THEATRE

2pp., 12mo. Fair, on aged grey paper, with slight chipping at one corner. The letter accompanies a copy of an unnamed play, which Phillips hopes will interest Greenwood. 'I will stand or fall by it. I have learnt so much from your criticism (more indeed than from any one) that I should hope that you might continue possibly that line of such sane and helpful criticism which I have learned to look for from "the onlooker".' He concludes by declaring that there is no one to whom he is sending the book 'with greater pleasure'.

A good, firm signature, written on one side of a rectangle torn from the base of a letter, roughly 15 x 20cm. Aged and little creased. Written while Kean was on an American theatrical tour, the fragment reads 'I remain, | Yours truly | [signed] Charles Kean | Aster House | 9th. June | 1846.' In pencil on the reverse: 'Presented by A. Bassler'.

Landscape 8vo album with 82pp. on 73 leaves of different coloured paper in original cloth. Aged and loose, in worn binding. The autographs are mainly theatrical, and although lacking any first-rate actors, provide a tantalising glimpse into a lost world. Laid down are signed postcards from.Stella Gastelle, Ethel Ward and Ben Albert ('To Miss Rothsay | Best Wishes from her Dad's Pal Ben').

1p., foolscap 8vo. Stained, worn and creased, but a unique memento of a Newcastle institution and Grade I listed building, founded in 1867 as the Tyne Theatre and Opera House, and now bearing the euphonious name of the Mill Volvo Tyne Theatre.

The letterhead includes a facsimile of Sims's signature. Six lines, on one side of the card. Addressed at foot to 'Thos Hutchinson Esq.' Fair, on aged paper, with strip of gummed paper from mount at head of blank reverse. He sends 'a thousand thanks' for Hutchinson's 'kind letter on Sep 2', which he would have answered earlier, had he not been 'away at Liverpool'. He concludes: 'Your good wishes lay upon my table to welcome me home.'

1p., 12mo. Fair, on aged paper and worn paper. He is 'exceedingly obliged' to Barnett for 'procuring for me the freedom of Her Majesty's Theatre'. He asks if he will 'receive an official commemoration from Mr. Lumley', or whether he should write and thank Lumley on the strength of Barnett's note.

4pp., 12mo. Bifolium. Good, on lightly-aged paper, with slight creasing to bottom outer corner of both leaves. Bishop begins by asking Gye to confirm 'the excuse which Mr Barton has given for his absence the whole of Friday Evening last: & which having being [sic] noticed to me officially, I am obliged to enquire particularly into: - He says that he was at the Old Bailey Trial in consequence of your invitation that day!

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.

One ALS, one TLS and one ANS, each of the three with a different letterhead of Via Della Costa di Serretto 17, San Martino d'Albaro, Genova 10, Italy. ALS: 23 July 1926. 'Gerard Hopkins tells me I am to send you the enclosed review of Waxman's Antonie & the theatre Libre. So here it is - faults & all. | If you want to omit the page about G B S from X to X by all means do so - but kindly not have it changed any where else.' Postscript reads: 'Its quite out of order I know to add this P.S.

Letter: 1p., 12mo. On letterhead of 12 Sunderland Terrace, London, printed in orange with orange border. Good, on lightly-aged paper. He states that his daughter Nelly (1904-1975) has given him her bookplate block 'to get printed for you'. He quotes prices for 100 and 300 prints, 'only to old friends so please dont tell anyone else!! If you will just let me have a P.C I will get them done in two days.' Nelly has also told him that Mrs Dryhurst's husband Alfred Robert Dryhurst (1859-1949) 'wanted to know my price for a bookplate (but perhaps she got that wrong) anyhow I generally charge £10.

The production to which the first item relates was Toole's last before being forced by gout to retire from the London stage. Both items in fair condition, on lightly-aged paper; the first with short closed tear at head. Both printed on one side only. Item One: 33 x 21 cm. Headed 'Mr. J. L. Toole's Company. | THOROUGH-BRED. | PROPERTY PLOT.' Listing, under 'Stage' and 'Hand', all the props needed for the three acts, the last (and shortest) entry reading '[ACT III.] HAND. | Field glasses, cases. Race cards for all. Letter (WILHELMINA). Set of bones (TOSH). Coins (all). 2 tambourines.

2pp., 12mo. Good, on lightly-aged paper, with a couple of unobtrusive creases. 'We shall be very pleased to come to tea with you on Sunday - I hope you will not mind if we are a little late - I shall be so glad to see Mrs. Arkwright also. With kind regards and many thanks | Believe me | Yours very sincerely | [signed] Emma Albani Gye'.

1p., 12mo. Good, on lightly-aged paper. She writes that she is enclosing a letter, which she would like sent on 'to the Manager of the Bournemouth Little Theatre Club if you will, as I do not know the address'.

1p., 4to. On aged and lightly-creased paper. Giving breakdowns for different seats in matinee and evening productions, as well as for programmes, with the number of complimentary tickets. The Arts Theatre Club was founded in 1927, 'in an attractive building in Great Newport-street shaped somewhat like the House of Commons' (Times, 9 May 1927). On its relaunch in 1933, its stated aim was 'to select plays of theatrical merit [...] with an entire disregard for their commercial possibilities' (Times, 18 December 1933).

Printed on one side of a piece of laid paper 28 x 23.5 cm. The hand-coloured engraving (showing Mathews in riding garb with long whip in foreground, and a coach and four in the background) is 16 x 22.5 cm. Fair, on aged paper, with wear and slight loss to extremities (not affecting the engraving or text), and the reverse showing signs of removal from an album. Above the engraving are the words 'BANG UP - RANDOM, OR TANDEM.' and beneath are the publication details, followed by the full title: Some Push Along With Four In Hand, While Others Drive At Random. Written by J.

1p., 4to. On aged paper. Printed in block capitals at head of letter: 'Experienced actor-dramatist and film adapter. Author of plays and films produced in England and America. Expert in "Dramatic Construction" gained in years of practical experience on the stage, and in films. Adapts stories to the talking films, the bigger the story with opportunities of being developed on a large scale, the better.' Addressed to 'Commander L. A. da Costa Ricci | Naval & Military Club, | 94 Piccadilly | W'.

1p., 4to. 31 lines. Fair, on aged paper. On paper with watermarked date of 1814. Initialled 'G. C.'; with the words 'Copy to Morris' in the top left-hand corner. Docketed on reverse 'Copy to Morris March 1815'. Colman writes that is is now his intention, 'as it ever has been, to use every effort in my power for the interest of the Theatre, by carrying on the business in the best manner that the continual obstacles opposed to my plans will permit'. He states that he is 'in treaty with various Performers for the approaching Summer'.

Scored on two facing pages, on two 25 x 34 cm leaves of music paper attached to one another along one edge with a thin strip of glue. Good, on lightly-aged paper, in red card folder with white label. Scored for voice and piano, with the two verses of libretto by Tom Taylor. Signed at end 'Frederic Clay. / Tenor Ballad from "Court & Cottage".', with ownership inscription alongside: 'Henry Wodehouse / 24 Upp. Brook St.' (According to the Survey of London, Hon.

1p., small 4to. Very good: trimmed and neatly laid down on backing. Egerton has had 'some communication with our Managers', and if Egan will 'write a Farce, with a good part for Keeley, in his way, perhaps some sort of continuation of Jerry', he knows it will 'be accepted, & put into training'. He asks to hear from Egan by return, as he wishes to see the managers on the subject 'previous to Mr. Fawcetts leaving Town on Tuesday next, or the matter must rest three months'.

Iv + 224pp, 8vo. Ownership inscription of 'Jennifer Samuel 16.12.58'. In good condition, lightly-aged and worn. The diary is arranged with two days to a page, and with fourteen lines available for each entry. Seven pages of 'cash account', giving expenditure from January to July, at end. Almost without exception, each page is fully filled in, mostly in pencil.

1p., 4to. On aged and grubby paper. The letter provides an interesting insight into the niceties of Regency theatrical practice. Colman peremptorily addresses it to 'Madam', before expressing his displeasure and defending his imposition of a penalty, as a result of the non-attendance of the recipient (apparently an actress) at a performance at the Haymarket.

Black and white photograph. Dimensions 15.5 x 21 cm. In good condition, with slight wear to edges. Head and shoulders studio shot of a fresh-faced Rogers, looking slightly upwards with enigmatic half-smile. Caption, at foot, reads, 'To Titania from her loving Bottom.' Rogers acted in several of Jill Balcon's father Michael's films.

3pp., 4to. Bifolium, addressed, with postmark, on reverse of second leaf, to 'Revd Dr Elliston | Sidney College | Cambridge'. Fair, on aged and worn paper. An interesting, informative letter, written to one of the two uncles who had acted as Elliston's childhood guardians. At the time of writing, Elliston, having thrived at the Theatre Royal, Bath, had moved to London, replacing Kemble on 20 September 1804 as leading actor at Drury Lane. The present letter shows Elliston's plans to branch out into management.

2pp., 12mo. Good, on lightly-aged paper. He writes that he has brought Miss Smith Dampier's play 'A Great Gentleman' up to London with him, and that it will be at Melrose's office in the afternoon. 'I have read it - but I do not like it as well as The Queen's Minister, from my own point of view, I mean. | The writing, of course, is what one would expect after reading Miss Smith Dampier's former play - but I had got a long way into the story before it gripped me'. He names the only two scenes which he sees 'vividly'.

4pp., 12mo. Very good, on lightly-aged paper. Lacy begins by thanking the recipient for 'the kindly spirit that animates your favor received to day. '[A]t once and without Recitation' he states his 'extreme willingness to abandon the continuation of Heywood' in the recipient's favour. He will 'rejoice in any slight influence I can exert towards a guarantee to induce you to persevere'. Lacy's only wish is for 'the plays to be completed', and the recipient 'could certainly advance irresistible claims to a far greater amount of support than any one else'.

2pp., 12mo. The letter is on the recto of the first leaf of the bifolium, with the list, in three columns, on the recto of the second. Fair, on lightly-aged paper. Dibdin reminds Davidge that at his 'first Anniversary Dinner' he expressed a great wish to serve Dibdin by his patronage, but that 'absence from Town' prevented him. 'The Company were so well pleas'd that each present sign'd a Paper to come again - it is now fix'd for my Birthday (the 21st. Inst) and I take the freedom of enclosing you a List of the Patrons in the Hope I may be allow'd to add yours and enclose you a Ticket'.

2pp., 4to. Good, on lightly-aged paper. Divided into eight four-line stanzas, each with the same two-line refrain. The first stanza: 'Fashion was formed when the World began, | And Adam I am told was a very smart man, | As for Eve I shall say nothing more or less. | |But that Ladies of Fashion now copy her dress. | Yet barring all pother of this that & tother we all bow to Fashion in turn'. Containing witty references to the fashion for hunting boots and crops, New Bond Street, Tudor and Stuart clothing, Whigs and Tories.

4pp., 4to. Bifolium. Good, on lightly-aged paper. Addressed on the reverse of the second leaf to 'T: P: Cooke Esqre | Royal Coburg Theatre', with two postmarks. The two men do not appear to have been related. TSC requests TPC's 'friendly interference to endeavour at getting from Mr.

4pp., 12mo. Bifolium. Good, on lightly-aged paper. The first page headed 'Act III', and the whole tightly-written and filled with deletions, interpolations and marginal notes, providing a valuable insight into the creative process of one of Victorian England's most successful dramatists. The last page breaks off: 'Handeside confesses his own desperate attachment. Markham <...>'. 'A Sister's Penance' was a great success, with 83 performances at the Adelphi between 26 November 1866 and 2 March 1867.

4pp., 12mo. On aged paper, with minor traces of gum from mount. Taylor begins: 'My dear Charles Neville | I was glad to receive your letter, for it showed that the seed I had taken pains to sow had not fallen, as most seed so sown in the theatre does fall, upon an ungrateful soil.