Signed 'Hugo Rignold' with another signature ('John <?> | <?>') in pencil above it. Docketed in pencil.

On a leaf (roughly 15.5 x 18 cm) removed from an autograph album. Aged and a little grubby. Both hands bolder than usual. Recto reads '"Courage Mounteth with occasion" - | Yours sincerely | [signed] Violet Vanbrugh'. Verso reads 'Yours sincerely | Dora Labebette.'

On piece (15 x 16 cm) of laid-paper cut from a page of a diary. Creased and worn at head. Signature under heading 'March 18'. Lightly docketed in pencil.

Printed in pastel colours on the shiny side of a piece of white sateen, roughly 405 x 255 mm. Dimensions of image 355 x 200 mm. Good, bright image, with a little creasing to the corners, one of which is a little dusty. Depicts a beautiful woman, in classical dress, with her arm around the waist of a pretty servant girl who is crowning her with a wreath of flowers in sumptuous marbled baths. On the wall behind the pair is a medallion with an inscription in Greek. In the style of Lord Leighton and his followers, characterised by William Gaunt as 'Victorian Olympus'.

On a piece of laid watermarked paper roughly 11.5 cm square. Good firm underlined signature, about 8 cm long. On aged paper, with pin holes above and below, and a vertical fold about 1 cm above.

Dimensions of paper 3 x 8 cm. Good, firm signature, on lightly aged and spotted paper. The flourish beneath the signature (paraph) has been cropped.

8vo, 3 pp. Bifolium with dimensions of leaf 18.5 x 14 cm. Good, on slightly grubby and lightly creased paper. Small slip of paper mount adhering to one margin (not affecting text). Written in a bold and distinctive hand. He will not be able to make 'an appearance with "Lhada" [?]' as he is 'sorry to see that I am in Brighton the 22nd and 23rd of April, where I sing with Madame Donalda'.

8vo, 47 pp. In original grey printed wraps. With frontispiece portrait of Madvig and one plate. Good, in dusty wraps. Presentation copy, with card 'With the compliments of Dr B. A. Van Proosdij, Scientific Advisor to Messrs. Brill' loosely inserted. Divided into four parts: 'The Intellectual Background', 'Preparations and the Eve of the Day', 'The Dies Natalis' and 'Epilogue', with six appendices of passages from original sources, and a postscript of 'Four Letters from Madvig to Geel, Bake, and Cobet'.

On a leaf from an autograph album, 11 x 17 cm. Good, on lightly aged paper. First line by Landauer. Reads 'With best wishes | [signed] Walter Landauer | [signed] Maryan Rawicz'.

Printed on piece of thick paper 31.5 x 22.5 cm. Dimensions of image 24 x 18 cm. Removed from mount, and with glue adhering to reverse and in thin strip at head (not affecting image). Small closed tear in border at foot, just beneath Mascagni's dating of his note. Soft-focus black and white head and shoulders shot, showing a firm-jawed jowlly bow-tied Mascagni staring abstractedly to his right, with a medal in his buttonhole.

4to, 1 p, 22 lines. On aged paper, with chipping at extremities neatly repaired with archival tape. Text clear and entire. He thanks him for his 'interesting paper', commenting on the 'Lucretian passage'. Postgate's 're-arrangement [...] is undoubtedly more attractive & logical than the ordinary arrangment, and as such I welcome it: but must we suppose always that artists do as well instinctively as they might if they had taken counsel?' 'Ex silentio I judge that all is well with you, as far as anything can be well for any of us these terrible times.

12mo, 1 p, 14 lines. Good, on light-brown paper, with the address, stamps, and postmarks on the reverse. In French. He sends his thanks to the 'Journal de Bruxelles' for reproducing his 'article sur la réforme de l'orthographe'. He is sending a petition (not present) which 'en ce moment ce couvre de signatures à Paris', and will be personally grateful if his correspondent can see to it that it is reproduced 'avec les indications qui l'accompagnent'. Loose in blue paper folder with catalogue entry for the previous sale of the letter laid down on front.

4to (26.5 x 22 cm), 2 pp, 30 lines of text. On discoloured and lightly creased and stained paper, with some chipping to extremities, but with text clear and entire.

One page, 12mo. Very good, with a little light spotting at foot. 'Dear Sir, | I suppose it will suffice if I sign myself | Yours faithfully | Geo: Macdonald'. Docketed in pencil at foot.

Paper dimensions: five inches by eight inches wide. Good, on lightly aged and creased paper. Good clear signature reads 'Yours sincerely | Gilbert Murray. | August 6. 1930.'

One page, 12mo. Very good. 'I have much pleasure in sending you my signature, as I am told you wd. care to have it.