Music and Theatre

12mo, 2 pp. Bifolium. 17 lines. Text clear and complete. Good, on lightly-aged paper. Begins 'I cannot help thinking your request a very unreasonable one. You have, in the first instance, monopolized, for the best part of the season, my Room, on the night when it is most in request; & now that every body has fully laid out his plans for this side off the autumn you call upon me to release you from an engagement [...]'. He will not force the recipient to occupy the room 'longer than the six nights', but will not keep 'the engagement' open for him at Christmas.

12mo, 2 pp. 15 lines. Text clear and complete. Good, on lightly-aged paper. Having failed to 'catch' lister after 'our practice', Hullah asks if he would be willing to 'take part in a private performance here of Haydn's Stabat Mater'. Gives details of dates of proposed performance, and rehearsal.

12mo, 1 p. 10 lines. Text clear and complete. Good, on lightly-aged paper. The recipient 'had better be in Town for the Choral Meeting on the 4th. June'. Gives details of when the recipient will 'generally find' Hullah there.

Oval sepia photograph of the head and shoulders of Hullah, looking to his right in double-breasted jacket. Faded and on aged card, with traces of mount adhering to reverse. The sitter - who by comparison with other photographs is definitely Hullah - is named as 'JOHN HULLAH' in a contemporary hand on the card beneath the laid-down photograph, and as 'Mr Hullah' in pencil on the reverse. Not present in the collection of the National Portrait Gallery, which only holds three images of the composer.

Four pages, 4to, bifolium, stains and small closed tears on fold marks, mainly good condition, comprising: Facsimile of Heber's words for the Hymn commencing "From Greenland's Icy Mountains" and concluding ([p.2]) "Redeemer, King, Creator, in bliss returns to reign" (Note at foot of p.[2] "The obliterations in the second and Fourth Verses are caused by the Printer's file"; p.[3] For the story of the writing of the hymn (see http://www.cyberhymnal.org/htm/f/r/fromgrim.htm); p.[4] Typed Letter Signed "Ellis Lever", "coal contractor", Brooklawn, Southport, April 8th, 1899, explaining to the ad

4to, 4 pp. Bifolium. 87 lines. Text clear and complete. Fair, on aged paper, with wear to extremities and a spike hole to one corner. Written in ink in a Victorian hand, and with three changes in pencil. Docketed at head 'The art of Vocalization'. Towards beginning writes that the subject is one which he has 'studied many years in close connexion with the most eminent Masters of Italy, most of whom I may rank among my personal friends, and the pith of whose conversations, added to my own experience I propose embodying in a few short essays upon the Formation of the Voice'.

Green printed paper wraps, 40pp. used, 8vo, contents detached and loose, but complete. First page headed Programme followed by (1) Puss in Boots, with brief narrative with dialogue of nine slides, 2.5 pp.

4to, 1 p. Fourteen lines, in pencil. Text clear and complete. Good, on aged paper. In envelope addressed by Holloway to Inglis. He apologises for his 'rudeness' in not answering earlier: 'I plead rush of work'. He would be delighted to sit for her, but 'the trouble is that I may have to leave town on Monday to produce a play in the country and then on to S[tratford]-on-A[von] for the 7 weeks Festival'. Suggests a later meeting.

4to, 1 p. 15 lines. Text clear and complete. Fair, on aged paper. In green ink. He is pleased that her 'footsteps are treading in high places', and hopes that this 'leads to as much golden reward as it seems to suggest'. He will see her friend 'Mr. Kennerley', but he cannot be 'encouraging' as he is not at present 'casting any picture', and will not be doing so for 'a month or so'. His 'activities now never seem to bring [him] to Hampstead', he hopes she will see him when she visits his 'neighbourhood'.

Three pages, 12mo, good condition. She expresses delight at receiving a bouquet from "Her Royal Highness" and wishes her thanks for the latter's "kindness and consideration for me" to be conveyed to the Queen, an her appreciation expressed.

Small 4to, 4 pp. Bifolium. Text clear and complete. Fair, on browned high-acidity paper. Neat strip of stub from mounting in album still adhering to inner margin of verso of second leaf. Headed 'Words.' All but first chorus in double-column. A mixture of the original 'House that Jack built' with 'Jack and Jill'. Begins with 'Chorus. - "This is the house that Jack built."', the first lines of which are 'Our labours are done, our recompense won, | And anger has been on no back spilt, | So now with one voice we'll laugh and rejoice | As this is the house that Jack built.' Characters are: Mr.

12mo, 4 pp. Bifolium. 48 lines. Text clear and complete. Good, on lightly-aged paper. Attached, in a windowpane, to a leaf detached from an autograph album. He 'fell in, at Newport, in South Wales, with a youth of extraordinary ability as a player on the Harp - not the Welsh, but the Gothic instrument'. Although the youth, named 'Pollock', is 'Harpist to Lady Morgan', his income 'is scanty and fluctuating'. Exclaims 'What is to be done, Sir George!

12mo, 1 p. Eight lines. Text clear and complete. Fair, on aged paper. Asking if Webster requires a seat at a celebratory dinner for George Washington, 'Tickets not to exceed one Guinea'.

16pp., 8vo, blue printed wraps, some staining, cobver and contents slightly askew, mainly good condition. Someone has added "First" before the word "Judgment" on wraps as well as the title-page. The writer gives a history of Drury Lane to explain the fact that Daunay was a "new renter" (subscriber) asserting privileges, Chatterton being the Theatre Manager.

58pp., 12mo, beige printed wraps, spine nicked, small amount of staining and other wear and tear, mainly good condition. The suggestion by Chaterton to Kenney was "to publish a pamphlet containing an account of the pecuniary successs and losses which attended the different plays I have produced during my management of Drury Lane". COPAC records only one real copy (at BL) others being electronic resources.

Piece of paper, c. 13 x 8cm, splodge of a black seal, botton left, other marks but text clear and complete: '"Lucia di Lammermoor" | Regnava nel silenzio . . . | Maria Piccolomini'. The recipient has written on the verso: "from herself | recd 26 May 1859 | [signature not deciphered].

12mo, 2 pp. Bifolium. Fair, on aged paper. He begins 'Print the farce', and gives two conditions, ending 'There that's definite'. He will have the farce published after it is performed in London, 'at a good theatre of course'. 'But get on with it and lets have the proofs.' He will 'most likely' play it himself 'at Manchester and somewhere else, when I will put all this stage business &c in'. Ends 'Toole wants to do it. | Yours Tooley - I mean Truly'. In one of two postscripts he hopes Lacy has 'a good supply of Billy Taylor. Hopewood & Crew publish it.'

4to, 4 pp. Bifolium. Printed in brown on watermarked laid paper. Fair, on aged paper. An exercise in Wardour Street English, foreshadowing in some respects the Leadenhall Press with its mish-mash of fonts and point sizes, and its antiquated decorative rules. The fair will be opened by 'Maister Christophere Sykes, Member of Parlymente for ye East Ryding of ye Countie of Yorkshire'. Names of the great and good expected to attend. Vignettes of a tudor fair, three medieval women, two jousting knights, a posy, chairmen, two men in eighteenth-century garb, a dinner table.

On a rectangle of paper cut from the bottom of a letter. Fair, on aged and creased paper. Reads 'We are | Sir | Yours obediently | [signed] Adelina Patti | Carlotta Patty [sic]'.

12mo, 8 pp. Fair, on aged laid paper. On four leaves removed from a pocket book, with two leaves numbered in manuscript '41' and '42'. Apparently a first-person draft of information for an appeal by the oldest surviving member (from the inception of the group) for a stipend. Begins 'Depuis le commencement de l'an 1760 que j'ai ete recu a la Musique du Roi, j'ai été en exercice jusqu'en 1792, avec 222. sujets qui s'y sous dont 40 vivant encore au 18 Janvier 1815. [...]'.

The German-born Richter (1860-1929) studied under Liszt, Haupt, Lebert, Mischalek, Oskar and Joachim, the last of whose protégé he became. He came to England in the 1880s, and was based from 1887 in Leicester, where he founded the Leicester and County College of Music, and where 'Herr Richter's Chamber Concerts' went through at least eighteen annual series. As a pianist he was widely praised for his 'fine technique and temperament' (The Times) and 'real musicianship (Westminster Gazette).

4to, 1 p. Text clear and complete. On aged and creased paper. He has been 'asked by the firm in Braunschweig' to give his opinion on two questions relating to 'Concave Sharps'. He puts the questions to Richter, adding that the Sharps are 'a special patent of Grotrian Steinweg', adding that Richter will 'see from the enclosed leaflet [not present] the reception they found in the musical circles in Berlin'. He asks Richter for his own opinion.

4to, 2 pp. On the firm's letterhead. Twenty lines. Text clear and complete. Fair, on lightly-aged paper.

Filmscript, 190pp., 4to, soft-covered ("Chas. K. Feldman Productions), sl. worn and chipped, contents good. Copyright stetment on title: Charles K. Feldman | Famous Artists Productions | 9441 Wilshire Boulevard | Beverly Hills, California.

4to, 1 p. On laid paper. Forty-nine lines, in a variety of point sizes. Good, on lightly-aged paper, with remains of mount adhering to blank reverse. After printer's details: 'Vivat Rex et Regina!' At foot of play bill: 'Ladies and Gentlemen are respectfully requested to give peremptory orders to their Servants to set down with their Horses Heads towards Drury-Lane, and to take up with the Horses Heads towards Covent-Garden. - No Carriage can be permitted to stop the way after proper Notice given to the Company.' No copy of this playbill on COPAC.

Both items on 'Bebe' letterheads, and both with signature 'Bebe' incorporating a drawing of a stick figure with hat. Letter One: 12mo, 1 p. Twelve lines. Good, on lightly-aged paper. With addressed envelope. She is sorry they missed one another 'at the station, especially after all the trouble you went through to get there'. Gives news of show: 'Boy, it will be good to get back to town again. | I have enjoyed the tour but as you know travelling nowadays isn't what it used to be, by a long shot.' Letter Two: 8vo, 1 p. 21 lines.

12mo, 2 pp. 19 lines of text. Clear and complete. Fair, on lightly-aged paper. Begins 'Just a line to tell you we miss you like mad & hope you are well & happy. Praises a 'dinner at Mary's'. They hope to call on Colleano when passing through London on 'Sunday Nite'. Ends 'Well honey, keep us in mind & we will see you soon - Our very best to Bonar Jr. [Colleano's son the film actor Bonar Colleano]' Postscript 'Billy sends his best'. Coogan was married to Ann McCormack, his third wife, from 1946 to 1951. From the Colleano Family archive.

Studio portrait photograph on postcard, captioned 'RENA HALL | MUSICAL SPECIALITIES'. Fair, on lightly-aged paper. Depicts Hall in highland costume with bagpipe under her arm and an accordion on a plinth. Inscribed 'To dear Rubye | In memory of Happy days | Love, Rena | 1937'. 'Laddie Cliff and Rena Hall' performed in front of George V and Queen Mary at the Royal Variety Performance, Coliseum Theatre, London, 1923. From the Colleano Family archives.

4to, 4 pp. 43 typed lines, and two-line manuscript postscript. Signed in pencil 'Sincerely | Dollie & Troy.', with the name of the troupe typed over this. Text clear and complete on discoloured and creased paper. Chatty and humorous letter. 'By the time you read this letter we will have either left a terrible stench in the Theatre or else the Manager will be satisfied. [...] JANUARY 11, FLASH!!!!

Letter: 4to, 1 p. Twenty-six lines. Text clear and complete. On aged and worn paper, with a couple of holes, light staining and indentations. Addressed to 'Jon', whose book, with a 'chapter pertaining to the Taylor case' Long 'would like very much to see'. Long encloses the copy of 'Taylorology', of which he writes, 'Despite my intentions, there was only one issue due to very poor response -- only a dozen subscribers.' He boasts that his 'collected material on this case', 'primarily newspaper clippings', 'weighs over 30 lbs., with more information coming in every week'.