st two (28 Ergebnisse)

Hardcover. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Matching pair in publisher's original laminated card covers. 8vo 8½'' x 5¼'' xiv, 301; xii, 429 [pages.] ISBN's 0312422091 and 0312005512. In very near Fine condition, no dust wrappers as issued. Member of the P.B.F.A. VIETNAM (History & Culture).

. (illustrator). CONDITION: Good Minus; because of cracked hinges that cannot be repaired without professional work or taping; otherwise nice, neat 1927 owner inscription on flyleaf; very bright boards and cover plate, pages clean and flat with dusty edges, Juvenile hardback. Articles from the girl's page and those which would appeal to young women: gardening, needlework, royalty, how to organize the maidless household, etc. ABE Heritage Seller since 1996; conservative AB condition grading. We ship all our books in cardboard protection. International shipping. .

/Charlotte Hough, illustrator. (illustrator). CONDITION: Very Good Plus in Very Good jacket; no names or other marks, pulp paper darkening, but otherwise tight and nice; in jacket with very foxed back and faded spine, 3/8" chip on spine; unclipped 8/6. Juvenile hardback. The Dauncy children don't want to rent out their home to Americans and live in the castle's lodge. But the children soon discover a mutual love of horses. Interesting comparisons between US and UK riding come up in the course of the story. ABE Heritage Seller since 1996; conservative AB condition grading. We ship all our books in cardboard protection. International shipping. /Charlotte Hough, illustrator.

337 S. Moderner/neuzeitlicher englischsprachiger Roman. Englischer Text, perfekt für jedermann/-frau, der/die sein/ihr Englisch verbessern möchte, ohne allzu schwere Kost zu lesen. Hierzulande eher schwierig zu bekommen. Ein kurzweiliges Lesevergnügen für Freunde englischer Romane! Gelesen, Text sauber. Rücken etwas gewölbt und Leseknicke. Intakt. Ideales Leseexemplar, perfekter Schmöker!

LETTER ONE (to Wolfestan): 4pp, 12mo. Bifolium. Damage to text (including signature 'E. A. Storey') along inner edge of last page by clumsy removal from mount, repaired with archival tape. Otherwise in good condition, lightly aged. Folded. Wolfestan's letter is 'capital' and he hopes he will send it 'as it exactly backs up my own statement'. On thte previous day he saw and responded to 'the letter of G Roberts': 'the fact is that in the lecture itself I spoke of the scientific theories & said that although they were deeply interesting they were of little use to painters who had to deal with pigments or paints and not with those elements of light which cause the various sensations to the red-seeing or gree-seeing or violet seeing nerves'. He considers the 'report in the Builder' 'very imperfect and disjointed, made by an utter ass', and he does not think there is 'a single sentence in it that I could fairly say is mine'. If he publishes the lecture he will send it to him. Returning to Wolfestan's letter he finds that it 'will go far to explain the difference between artists and scientists on the subject of colour'. LETTER TWO (to Mrs A'Beckett'): 3pp, 12mo. Bifolium on grey paper. Damp staining on blank reverse of second leaf, otherwise in good condition. He and his wife were looking forward to her 'at home', but could not attend because he had to write a memoir of his brother-in-law, whose death took place the day after he saw her. 'It was for 'The Magazine of Art' and of couse was wanted immediately, in fact almost by return of post, and I could not get it finished till late last evening.' He exclaims, 'What wretches printers are and even editors, sometimes, have no patience, no mercy, their only motto being "Hurry up" -'.

First edition hard back binding in publisher's original maroon cloth covers, gilt lettering to spine. 8vo 10" x 6½" 688 pp continuous pagination. Light foxing to end papers and closed page edges, spines faded and in Very Good clean and tight condition. Member of the P.B.F.A. GOVERNMENT & POLITICS.

. (illustrator). CONDITION: Near Fine; as new but tiny spot on back lower margin. Toploader small softcover advertizing A small collection of poems and stories illustrated with drawings. Compliments of John Brahmer Lowville New York, Boots, Shoes, and Rubbers. ABE Heritage Seller, since 1996: Search ABE Keyword: oldchildrensbooks. Conservative AB condition grading, secure packing, international shipping. .

Both letters good, on lightly aged paper. Both items concern Canning's article on 'International Relations' in the October 1877 issue of 'The Nineteenth Century'. Letter One (12mo, 4 pages, bifolium with mourning border). Knowles hopes Canning has received the proof of the article from the publishers Spottiswoodes. A judicious bit of sycophancy follows. 'Please allow me to repeat how very greatly I am obliged to your lordship for this essay which seems to me to be as readable as it is wise and interesting - The concluding passages of it especially if you will permit me to say so - are precisely what should proceed from such a high standard of Patriotism as you have yourself set up'. Knowles then suggests a passage 'which might as well be omitted', giving his reasons. Letter Two (12mo, 3 pp): Enclosing a cheque (not present) for thirty guineas in payment for the article. Knowles feels that Canning's 'admirable paper' has placed him under 'great obligation': 'The article has been extracted from and referred to in the most respectful & complimentary manner by many of the best & highest journals & cannot fail to do good in various ways'. Knowles considers it 'a contribution to the Subject which is most valuable & exhaustive as to the principles which should favour its application'. He now turns his 'eyes towards your promised paper upon Spain'. While his wife was staying at St Leonards he would have liked to have called on Canning at Frant, 'as you so kindly gave me leave to do - but unfortunately was so tied & bound by work in London that I could only run to & fro' by the quickest & non-stopping trains - & hence, for the time at any rate, lost my opportunity'.

Tritton was educated at Winchester College, and in later life held the office of High Sheriff of Essex. He served as War Office Publicity Officer between 1940 and 1945 (the first civilian to hold the post). The present items exhibit the candour and evocative immediacy for which his wartime diaries were praised on their publication in 2012. Two long letters to 'Darling', both 2pp, 4to. Both in good condition, lightly aged, and folded twice. ONE (signed 'R.'): Thirty-eight lines of text. He is writing her a second letter of the day, prompted by boredom and the want of something else to do'. He finds White's 'full of uniforms of all kinds. [.] As is natural when I come in here so rarely I feel rather like a new boy at school . . . . . and very out of everything. London is like a tomb and I shall go rapidly nuts if you cant come back to keep me company. If you do, you'll probably be driven by sheer boredom to work at the W. V. S. or something.' He refers to 'Maurice' and 'Diana', and to 'Dickie', with whom he is dining at Claridge's: 'He's pretty low. He's doing night duty - on all night trying to keep the place darkly curtained. Claridge's has as many people in the house as the Savoy - about 90 - which for Claridge's is quite good.' He names among the 'unusually distinguished guests' at the Savoy the Duke of Westminster, Lionel Montagu, Lord Trenchard. There follows a piece of casual anti-semitisim: 'Your father's pal somebody Morgan is playing billiards at my elbow with a funny looking little Hebrew. Lord Tennyson, very much the Colonel, in rather new Khaki is at the other end of the writing table . . . . very fat and pompous. Duff Cooper drinks at the bar. I must say they do make good cocktails here . . . . . .' He gives news of the reopening of the Savoy Restaurant ('Its high time'). He ends in the realisation that he has 'very little taste for masculine company', an observation prompted by 'the groups of men here', and which 'doesn't promise very well for the next few years [.] It's time to go up to Claridge's. TWO (signed 'T'): Thirty-seven lines of text. On Savoy letterhead. (Tritton was on a retainer at the Savoy where he counted David Niven among his friends.) He found '[w]alking back from Claridge's at 11 o'clock at night [.] an eerie experience. London was muffled as in a fog, and black as death. It was a lovely starry night so the town took on a faintly luminous look. It was rather lovely and much what it must have looked like 200 years ago.' He refers to a lunch with 'John' at the Clarendon, Hammersmith Broadway. 'John looked well and seems perfectly happy and fatalistic about it all.' He is 'billeted in an old Railway carriage at Wormwood Scrubbs, guarding an important junction. All his pals - Frankie Lawton etc. are with him. (Evelyn Laye does their washing) Its a curious affair. All the privates are gents and the officers very common and rather offensive Bank Clerks. One of the privates - and apparently a great friend of Johns is Lord Elbury, an A.D.C. to the King! Even he can't get a commission. Its a funny war what with Peter cleaning out the latrines and all. How like the Govt. to have its trucks washed in petrol.' Reference to a forthcoming dinner with 'Ewan, returned yesterday from Copenhagen', and 'Lucy' (who has 'joined the army again'): 'so I should get some first hand information about Germany'. References to 'Harold Snagge' and 'Billy Gavin'. 'Lionel Dodds has got a lovely job - Press liason officer to some part of the Air Force. He is quite highly ranked and presumably gets good pay and is in a safe job. I think he's off to France tomorrow though he was very mysterious about it all.' He ends with 'love to you and Pauly' (their son Paul Sebastian Tritton, born 23 February 1939).

For information on Russell see the Oxford DNB entry on his wife from 1957, the social worker Kit Russell [Katherine Frances Russell, née Stewart] (1909-1998). Both letters are in fair condition, lightly aged and creased. ONE: Signed 'Joyce Grenfell'. 2pp, 12mo. She begins the letter with a question: 'Dear Sheridan Russell. | What is Time and Talents? It sounds interesting.' (Time and Talents was a 'settlement' in Bermondsey started in 1887 by Christian society ladies, with which Sheridan's wife had been associated since the 1920s.) Grenfell's plans for the coming November are 'uncertain': 'I might be filming at Denham or touring in Cardiff or playing in West Hartlepool and I daren't promise anything so far ahead in case I couldn't fulfil it.' Despite her commitments, she asks for more information about Time and Talents, adding: 'perhaps a bit later on if you still wanted me you'd very kindly ask me again'. TWO: Signed 'Joyce'. 2pp, foolscap 8vo. In light-blue ink. An air mail letter, addressed to 'Sheridan Russell Esq | 179 Gloucester Place | London | N.W.1.' By now on friendly terms, she begins with a report on New York audiences: 'Dear Sheridan - | I loved hearing from you but I mustn't let you be sad for me because contrary to your worry the audiences are absolutely remarkable wonderful here! At first I felt quite jealous for London because they were so good! Now I'm grateful feel it brings us all closer. They are so subtle, so warm, so responsive. I remember Myra Hess telling me she'd never had such listening as she got in America & I must say its true for me too.' She continues with her praise of the 'rewarding experience' she has with the audiences, whilst conceding that her show 'draws only one section the reading, internationally minded, British-film-going public it is comforting to know they exist!' Her audiences are 'all glorious', but 'You hear very little English spoken in some sections & there are gross audiences at the musicals for instance but the ones who come to see the show at the Bijou are glorious!' She accepts that the show is 'not going to run for ever too "special" - but even if we do close soon its been wonderfully exciting. I suppose we'll tour for a bit in the new year. And then home hooray!' She finds New York 'such a mixture of enormous beauty and hellish hideosity'. She describes the 'fairy tale stuff' of the skyline, and the lights on Broadway: 'forget the signs themselves it is very exciting too'. She praises the 'wonderfully nice' New Yorkers, adding 'you can find anything here when you look for it. Kindness, generosity and friendliness are available anywhere'. She concludes in optimistic terms: 'So I do want you to know that it is being a lovely time & a great EXPERIENCE. | with love | Joyce'. In a postscript she reports that 'Business dropped last week & we may close, but last night the orchestra and stage crew combined & said theyd take [cuts to ideas?] once the bad weeks pre-Christmas as they love & believe in the show. Very nice. No decision reached yet.' She ends by sending 'Love to Betty J.'.

The ten letters total 4pp., landscape 8vo, and 6pp., 4to. The collection in good condition, lightly aged and worn. With stamps and annotations of the Royal Society of Arts. The correspondence relates to a lecture given by him by invitation, and its subsequent publication in the Society's journal. He originally suggests that it be titled 'The Application of Science to economic purposes, with illustrations from the Cotton Trade', thinking that it would 'attract people outside cotton circles', but is persuaded to alter this to 'Examples of Applied Science in the Cotton Industry'. Before giving the lecture he writes (15 January 1918): 'I never write up a paper before giving it, except under compulsion, and then it is different! Do you keep a stenographer?'.

A splendidly intemperate correspondent between contributor and publisher, almost worthy of one of Jackson's own bibliophile volumes. The four items are in fair condition, on aged and worn paper, one with paperclip stain, another with brass stud, and a third with staple holes; creasing to carbon copies. Kapp's handwriting is 'artistic', and his letterheads are unusually long 8vos. ONE: Kapp to Jackson, 20 January 1920. Signed 'E X Kapp'. 1p, 8vo. Begins: 'My dear Holbrook-Jackson, | Don't you feel you'd like to send me a copy or two of "To-Day" each time? I buy one or two as well, you know! And I haven't had even a single "contributor's copy" from you yet!' He is delighted with the reproduction which, for half-tone, is 'splendid'. He ask him to let 'Massy' have his originals back: 'I'm missing sales all the time. I sold the Shaw & Malleson @ 10 gns. each the day they arrived at the Studio & could have sold several others if you'd only have had the blocks made & sent 'em back to me. I should be so grateful if you would. All of 'em - please!' TWO: Unsigned Carbon Typescript Copy of Jackson's reply to One, 22 January 1920. 1p, 4to. He begins: 'As I told you at the inorganisation of our negotiations it will be impossible for me to have blocks made of all your drawings at once, but I am arranging to do three at a time as in the first instance, and as soon as the third has gone to press will put three more in hand and return drawings to you. I am afraid this is the best I can do for the present, as I have locked up as much money in these caricatures as the paper will stand.' Having worked himself up into a quite understandable stew of indignation, he concludes on the subject of the requested copies: 'I think it is unfair of you to ask us to send you free copies, as I did not ask you to let us have free drawings. If you do not consider "To-day" worth buying I am sorry both for "To-day" and for yourself.' THREE: Kapp to Jackson, 25 January 1920. 2pp, 8vo. Signed 'Edmond X Kapp'. He wites in combative fashion, with a blizzard of rhetorical questions: 'Do you not think the tone you affect towards me [.] is a little unnecessarily aggrieved? You know very well that I always buy "To-Day." Besides, I told you so in my last. Didn't you believe me? More. Perhaps you have forgotten that I took in TO-DAY from the start; and, indeed, on that occasion I sent you a personal letter expressing to you my congratulation, my appreciation and my goodwill. Do you remember what I said in that letter from France? I meant it.' He continues on the subject of contributor's copies, stating that 'Every other paper I have ever drawn or written for sends out at least one [.] Even, to my surprise, the "English Review" [.] Do you not conform to this practice? It seems to me a pleasant courtesy. I don't mind spending a number of sixpences on "To-Day"s. But that isn't quite the point, is it?' The second half of the letter is in a slightly more conciliatory tone, with Kapp expressing regret that Jackson cannot 'meet me here, as it is a real loss to me. However, I quite follow you and shall not raise the question again. Meanwhile, however, you DID agree to pay for drawings on delivery - otherwise, what point in my sending them to you months ahead instead of keeping them at the Studio?' He discusses the outstanding account, asking: 'Will you be kind enough to settle now? I am not forgetting the other two drawings to complete the dozen. They will probably be Zangwill & W. L. George, if you want these. | I send you warm and friendly greetings!' FOUR: Unsigned Carbon Typescript Copy of Jackson's reply to Three, 28 January 1920. 2pp, 4to. He begins in conciliatory tone, stating that he believes 'every word you say about "To-day" and not only believe it but appreciate your kindly reference to the little journal. | My letter to you was hurriedly dictated, I was departing for Scotland from whence I have only just returned.' On the subject of contributors' copies, he explains: 'we have never observed this custom owing to the peculiar circumstances under which "To-day" has been published which, as I think I told you when you called at this office last, involved payment to everybody who worked for that paper from printer to poet, with the exception of the Editor, who is quite content to work for nothing in the hope that "To-day" might go on living and be of some slight value to those who were prepared to spend sixpence upon each copy, which according to present manufacture rates is precisely half its mere material value.' He hopes the 'little explanation' will explain 'the cause of any irritation my letter to you may have shown'. He accepts that 'we are obviously in default' on the question of payment. 'As a matter of fact I passed your agent's invoice instantly and the delay occurred in our counting house where certain conditions as to pay days have to be observed. I am however sending through a reminder regarding the two remaining pictures and hope you will receive payment at an early date.' Kapp's suggestion 'for a caricature of Zangwill and W. L. George is acceptable'.

Totalling 36pp., 4to. In fair condition, bound by Escott with brown paper into paper wraps, with the front wrap signed by Escott and bearing the typed label 'LETTERS from HERBERT PALMER on "Minstrels of Christ" and my second book of verse "Soar for Victory", amended in February 1948 to "Back to the Fountain."' An interesting correspondence, casting light on the workings of the mid-twentieth century publishing industry, from the point of view of a successful traditional poet strongly opposed to modernism. Four of the earlier letters concern Escott's anthology 'Minstrels of Christ' (published by the Epworth Press in 1941), with Palmer discussing the copyright of his poems (mostly divided between Dent and Benn) and offering 'two poems over which I have entire control'. He gives his opinion that a 'carefully compiled anthology sells anything from 2000 to 20,000 copies and as I know of no Post-Victorian anthology of Religious Verse you might sell considerably more than 20,000.' He adds: 'Poets like myself who have no other means of livelihood save literature are naturally chary about giving poems, much as they desire to do, and their publishers are generally rather tiresome.' He has gives a long list of poets he has marked down 'as "religious" in a greater or lesser degree' while compiling a 'history of Post Victorian Poetry for Dent'. On 21 March 1942 he accuses Escott of having 'so curiously let me down' over the use of his poems in the anthology, which Palmer was handed by Mary Winter Were while 'reading from my little book "The Gallows-Cross" to the Poetry Society': 'I did not want them re-printed in anybook exactly as they stood [.] I had written some new poems which were rather more suitable'. He claims to have been 'slighted and snubbed and boycotted' because of his writing of 'religious and Christian verse [.] and not only because I have opposed Eliot in satire and parody - whom I do not believe in as a Christian poet, and whom I regard as a dessicatory and disintegrating influence, especially in the Technique of Poetry [.] I have no income beyond the £100 Civil List Pension I get for "distinction as a poet" (whatever that may mean) and my reviewing and meagre literary journalism brings me in very little as, owing to my increased age, I do things very slowly nowadays. As a leading poet said to me a few months ago "It is strange that so lean and bitter a trade as poetry should attract hypocrites, but it does" - and that has been my chief cross as poet and critic for over 20 years. My wife, of course, has been the chief sufferer, and at present seems to be doing most of the work - school teaching, for which her age is now unfitting her.' A letter to which Escott replied on 7 April 1942 discusses religious matters in general, beginning: 'What are you? Are you a Methodist Minister, or Church of England Parson? My father was a Wesleyan Methodist Minister, and my brother who lives at Leeds is a Wesleyan Methodist Minister.' On being asked to look over Escott's book of verse Palmer responds as follows: 'I have during the last 3 months been battered to death by poet's [sic] MSS, books etc, and I have not had time to do more than glance through your book. And I now have to review books for a livelihood. If you like to pay me a fee of two guineas I will go through your book in detail and report on it (three guineas, however, it it takes me too long) It is impossible conisdering my circumstances to do otherwise.' Three of the letters discuss Escott's book in detail over seventeen pages. He writes a preface for the volume and advises Escott on which magazines to send poems to ('Now I must charge you a Guinea fee, but I think you ought to get it back - out of one of the periodicals I have mentioned.'). In the seventh letter in the folder Palmer tells Escott that he is 'a newcomer always with a first book of verse, even when you have been publishing for years in periodicals'. In editing Escott's work, Palmer summarises his own approach: 'I think that inspiration detached form art is the poet's greatest enemy. (I know this, personally, to my cost) You ought to get all the poems right with a little application. Poetry is largely a physical thing - it is only 50 per cent content. A little inspiration and a lot of art goes further than a lot of inspiration and a little art. Keats I know would tell you this, and certainly Tennyson and the aesthetic singers of the Yellow nineties would agree with me. Very few poems are got right in the week in which they were written, and scarcely any of the famous ones.' Elsewhere Palmer renews his attack on modernism: 'A great deal of modern poetry is no more poetry than a jelly-fish is a fish or the first green corn is a harvest. And this is not merely because the verse has been insufficiently revised, but equally often because in the first moments of creation the poet (if you can always call him that) has experienced no sense of exaltation or spiritual or aesthetic excitement'. In the last letter, dated 9 November 1943, he writes that he is 'carrying the War into the Enemy's Country. Not only am I publishing a selection of my verse in Faber's Seasame Series, but I am trying to get them to publish my new volume of Verse, part of which is a downright straight forward attack on Faber's own poets. But Geoffrey Faber (the head of the firm) is a very fine traditional poet and does not appear to really approve of much that he has published, and I believe wants a re-statement of the other side of the matter. Most of these publishers have been forced into publishing modernist Verse. It had to be either that or threadbare conventional verse, or nothing at all. All the same I feel like David in the land of the Philistines, and Edward Thompson goes even further and writes to me "You are David in the land of the Philistines", - a strange reincarnation.' He does concede that he has 'discovered a very fine religious poet among the young men. Who could you imagine it is? Well it is.

8vo, pp. [xxxii], 536, [2] table of contents; with separate title pages for individual pieces, but continuous signatures; a fine copy in contemporary speckled panelled calf, spine gilt, later brown morocco label (a little rubbed, very slight wear to upper joint and the tips of the spine). First edition: a copy on large and fine paper, with no watermark, and about an inch taller than copies on ordinary paper, with a star watermark. This is the first substantial collection of the author's writings, no doubt prompted by the success of his Art of Cookery, published the year before. After graduating from Christ Church, Oxford, William King (1663-1712) began a legal career, but soon turned professional writer, with a predilection for satire and parody. His high-church Tory pamphlets earned him the approval of Swift, who tried to help him find employment, but somehow King never prospered. John Gay once said that King had 'a world of wit, yet as it lies in one particular way of raillery, the town soon grew weary of his writings'. Much of this volume is devoted to three long prose works: (a) Animadversions on the Pretended Account of Danmark (1694), attacking the well-known Whig account by Robert Molesworth; (b) A Journey to London, in the Year, 1698 (1698), a parody of Martin Lister's Journey to Paris; and (c) Dialogues of the Dead (1699), a satire on Richard Bentley and the Phalaris controversy. There are also a number of previously published poems, such as 'Molly of Mountown', first printed in 1704 as 'by the author of the Tale of the Tub'. At the end is a collection of twenty miscellaneous poems, including 'The Old Cheese', 'The Skillet', 'Little Mouths', 'The Beggar Woman', and 'The Incurious'. The book is dedicated to the members of the 'immortal' Beef-Steak Club, which is odd: the original club was founded in about 1705 as an offshoot of the whiggish Kit Cat Club and King would surely have been out of sympathy with them. Several other Beef Steak Clubs have followed, most of them similarly whiggish and liberal rather than tory. Foxon p. 399.

From the papers of theatre historian Walter James Macqueen-Pope (1888-1960). (See his entry in the Oxford DNB.) The three items are in fair condition, lightly aged and worn. Her two letters are pinned together. The letter to Kerby has the large and firm signature 'Suzette Tarri'; the letter to Horsfield is evidently signed 'Suzette Terri' on her behalf by her husband. ONE (ST to P. W. Kerby): 23 January 1944. Letterhead of '"Suda" / 25 Manor Drive, Southgate, N. 14' ('SUZETTE TARRI / RADIO COMEDIENNE / WITH / DAVID JENKINS / THE POPULAR PIANIST-VOCALIST'). 1p, 4to. 'I am afraid my difficulty is not in trying to book so far ahead as May, but in the fact that I am already booked on the Music-Halls till next December. It is practically hopeless for me to accept any more Sunday shows, as I am liable at the last minute to he switched over from one Variety hall to another, under the terms of my contract with George Black's theatres and the Stoll organization.' TWO (ST to 'Mr. Horsfield'): 1p, 8vo. On ruled paper. 'As I shall be in the middle of making a film on SAt., May the 8th., I fear that I cannot accept an engagement on that date. The time element is too risky, and I should not take a chance of letting the show down.' Signed on her behalf by her husband. THREE (Jenkins to MP): 23 June 1950. Another 'Suda' letterhead, this one headed 'SUZETTE TARRI / RADIO COMEDIENNE'. 1p, 4to. Begins: 'My dear Popie, / Suzie is thrilled to hear that you require her photo for your new book.' He is enclosing the photo 'in triplicate (up-to-date phraseology!)', and is also 'sending you a programme to let you see that this particular picture reproduces well'. (Neither item is present.) He continues: 'We have opened well here to three full houses on our first three nights. In June, too! It augurs well.'.

Four items, in good condition, lightly aged and worn. An interesting correspondence, casting light on the proprieties of Victorian biographical writing. Hare's 'The Story of my Life' was published in six volumes between 1896 and 1900, and was described by the original DNB as 'a long, tedious, and indiscreet autobiography'. The Oxford DNB remarks that 'By the late twentieth century, however, Hare was undergoing something of a revival. A society of enthusiasts and collectors of his works was formed: a one-volume condensed edition of his autobiography was edited by A. Miller and J. Papp in 1995, and it and the original proved a useful source for those interested in country-house life in the later nineteenth century.' The 'defamatory' passage that is the subject of the complaint by Harington and the family of Dean Smith in the present correspondence is paraphrased by Harington in Item Four below. ONE: Manuscript 'Copies' (presumably by Henry Smith or a member of his family, see Item Three) of two letters from Hare [to Henry Smith]. Both from Holmhurst, St Leonards on Sea [the first on cancelled letterhead of the Shire Hall, Worcester]; 10 and 11 December 1896. On the same bifolium. Totalling 4pp., 12mo. In the letter of 10 December he states that he is 'sorry to learn from you that anyone has been pained by anything in the "Story of my Life" | The story you mention was told me (as quoted from a letter to my mother) by a lady who was intimate with your family. She was certainly unconscious of doing anything unkind in repeating a well known & popular anecdote which I have since often heard at dinner tables both in Oxfordshire & Yorkshire so often that I imagined everyone considered it historic'. He continues with his defence, pointing out that the anecdote is responsible for 'the well known nick name [of Dean Smith] so familiar still at Ch Ch'.' As he is 'unwilling to cause the slightest pain, the passage shall certainly be omitted henceforth'. In a postscript he writes: 'My publishers are in no sense responsible for my books as I pay for them entirely. I alone am to blame if there is blame.' Letter of 11 December begins: 'On looking again at yr. letter today, it strikes me in quite a different light. It is possible that you thought that I, or my readers, or the readers of the story where it has appeared elsewhere, or the many who say they heard Dr. Smith narrate it, regarded the story as true! - that never occurred to me before! As far as I know it has been universally regarded as such a story as an elderly lover of anecdote would tell against himself, evolving it from his own imagination, with a very considerable sense of humour & no idea of any serious construction being placed upon it and certainly with little idea of who would be the first to place such a construction. From what I have heard he was always himself amused by the soubriquet which arose from the story. Besides regretting anything that has given you pain, I regret that I did not insert the words "wholly imaginary" - "told this wholly & [sic] imaginary story against himself"'. TWO: Hare [to Harington]. 5pp., 12mo. He begins by thanking him for his 'very kind letter', and expresses sorrow 'for any pain your uncle has felt through the "Story of my Life".' He explains that 'the earlier volumes' of the book were written seventeen years before, and that it had been 'printed some years though with no intention of publication till long after my death; an arrangement which, last year, circumstances induced me to alter'. Publication has allowed him to 'correct errors the story of Alexander the Great for instance, which I had already been made aware that I had most stupidly spoilt.' When he agreed to publication he had 'no idea of the possibility of a son & daughters of Dean Smith being alive: indeed the latter seemed to me quite old ladies when I saw them above thirty years ago'. He recalls that after he took his degree he lived 'much at Oxford with my cousin Canon Stanley', and that he 'often heard the story, which was an especial favourite with him', and that when he 'went to Doncaster, I was taken to see the ladies, because of their (supposed) connection with the story'. He has 'expunged' the anecdote from 'the second edition (not out yet)'. He has been assured by '[s]everal young men' to whom he has mentioned Harington's uncle's letter that 'they have heard it before always, of course, as an old gentlemans story told in obliviousness of the construction which his hearers might place upon it'. He ends by claiming to be well acquainted with Harington's son: 'I think he would let me say that he was a friend of mine'. Both of the autograph drafts of Harington's letters to Hare are signed with initials. THREE: Draft of Harington to Hare. 8 February 1897. 4pp., 12mo. With deletions and emendations. Begins: Dear Sir, | My Uncle Henry Smith has shown me the correspondence which passed between himself & you last December with reference to the defamatory anecdote which you related in your autobiography touching my grandfather, Dr Gaisford's predecessor as Dean of Ch. Ch.' He accepts Hare's 'assurance that the story was inserted without any intention of giving the pain & annoyance which it undoubtedly has to his descendants & that it will be omitted in future editions but I must protest against your speaking of it or the sobriquet which you have attached to him as familiar still at Ch Ch.' He points out that he is himself 'an old Student of Ch Ch. of within a month or two exactly the same University standing as yourself, & Oxford has been the home of my boyhood since 1842.' Hare's story was 'perfectly well known' in Harington's time, 'but told not of Dr Smith but of another man an old gentleman nearly in his dotage himself quite as incapable of such an act as my grandfather, but of whom it was told in of his imbecility.' He boasts of 'an unbroken succession of descendants of my grandfather at Ch Ch or living in Oxford, for more t.

Three excellent letters, written to his old headmaster at Charterhouse. Bickersteth's papers are at Aberdeen, and with those of his family at the Bodleian. See the Oxford DNB entry for his brother Julian Bickersteth (1885-1962). Three long letters, every page fully filled with text neatly written in a close hand. The three items in fair condition, lightly aged and worn. ONE (11 July 1913): 4pp, 12mo, with additional cross writing on the first three. Bifolium. Begins by thanking him for his book, clearly Rendall's 'A Hero of the Antarctic', about the ornithologist and explorer E. A. Wilson (1872-1912). 'I read it last night and really almost felt as if I had known the man. I wish I had known him, for his life must have been an inspiration to many. Anyone, who has been a schoolmaster even for such a short time as I have, is able to realise how extraordinary the effect of such a life must have been iONE: 11 July 1913; on letterhead of The College, Marlborough. TWO: 27 January 1914; Amalienstrasse 44A/II, Munich. THREE: 7 February 1933; on letterhead of 4 St John's Terrace, Glasgow, W2.n a public school. There is nobody on the staff here who even remotely resembles him and to read about him makes one feel a very miserable creature indeed in comparision.' He proceeds to give an outline of his plans, having resigned his post at Marlborough the previous term, 'not of course without careful thought'. He gives his reasons, noting that he has 'no ambitions to be a Headmaster and housemastering in a school run on the hostel system would not interest me much'. He has no desire to marry, 'but supposing I did, I should not be able to for another 15 or 20 years'. 'I contemplate with absolute horror the prospect of becoming one day what most of the more senior members of the staff here are - men whose interests are atrophied and whose whole outlook on life is bounded by the 4 walls of Marlborough College. You see, we are very much cut off from the world here.' 'My chief interest is literature. I am tolerably well acquainted now (I mean for my age) with the literatures of six languages. Since I left Oxford I have used all my time in reading and travelling. A German or French university held out to me the best prospects. I prefer the German language so chose Germany. I intend to go to a German university (or rather two, Munich and Heidelberg) and there read for a Ph.D. [.] The qualifications (supposing I am successful) would be. Classical schol. of Charterhouse, 2nd in Greats, Ph.D. Heidelberg, (in Eng: Germ & French) 5 years teaching experience in a public school, and one book on an Italian poet to my credit. (Age 30.)' His book on Carducci is being published by Longmans, 'at no expense to myself', and he has returned from an 'intensely interesting' visit to Russia and Finland. TWO (27 January 1914): 4pp, 8vo. Discussing a letter by Rendall on his Carducci, and criticisms of his own prosody, and the art of translation. He ends with a description of the 'interesting time' he is having in Germany: 'German educational ideals & methods are very different to ours. Both have their good and bad points. I am working here under one of the greatest of living philologists and linguists. Professor Schick [Josef Schick (1859-1944)] by name, a marvel of erudition, if ever there was one, and yet far from being a Dryasdust. He is a perfect master of about a dozen dead languages and over 20 modern ones and is an absolutely brilliant teacher. All European languages as well as Japanese, Chinese, Turkish, Uralic, Sanskrit Coptic etc. are contained in his repertoire, and yet his most important publications have dealt with various problems of pure mathematics. He daily holds over 200 men and women literally entranced over the purely philological consideration of Anglo-Saxon roots - the dryest of all dry subjects in other hands.' He ends with news of his plan for his dissertation and other matters. THREE (7 February 1933): 4pp, 12mo. Begins by thanking Rendall for his help in placing his brother Julian in the position [of headmaster of Felsted School], with praise of his brother's attitude and abilities. Changing the subject he writes: 'I can't help also being particularly pleased by your praise of my translation [of Dante's 'Paradiso']. From my old headmaster, who was the first to give me a dear notion of the art of poetry and has taken such interest in my work ever sincec I left Charterhouse (now 30 years ago) your commendation is as delighful as was ever a 'bene' written at the top of a Greek or Latin prose those many years ago.' He considers the Paradiso 'the most astoundingly successful use of symbol for expressing the unexpressible, & that on a gigantic scale, anywhere extant, so far as I know, not excluding the Hebrew Prophets, works like the Book of Revelation, or some of the Myths of Plato'. The final paragraph concerns the 'schoolmen' ('Aquinas, merely as a thinker, leaves me agasp at his genius').

8vo, pp. [xxxii], 536, [2] table of contents; with separate title pages for individual pieces, but continuous signatures; some early leaves dust-soiled and creased, with small tears (particularly A1); but otherwise a sound copy, in contemporary panelled calf, rebacked. First edition: much of this volume is devoted to three long prose works: (a) Animadversions on the Pretended Account of Danmark (1694), attacking the well-known Whig account by Robert Molesworth (to whom it is ironically dedicated, as 'Mr M---' ) (b) A Journey to London, in the Year, 1698 (1698), a parody of Martin Lister's Journey to Paris; and (c) Dialogues of the Dead (1699), a satire on Richard Bentley and the Phalaris controversy. There are also a number of previously published poems, such as 'Molly of Mountown', first printed in 1704 as 'by the author of the Tale of the Tub'. At the end is a collection of twenty miscellaneous poems, including 'The Old Cheese', 'The Skillet', 'Little Mouths', 'The Beggar Woman', and 'The Incurious'. The book is dedicated to the members of the 'immortal' Beef-Steak Club, which is odd: the original club was founded in about 1705 as an offshoot of the whiggish Kit Cat Club and King would surely have been out of sympathy with them. Several other Beef Steak Clubs have followed, most of them similarly whiggish and liberal rather than tory. Foxon p. 399.

Two Manuscript Letters from the London banking house Robert Herries & Co. to the former Governor of West Florida George Johnstone, the first 'with Account Current' and the second regarding delivery of 'the plate to Mr Maxwell. Both items in good condition, lightly aged and worn. ONE: 2pp, 8vo. On the inner sides of a bifolium, with the reverse of the second leaf bearing the address (with postmark) 'Commodore Johnstone / M. P. / Portsmouth', and endorsement 'Sir Robert Harries [sic] & Co. / 19th Feby. 1781. / with Account Current. / Balance due the Governor / £697 . 18/3'. The letter, on the recto of the second leaf, reads: 'We have received your favour of the 18th and agreeably to your request we send you annexed your account current, balanced in our favour £697 . 18 . 3- we are respectf[ully] / Sir / Your most obed Servts / Robert Herries & Co'. The double-column account, for January and February of 1781, is lengthwise on the reverse of the first leaf. A substantial payment of £1140 19s 6d is made 'To Pigott', and this may be Rear Admiral Hugh Pigot (1722-1792; ODNB). TWO: 1p, 4to. On the recto of the first leaf of a bifolium, with the verso of the second carrying the address: 'Governor Johnstone / Kensington Gore', and endorsement 'Sr Robert Herries & Co. St James's street that they had delivered the Plate to Mr Maxwell / & that when the Govr. settled his accot 26 July there was two Orders for £20 . 12 . 11 which had not been presented / 1st October 1782'. The letter, of fifteen lines, states that they have 'delivered the Chest of plate according to his order, to Mr. Mawell'. The two unpresented orders are said to come from 'Mr. Poole' and 'Mr. Neighbour'.

On 28 February 1885 The Times announced the death of Eber, 'for many years our valued correspondent at Vienna'; and a hundred years later (24 September 1985) the same paper described Eber as 'the condottiere-journalist, General Ferdinand Eber, whose habit of engaging in wars as well as reporting them earned him the displeasure of his masters in Printing House Square'. Both items in good condition, on lightly-aged paper, with slight damage from previous mounting. Both addressed to 'My dear Wreford', and both written in a difficult hand. Letter One: 3pp., 12mo. He has 'received the Corals all safe', but has been 'out of town for the last month so had no opportunity of inspecting them'. He considers them 'beautiful in both colour and shape and above all ridiculously cheap', although he has had 'some difficulty in calculating the 11 fr. 47 ct. in English money. After long and intricate calcuations the nearest I could get was 9 shillings and sixpence'. Turning to The Times, he writes: 'You know at P[rinting]. H[ouse]. S[quare]. they only pay attention to what is of immediate importance so you must not be surprized that they don't care much about Italy at the moment. However I am very much mistaken if they have not to take up the subject very shortly.' He is 'again preparing to go out there and should like to take a run in a private capacity to your part of the world, [i.e. Naples] but I fear I shall not be able to manage it.' Letter Two: 3pp., 8vo. The letter which Wrexford sent 'by a Neapolitan channel' is probably 'lost or has fallen into the wrong hands'. He describes 'a bit of shell' which he is sending him. 'The portrait [of Garibaldi?] is not ready yet', and he will 'send it by [sic] the first opportunity together with the Autograph although it is almost cruel to ask the general for one. [.] We are here busy organizing and arming so you must moderate your craving for stirring . They will come soon enough.' He wishes to correct a rumour: 'I don't know who circulated the news that people here won't have the . In the first instance they want what Garibaldi wants and then independently of this you see the Vogliamo l'Accessione al Regno al Regno costituzionale di Vittorio Emanuelle II on every door and over every shop. All the songs speak of him and Garibaldi. On the contrary the difficulty will probably be to keep them back, for it is important to stick to the Sicily and we will hope soon Naples have risen against a Govt abhorred by every one and are doing what they can to upset it. No one can interfere , while no political question is mixed up with the thing. Let us therefore cast all speculation aside, and wait for events. When Garibaldi an Italian policy on the part of Naples intimate alliances will Italy and Constitution would have been sufficient, now no one would listen to it. Then things were at par now our shares are at premium.' He considered 'going off with a column into the Interior', but has decided to remain 'a little while longer at Palermo'. In a postscript he writes: 'This letter, newspapers and shell go by Agamemnon who will take some days to go there so I prefer sending the letters via Malta.'.

Two volumes, 12mo, engraved portrait frontispiece and pp. [ii], iv, xxi, [iii] advertisements, 336; 99, [1], 252; contemporary panelled calf, second volume rather more worn than the first, with both joints quite significantly cracked. First edition thus: there had been an earlier collection published by Samuel Briscoe (1705) but this is a newly-edited version. The first volume, and the first part of the second, contain the letters, and the second volume is largely made up of the romance Alcidalis and Zelida. New to this edition is the inclusion of Pope's poem 'To a Young Lady, with the Works of Voiture', which had been printed in 1712 in Lintot's Miscellaneous Poems and Translations (Griffith 6), and which was later retitled 'Epistle to Miss Blount with the works of Voiture' although, as the Twickenham edition comments, it may have been originally drafted before Pope came to know either of the Blount sisters. The poem itself, clearly not included with Pope's permission, is not really a 'character' of Voiture's writings, as the title page states, but this is a Curll publication, so one must expect some economy with the truth. Baines & Rogers point out that at this period Curll seems to have collaborated with a number of other booksellers: in this instance they even published a joint catalogue of their publications as part of the prelims. See Baines & Rogers, Edmund Curll, bookseller, pp. 65, 73 and 204; not listed by Straus, Unspeakable Curll; not in Griffith, Bibliography of Pope. Provenance. Contemporary signature in both volumes of Ann Dorrien, and small early armorial bookplate, also in each volume, which incorporates the Dorrien arms the books probably descended in the Smith-Dorrien family, a prominent and wealthy family who lived at Berkhamsted.

No binding. Zustand: Good. 420 x 530 mm., minute area of loss at double fold as expected, otherwise in good condition. A superb attractive separately published English map first issued during the Interregnum in the same year that Oliver Cromwell died. This second state is identical apart from the removal of the date 1658 from the title. The fact that the portrait of Cromwell is removed from that of Europe in this set of continental maps would indicate that they were issued following the restoration of Charles II in 1660. There are very few early English maps of the America's and apart from those of John Speed, the majority are very rare.Cromwellian London had only a handful of map publishers, amongst whom were Thomas Jenner (fl.1621-72), Joseph Moxon (1627-91), and Peter Stent (1613?-65). Following the restoration of Charles II the trade expanded considerably. Robert Walton (1618-88) was born at Welford, Northamptonshire and apprenticed through the Merchant Taylors to the copperplate printed John Costard in 1632. He was made free in 1641. His earliest cartographic work was a map of much of the British Isles by engraved by Wenceslaus Hollar and Thomas Porter's plan of London, both in 1654."In 1656 he produced a world map and having clearly perceived a market for a set of the continents, completed them in 1658. The American map is derived from the sixth state of Pieter van den Keere's map issued by Nicolaas Visscher, 1652. 'Statenlant' off Tierra del Fuego is depicted as an island. The title states that it is corrected according to Blaeu, referring to two areas in particular. The St. Lawrence River extends half way across the continent to a large lake open to the west, where Walton places a legend stating 'This Lake is said to be 300 miles long'. The lake is derived from Blaeu's wall map of the world, 1648. On the west coast above the insular California, he introduces the peninsula of Agubelad Cata. This is found on Blaeu's revised wall map of the world ascribed to 1645-46 and would be followed by many cartographers. The fascinating depiction of California attempts to balance the many theories at the time. The old north-westerly running west coast found on pre-California as an island maps is amalgamated with the recent theory of a Terre de Jesso landmass.A further improvement is the inclusion of Hudson Bay, which was found on the van den Keere but only ever in the inset not in the main body of the map. The east coast of North America is improved in an elementary manner, including 'Boston', but not Jamestown. Interestingly we find a reference to 'Carolina' in the south-east, reflecting earlier French claims. 'NEW NETHERLAND' is mentioned without indicating New Amsterdam, and the French presence in the north is barely recorded. The van den Keere decorations are faithfully followed with the exception of replacing the Chinese junk with a European vessel. The bordering panels are similarly emulated with the exception of the title of the second one down to the right, altering it from 'CHILI' to 'A MAGELLANIC'. This paired it more accurately with the left hand border. This rare map is not known to have been intended for any book although it has been found inserted into examples of Peter Heylin's 'Cosmographie' and Bernhard Varenius' 'Cosmography and Geography'." (Burden). Provenance: Richard B. Arkway 2003; Juan and Peggy Rada Collection. Burden (1996) 330; Jolly (1981); Jolly (1985); Leighly (1972) no. 51; McLaughlin & Mayo (1995) no. 41; 'The Map Collector' (1981) no. 15 pp. 48-50 (illustrating a full set of the second state continents); Tooley (1964) p. 119, no. 25; Tooley (1973) p. 304 (entered as being 1648); Tyacke (1978) pp. 145-6; Worms & Baynton-Williams (2011).

Letter One: [No envelope; undated] One page, 8vo, good condition. Text: "Forgive me for not having written before to thank you for your very kind letter, but I have had something like five hundred letters & telegrams of congratulation & they have been a job to deal with. It was very kind of you to write. I am just off to England to receive the insignia." [Maugham was made a Companion of Honour in 1954 if that indicates the date of the letter(?)]; Letter Two: Postmark 24 Oct. 1934 and dated "Oct. 34" (though the '3' looks like a '2'), Two pages, 8vo, good condition. Text: "Darling | I was so distressed to get Jan's letter this morning. You poor thing! You must have been so dreadfully worried, but what a comfort to think there wass nothing malignant there & you will soon be all right again. I cannot tell you how glad I am. Now you will be free of all anxiety & feel like a two year old. Now, Charlotte dear, I imagine that all this, the operation, the nursing home, has been a great & unexpected expence. I cannot bear the idea of your being worried so I am sending you a little presy [present]. I hope it will be useful. London is very nice. Everyone seems very gay & I am going to far more parties than I should at my advanced age. I have not seen Barbara yet as she has been lecturing (!) in Manchester on the art of make up. I cannot make out how she has ever found out anything about it. Bless you, my sweet, & my love to Jan."; LETTER THREE: One page, 4to. small close tear on fold mark, ow. good. Text: Charlotte my dear | How lovely of you! I am so grateful & so touched; but why should you mmake me [?] a lovely present,& me not getting married or anything. No excuse really except your generous & tender heart. Thank you, my pet. The etching is lovely & I'm going to put it up in my writing room. I am so glad to have it, though I don't deserve it." See Image of page 2 of Letter Two with envelope. Note: These letters derive from an archive purchased at auction, and also including letters to her from H.G. Wells, Rebecca West, and H.L. Mencken which are catalogued separately. There was a note attached to the archive: : "Letters from Rebecca West | H.G. Wells | Somerset Maugham | H.L. Mencken.| To Charlotte Boissevain. | Charlotte Boissevain gave these documents to Paul Gallico to 'keep safely'. [Signed] V.G. [Virginia Gallico presumably], of which a copy would be provided if requested.