set

Both items in good condition, lightly aged and worn. ONE: TLS from Curtis to Francis. 1p., folio. Signed 'L. Curtis'. A circular letter, with signature, date and name of recipient added. Curtis begins the letter: 'I am writing to ask whether you would care to acquire a replica of a portrait of Lawrence which has now come to be known as "the ghost portrait." Its history is as follows: In 1923 Eric Kennington made a portrait in pastel of Lawrence, who was then a fellow in residence at All Souls.

In his obituary in the Independent, Lane was described as 'one of those writers whose published oeuvre is only matched by the supreme fiction of their own existence'. The present two pieces, both unpublished, date from his time studying theatre design at Wimbledon Art School, before 'launching himself across the globe, seemingly supported only by his verbal brilliance, good looks, perfect wardrobe and genius to amuse'. ONE: '"ANAGRAMS [no closing quotation mark] | A One Act Play - by Simon Lane'. [3] + 19pp., 8vo. Duplicated typescript on loose leaves held together by paper clip.

1p., 4to. In fair condition, on lightly aged and creased paper. He thanks her 'for giving me the wrongly addressed envelope'. He has tried ringing her 'a dozen times' and gives her number for checking. He ends by inviting her to dinner.

The first four letters are each 1p., 12mo; and the fifth letter is 1p., 4to. The price list, which accompanies the last letter, is 2pp., 4to. All items in good condition, on lightly-aged paper. In the first letter (4 May 1980) he replies to his correspondent, thanking him for a letter 'concernant la representation d'Orphée aux Enfers que vous avez vu à Oxford en 1977'.

1p., folio. Fair, on lightly-aged paper; with staple- and punch-holes in left-hand margin. Docketed in pencil, at head 'file Oliver MESSEL', and at foot '2/XII/52'. He thanks him for 'your charming messages [...] about the designs for the Glyndebourne brochure', which were 'given me by Vagn' (Messel's partner Vagn Riis-Hansen). 'For the one design ie.

12mo, 4 pp. Bifolium. Good, on lightly-aged paper. Her 'constant practice' has always been to return her thanks for the gift of a poetry volume 'before I could possibly have had time to read it', but in this case 'this caution was impossible for I received your little Vol: in all the hurry of leaving town, & I may say England, for I shall not return to London before our departure'. She is glad she was not able to write before reading the poems 'with the attention they merit & with all the pleasure they have given me'.

Two pages, 12mo. Good, on lightly aged and creased paper. 'In the rush of finishing [his] Academy work' he finds Wright's letter 'among numerous others unanswered'. He will be returning to London in a fortnight 'and shall have great pleasure in sending you the bookplate together with an early one. Also my autograph &c.'

British stage designer (died 1971), painter, writer and lecturer. Both items one page, octavo, and very good, though lightly creased. Both signed 'Maxwell Armfield'. LETTER ONE (docketed and bearing R.S.A. stamp): He has read the lecture by 'Mr. Davis', 'with great interest [...] our opinions on the subject seem to be identical! I should like to meet him some time if he is an accessible sort of person. [...] a series of such lectures issued as pamphlets with attractive titles would do a great deal towards a better understanding of the problem'.

Actor and costume designer (1868-?). The first letter, docketted "Alas poor Tom -", to Miss Grosvenor, 4 December 1940, 18 Selwood Terrace., 2 pp, 8vo. He apologises for not being able to attend any of her at homes. "I have been at Plymouth & Cardiff the last fortnight with H. B. Irving [Henry Brodribb Irving, 1870-1919] arranging his new play". The second letter, to L. E. Berman, 21 April 1940, with embossment 52 Temple Fortune Hill, 2 pp, 12mo, in stamped envelope addressed in autograph. He thanks him for forwarding the letter from Barking.

Illustrator (1893 or 1896-1940). Crude sketch in pencil, on piece of lavender paper, 6¼ inches by 3¾, of garret with two beds, headed "Housemaster", and with "Drorn [sic] in the dark at the Apollo - / - / Aubrey Hammond / 1936 -" written beneath it. Mounted on fragment of blue paper carrying typewritten label and showing traces of brown paper strip.