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A screenplay of Paths of GloryUnited Artists, 1957. Mimeographed manuscript, screenplay by Stanley Kubrick and Jim Thompson, 145 pp, no date but cover displays 'A forthcoming production of Harris-Kubrick for early 1957,' housed in wrappers with a photograph of soldiers and 'Paths of Glory' across the top cover, bound with brads. Kirk Douglas plays Colonel Dax in this dramatic tale of a group of World War I soldiers who refuse to engage in a suicide mission and are threatened with court martial for cowardice. Directed by Stanley Kubrick, the anti-war message of the film and the disparity shown between power-hungry officers and fighting soldiers struck a chord with audiences, and the film remains one of Kubrick's most stunning productions.Provenance: the collection of Gerald Fried. 8.75 x 11 in.

A Bullitt screenplayWarner Bros./Seven Arts, 1968. Mimeographed manuscript, 99 pp, dated January 1, 1968 and marked 'Final' to title page, with green, yellow, pink, orange, and blue revision pages bound in, bound with brads in yellow Warner Bros.-Seven Arts, Inc. wrappers. Steve McQueen's reign as a leading man was at its peak with this action-packed tale of a police officer ordered to protect a mob boss who is turning state's evidence. The star-studded cast includes Jacqueline Bisset, Robert Vaughn, and Robert Duvall. 8.75 x 11.5 in.

A pair of screenplays for The Godfather and The Godfather: Part IIParamount Pictures, 1972 and 1974. Comprising a mimeographed manuscript, screenplay by Mario Puzo and Francis Ford Coppola, 158 pp, dated March 29, 1971 and marked 'Third Draft' to title page and 'The Godfather' to cover, bound with brads in burgundy wrappers; and a xerographic manuscript, screenplay by Mario Puzo and Francis Ford Coppola, 200 pp, dated September 24, 1973 and marked 'Second Draft' to title page, bound with brads in 'The Godfather: Part II' wrappers. Much of the main cast for the first film returned to reprise their roles in the sequel including Al Pacino, Diane Keaton, and Robert Duvall. The story of an organized crime family, both films were directed by Coppola, who would subsequently direct the third installment, The Godfather: Part III in 1990. Each: 8.75 x 11 in.

A screenplay of The ProducersEmbassy Pictures, 1968. Mimeographed manuscript, screenplay by Mel Brooks, 101 pp, dated March 1967, with ownership signature ('Alan Johnson') in blue ink to title page, bound with brads and housed in custom black wrappers with 'The Producers / by Mel Brooks' stamped to the front cover. Though rejected by executives when it was initially titled Springtime for Hitler, The Producers was a comedy sensation when it hit the big screen. The premise rested on two men purposely producing a flop stage play in order to con the financial backers. The 'Springtime for Hitler' title stayed in the production, but as a musical number and 'play within a film.' Provenance: the estate of Alan Johnson. 9.25 x 11.5 in.

A Young Frankenstein screenplayTwentieth Century-Fox, 1974. Mimeographed manuscript, screenplay by Mel Brooks and Gene Wilder, 134 pp, dated February 7, 1974 and marked 'Fourth Draft' to title page, bound with brads in yellow Twentieth Century-Fox wrappers. This is choreographer Alan Johnson's personal script. Johnson was responsible for staging the hilarious 'Puttin' on the Ritz' tap dancing number performed by Peter Boyle as the Monster and Gene Wilder as Dr. Frankenstein's grandson.Provenance: the estate of Alan Johnson. 8.5 x 11 in.

A Blazing Saddles screenplayWarner Bros., 1974. Mimeographed manuscript, screenplay by Mel Brooks, Richard Pryor, Andrew Bergman, Norman Steinberg, and Alan Uger, 123 pp, dated February 6, 1973, with working title 'Black Bart' and 'Final' to title page, with some annotations on the back page in black ink by choreographer Alan Johnson, bound with brads in yellow Warner Bros. wrappers. Accompanied by a 29 pp shooting schedule dated February 23, 1973 with annotations in green by Johnson and details regarding props, sets, scenes, and locations; a 2 pp musical score, 3 pp typed lyric sheet, and 1 p handwritten (by Johnson) lyric sheet on yellow legal paper for 'I'm Tired'; and a 1 p typed lyric sheet for 'The French Mistake.' This is Alan Johnson's personal script of the Mel Brooks' musical Western spoof. Johnson was responsible for Madeline Kahn's hilarious parody of an exhausted Marlene Dietrich singing 'I'm Tired' next to a danceline of chorus infantrymen, as well as other dance sequences in the film. His association with Brooks and his ability to stage dance numbers complementing Brooks' zany storylines made them a peerless team. Provenance: the estate of Alan Johnson. 9 x 11.5 in.

A High Anxiety screenplayTwentieth Century-Fox, 1977. Mimeographed manuscript, screenplay by Mel Brooks, Ron Clark, Rudy De Luca, and Barry Levinson, 121 pp, dated April 5, 1977, housed in a blue 3-ring binder. This is choreographer Alan Johnson's personal script. Mel Brooks' tribute to director Alfred Hitchcock spoofs most of Hitchcock's classics such as Vertigo (1958) and The Birds (1963) as Brooks plays a psychiatrist with more phobias than his patients. Provenance: the estate of Alan Johnson. 10.25 x 11.75 x 2 in.

A Baby LeRoy personal script of Alice in WonderlandParamount Pictures, 1933. Mimeographed manuscript, screenplay by Joseph L. Mankiewicz, 642 pp with an additional 8 pp prologue and 4 pp epilogue, with complete title, 'Alice's Adventures in Wonderland and Through the Looking Glass' on title page (the film combined both of these Lewis Carroll books into one story), with an illustration on each page by production designer William Cameron Menzies, bound in brown paper wrappers, with the cover and two title pages loose. Though Menzies and Mankiewicz went on to bigger and better projects (Menzies as production designer on Gone With the Wind (1939) and Mankiewicz as screenwriter and director of All About Eve (1950), among dozens of other triumphs), this early collaboration confirms the versatility of each. Directed by Norman Z. McLeod, the film was actually frightening to children because of the characters' grotesque but fascinating visages. The production was star-studded and included Cary Grant, Gary Cooper, W.C. Fields, Edward Everett Horton, and many others, with Baby LeRoy looking adorable as the Joker. This personal script belonging to Baby LeRoy is a rare complete version that highlights Menzies' genius as a production designer. Provenance: the estate of Ronald 'Baby LeRoy' Overacker. 8.5 x 14 x 2.75 in.

A John Wayne-signed script of The Train RobbersWarner Bros., 1973. Mimeographic manuscript, screenplay by Burt Kennedy, 105 pp, n.d. [1972], with 'Dave Grayson' ownership signature to cover and inscription by John Wayne to title page: 'Dave – / Here we go again / Duke / John Wayne / 1972,' bound with brads in red wrappers. Wayne and Ann-Margret make an unlikely pair in this Western which centers around a widow who wants to clear her dead husband's name. At 66 years of age, 'the Duke' had not lost any of his on-screen charisma.Provenance: the estate of David Grayson. 8.75 x 11 in.

A John Wayne-signed script of Rooster CogburnUniversal Pictures, 1975. Mimeographic manuscript, story and screenplay by Martin Julien, 116 pp, dated August 26, 1974 and marked 'Second Revised Final Script' to cover, with 'Dave Grayson' ownership signature and inscription by John Wayne to cover, 'David / Affection / Duke,' bound with brads in orange Universal Studios wrappers. John Wayne's Oscar®-winning performance in True Grit (1969) led to this film featuring the same character of Rooster Cogburn. This time around, the feisty Katharine Hepburn co-starred in her very first motion picture with 'The Duke,' and together their chemistry brought box office success. Accompanied by a folded one sheet poster from the film. Provenance: the estate of David Grayson. 8.75 x 11.25 in.

A John Wayne-signed script of The ShootistParamount Pictures, 1976. Xerographic manuscript, screenplay by Scott Hale, 129 pp, dated November 5, 1975, with 'Dave Grayson' ownership signature to title page and an inscription by John Wayne to cover, 'Dear Dave –/ Till the next one / Happy days / Duke,' bound with brads in yellow wrappers. Wayne teamed up with Lauren Bacall (their second film together after 1955's Blood Alley) to play a man dying of terminal cancer, a situation with which Wayne was familiar, having survived lung cancer in 1964. The Shootist was his last film before he developed stomach cancer and died in 1979. Accompanied by a presskit from the film. Provenance: the estate of David Grayson. 8.75 x 11.5 in.

A Mitzi Gaynor personal script of There's No Business Like Show BusinessTwentieth Century-Fox, 1954. Mimeographed manuscript, screenplay by Phoebe and Henry Ephron, based on an original story by Lamar Trotti, 109 pp, dated February 11, 1954 and marked 'Revised Final Script' to cover and title page, with 'Mitzi Gaynor' ownership signature to cover and blue revision pages loosely tucked in, bound with brads and housed in salmon-colored Twentieth Century-Fox wrappers with the title and date to cover and spine. Mitzi teamed up with a cavalcade of stars including Donald O'Connor, Marilyn Monroe, Ethel Merman, and Dan Dailey in this film about a family of vaudeville performers. In glorious Cinemascope and with songs by Irving Berlin, the film was a huge success and led to Mitzi signing with a competing studio, Paramount Pictures. 9.75 x 11.75 in.

A Mitzi Gaynor personal script of South PacificTwentieth Century-Fox, 1958. Mimeographed manuscript, screenplay by Paul Osborn, 138 pp, dated June 10, 1957 and marked 'Final' to cover and title page, with blue revision pages bound in, bound with brads and housed in blue Twentieth Century-Fox wrappers with the title and date to cover and spine. Mitzi Gaynor still speaks with excitement in her voice when she recalls being cast by Rodgers and Hammerstein for the part of Ensign Nellie Forbush in the film version of what had been a smash production on Broadway. Directed by Joshua Logan, the musical takes place in the South Pacific where a military nurse falls in love with a dashing Frenchman played by Rossano Brazzi. Mitzi sings and dances to songs that became standards such as 'I'm Gonna Wash That Man Right Outa My Hair' and 'I'm in Love with a Wonderful Guy,' among others, endearing herself to worldwide audiences. She received a Golden Globe nomination for her performance and continues to sing many of the songs from the film in her stage performances. According to Mitzi, the film was 'the be-all and end-all' of her career. 'More people remember me from that film than from anything else.' 9.5 x 11.5 in.

Burton-on-Trent.- Obligation bond of Agnes, daughter of Hawisia widow of Geoffrey de Caldewell to John Didurday of Burton on Trent, for forty shillings to be repaid at Burton the following Easter, manuscript in Latin, on vellum, 7 lines, lacks seal, folds, browned, 26th September 1333.

France.- John the Fearless (Duke of Burgundy, assassinated on the bridge at Montereau 1419 during a parley with the French dauphin, 1371-1419).- Payment from the chamber of the duke of Burgundy by Johan aubry master of the chamber on behalf of the duchess of Burgundy of four hundred ?tournois, signed Mareschal, manuscript in French, on vellum, 8 lines, folds, slightly yellowed, three small holes in left margin, 120- x 320mm., 16th February 1406.

Defence of Calais.- Wyatt (Sir George, landowner and writer, youngest son of Sir Thomas Wyatt, soldier and rebel, executed by Queen Mary, b. in or before 1521, d. 1554, 1553-1624) Letter signed to Lord Cobham, later Lord Chamberlain, a dedicatory epistle to Wyatt's Treatise on the Defence of Calais, and notes that his accompanying Treatise is "a thinge I desiere shuld rather keep wt in ye limits of a private dutie. The thinge is conceavid wt a sudden Pen and hatched wt a weake iudgmet, so as it ca rather creepe, then flye, otherwise then as you shal beare it up wt your accustomed good opinion", corners and edges torn (1 corner torn with small loss of text), a few ink smudges, folds, browned.⁂ Sir George Wyatt was the grandson of Sir Thomas Wyatt (c. 1503-1542), poet and ambassador, and son of a rebel executed by Queen Mary. The estate Wyatt inherited was much reduced and he spent much of his career as a soldier "probably in the Low Countries, and was present at the siege of Bergen-op-Zoom in 1588, although in what capacity is not clear. The Mr Wiatt who was muster-master there from 1588 to 1591 was always referred to (and referred to himself) as Thomas, as was the 'Capten Wiatt' who assisted Lord Cobham and Sir Thomas Wilford with the Kentish musters in the late 1590s. George Wyatt had settled down in Kent by 1593, but, as he complained to Lord Cobham, 'mine estate forceth me to retire myself' (Papers, 31)." (Oxford DNB). Wyatt left a number of writings but none were published. The manuscript of the accompanying Treatise on the Defence of Calais is BL Add. Mss. 62135.

NO RESERVE Pewterer of London.- Indenture, Richard Jacob Pewterer of London bargain and sale to John Baynes Cook of London a messuage called the Royal Oak without Temple Bar, document signed, manuscript in English, on paper, red wax seal, slightly browned, 520 x 420mm., 20th March 1685.

NO RESERVE French Cavalry.- Etat de 1785, manuscript in French, title and 57pp., watercolour borders with floral decoration, original patterned calf, gilt, 1785.

Bradlaugh (Charles) [Tracts: Various], c.22 tracts bound together, title in manuscript, ex-library with usual stamps and labels, small damage to 2 leaves, tape repairs, occasional marginal pencil markings, contemporary half-morocco, rubbed and worn, blind-stamp to upper cover, 8vo, 1882-87.⁂ Tracts included in this volume: Appeal to the Electors. Mr Gladstone or Lord Salisbury, Which?; Cromwell and Washington, 1883; England's Balance-Sheet for 1886; Five Dead Men, n.d.; Heresy: its Utility and Morality, 1882; The Laws of Blasphemy and Heresy, n.d., Taxation, 1887; Why do Men Starve?, n.d.; Will Socialism benefit the English People?, 1884; Some Objections to Socialism, 1884; The Real Representation of the People, n.d.; Poverty, n.d.; Radical Programme, 1885; The Land, the People and the Coming Struggle, n.d.; Labour's Prayer, n.d.; John Churchill, Duke of Marlborough, 1884; The Civil List, n.d.; The Channel Tunnel, 1887; The True Story of my Parliamentary Struggle, 1882; A Cardinal's Broken Oath, 1882; Northampton and the House of Commons, 1884.

Stoney of Emmel Castle, Co. Offaly & TipperaryBinding: The Book of Common Prayer,... According to the Use of The Church of England; Together with The Psalter and Psalms of David. 8vo L. (John Jarvis) 1792. Engd. frontis & 8 full page plts. after Stoddard & Westall. With numerous manuscript (& some printed) genealogical notes on The Stoney Family of Emmel Castle, Co. Tipperary, c. 1820 - 1918, a.e.g., marble ends, in fine and attractive full straight grained crimson mor., with profusely tooled lg. gilt borders and with blue and green overlaid lozengers with letters J.H.S. on both covers, spine gilt in compartments, and with original silver clasps. As a binding, w.a.f. V. good.

Yeats, Mangan and John McCall, with an ALSYeats [W.B.]. The Wanderings of Ossian and other Poems. L. 1889, dark blue cloth gilt, First, owner-inscribed on h.t. 'P.J. McCall'. Tiny hole in blank prelim (erased ink-blot?), else a superb copy, spine almost unfaded. Wade 2. (1)Laid in is an ALS from WBY to 'Dear Sir' [John McCall], from Eardley Crescent, South Kensington, 1 pp, folded sheet, and on reverse is McCall's manuscript copy of his original letter to Yeats, asking for his authority for saying (in an article in The Irish Fireside) that Mangan's fickle lady love was a Miss Stackpoole of Mount Pleasant Square, and quoting a paragraph in the Comet newspaper of Jan. 13 1833, which says the 'cruel fair one' was a Miss E, of Summer Hill on the north of the city. Yeats in his reply says his authority is Archdeacon O'Regan, who 'knew Mangan somewhat but knew the Stackpooles well'. He is waiting to hear further from him, 'but I have just heard he sometimes does not open his letters for a month together'.One wonders if Yeats ever replied further. It sounds as though he may have been mistaken.

[Nicholson (Wm.)] The Irish Historical Library, Pointing at most of the Authors and Records in Print or Manuscript, .. of a General History of Ireland. 8vo D. (A. Rhames) 1724. First Edn., recent quarter calf, raised bands. Good. (1)

Warren (F.E.) The Manuscript Irish Missal Belonging to .. Corpus Christi College, Oxford, tall 8vo L. 1879. First Edn., 5 plts. orig. full cloth; Forbes (Rev. G.H.) Missale Drummondiense, The Ancient Irish Missal in the Possession of Baroness Willoughby de Eresby, Drummond Castle, Perthshire. Roy 8vo Burntisland (Pitsligo Press) 1882. First Edn., 2 plts. orig. mor. backed boards. Good. (2)

The Finest CopyWith Fine Manuscript Poem by the AuthorStephens (James) The Crock of Gold, Tall 8vo L. 1926. First Edn., with 12 full page cold. illus. (includ frontis) & bl. & white illus. etc. by Thos. Mackenzie, a.e.g., in full polished calf, triple gilt fillet borders, and elf decoration on front cover, the spine profusely gilt tooled in panels, mor. labels, by G.V. Sawyer, London. An Exquisite Copy. (1)* With original 6 line manuscript poem, by the author, Signed."Life Comes on with not a word!Love is love, on no demand!death; unmasked, hath him bestirredLifting all up by the handAll that fall he stoops above,Lovingly for He is Love."

The Rathcool Cavalry1798: A folio manuscript Ledger, strongly bound, containing Returns of Men at Exercise of Rathcool Cavalry, monthly lists form March 1797 through 1798, up to May 1799, approx. 33 full folio pages, each listing up to 30 names men with number of days, present or absent, payments due, some pages identifying officers, with a few pages noting other expenditure including candles, officers horses etc. The first page has a details full page listing for 'Capt. Edw. Kennedy's Account.' Other officers mentioned include Serg. Edward Lavalade, Serg. Ransford, and Serg. Mullen, Trumpetor.In cont. hf. leather bound volume, marble sides. As a m/ss., w.a.f. Rare. (1)

Specifications for Two Houses in Co. Cork, 1883A Manuscript containing specifications for two houses to be built on the lands of Kipaddar South in the Barony of Duhallow, Co. Cork, under the terms of the Landed Property Improvement (Ireland) Acts of 1847 and later. Owner, Robert Reeves Esq. To be built by the Office of Public Works funded by a loan from the Treasury of £150. Signed by E. Thornton, 17 July 1883, 6pps., as a m/ss, w.a.f. (1)

“Some Remarks on the Pedigree of the White Knight”Genealogy: Manuscript, 5 ff, containing comments on the genealogy of the White Knight as given in part IV of Unpublished Geraldine Documents, edited by the Rev. James Graves and published in 1861. The writer has not been identified.“The White Knight” was a hereditary title borne by the head of the Fitzgibbon family, who held large estates in counties Limerick and Cork from the 14th to the 17th centuries. (1)

Medical interest: Manuscript Page, 29cms x 23cms, printed text in Latin, with MS additions in English. Invitation to a Dr Faulkner to attend a lecture on surgery given by a Dr Hervey, on Monday 11 April (year not specified), at 5 o'clock, followed by dinner at 5.30 - together with a reminder to the recipient to pay his fees and annual subscription.The letterhead bears the arms and motto of the Royal College of Physicians in London, of which Dr Arthur Brooke Faulkner was elected a fellow in 1808 (in which year 11 April did fall on a Monday).Arthur Brooke Faulkner (1779-1845) was the youngest son of Hugh Faulkner of Wellbrook and Seville Park, Co. Tyrone, and Castletown, Co. Carlow. Having been appointed physician to the forces, he served on the staff in Spain, Holland, Sicily and Malta. While he was in Malta there was an outbreak of the plague, and by his vigorous exertions in enforcing quarantine he limited its spread. On his return to England in 1815 he was knighted for his services.The speaker at the lecture he attended in 1808 appears to have been Dr Thomas Hervey (1751-1824), the pioneer of smallpox vaccination. (1)

Scrapbook: Cork & Sligo interest: A very good quarto scrapbook, mor. backed, mid-late 19th c., containing striking original photographs of Cork harbour and other Cork scenes, circa 1870, also original photographs of Lough Gill from Hazlewood, Co. Sligo; an original pencil sketch of Isaac Butt QC by James Owen; a sheet of drawings stated to be 'By Baron FitzGerald on the Bench during a trial in the Court of Exchequer'; a printed broadsheet ballad entitled 'Ricky Go Aisy' ascribed to Rickard Deasy QC; original programme for the Moore Centenary Commemoration, Cork, May 1879; original programme for a one-man performance by Mr. [Samuel] Lover, Cork, February 1850; Address to be spoken at the opening of the Gaiety Theatre, Dublin, by Mrs. Scott-Siddons, November 1871; prospectus for 'Dan Lowrey's Theatre of Varieties'; extended press reports on the destruction by fire of Dublin's new Theatre Royal the day before its opening; manuscript list of 'Macready's Characters'; other items of Theatrical interest, various engravings, etc. Inscribed inside rear cover George Arbuckle, 69 Lr Gardiner St. Dublin. As a Scrapbook, w.a.f. (1)

Scrapbook: Belfast interest. A handsome full mor. quarto scrapbook, compiled by members of the Burns family of Belfast, including manuscript extracts from the work of the Scottish national poet Robbie Burns, with whom they may have had (or supposed) a family connection, also various engravings, a few drawings, etc. Covers and spine with elaborate gouge-work decorations in gilt, edges and turn-ins gilt decorated, a.e.g., in very good condition throughout. (1)

Commonplace Book c. 1770. A thick folio Bell's Commonplace Book, compiled in manuscript by a student of history, law and government in the late 18th century. Printed title page (Bell 1770) and introduction, followed by a manuscript index and 144 numbered pages, remainder unnumbered. Strongly bound in full vellum with gilt borders, red mor. label titled in gilt, marbled end papers, the contents neatly written in a small copper plate hand.The unnamed compiler must have been roughly a contemporary of Henry Grattan (born 1746, called to the bar 1772) or perhaps a little younger. Subjects treated include climate, population, commerce, representation, the [English] constitution, money, Society, despotism, liberty of the Press, Habeas Corpus Act, Union of England and Scotland, Parliament of Great Britain, monopolies, trade, law, taxation, the Crusades, the Reformation, India, etc.; and at p. 100 ff. an extended report of a legal case involving John Leland, debtor, of the County of the City of Dublin and the Barons of the Exchequer. Authorities cited include Robertson's History of America, Blackstone's Commentaries, Montesquieu, Junius's Letters, Locke on Government, Bolingbroke's Dissertation on Parties, Smith on the Wealth of Nations, Goldsmith's History of Rome, Histoire de Raynal, etc. As a m/ss., w.a.f. Of considerable interest as showing in detail the authorities by which a well-tutored student in the late 18th century was guided. (1)

Prison Letter: A manuscript letter from a prisoner named 'Dick', to his mother, from Mountjoy, 13.2, no year, faded and in places difficult to read, mentions hunger strikes among untried and uncommitted men - 'It is the only form of protest' - tells her not to worry, reassuring her that things are not half as bad as Lough Derg [the pilgrimage?], heated cell, mattress, plenty of blankets. Mentions that young Salkeld was in the same cell in the Bridewell; expects to be home in a day or so. With censor's marks. As a m/ss., w.a.f. (1)

Oglaigh na hEireann etc.. A collection including a receipt for £5 signed by Bulmer Hobson, 20 July 1915; an election leaflet for Doctor O'Higgins [1929]; and a three page manuscript ballad entitled 'Recruiting', signed An Gall Fada, 'Founded on the present-day English motto - "God is good & the devil's not a bad fellow either"'. As a collection, w.a.f. (1)

Stop Press War NewsAll Published Republican Documents: An important compilation of Republican, separatist and similar Periodicals and Leaflets, 1922-24, with some earlier material, strongly bound in green buckram in a single large folio volume, including the 'Stop Press / War News' series Complete, nos. 1-175, as follows:-Óglaigh na hÉireann. Proclamation, 28th June 1922. 'The fateful hour has come ..' [announcing the start of the Civil War];-Stop Press. Poblacht na h-Éireann. A Diary from the Four Courts. June 28th, 1922;-Stop Press. June 28th.. Communique from the Four Courts [War News no. 1, poster, neatly folded in];-Stop Press. War News nos. 2-7, Thursday June 29 - July 3 [posters, neatly folded];-Stop Press. War News no. 8, July 4, 2 pp cyclostyled typescript, foolscap, 2 pp supplied in manuscript;-Stop Press. War News no. 9 [July 5 1922] to no. 175 [16 March 1923], the final issue. No. 10 possibly lacking a page, but virtually a Complete File, chronicling the Civil War week by week from the anti-treaty side. With a series of scarce portraits bound in, including De Valera, Kevin Barry, The O'Rahilly, Joe McKelvey, Noel Lemass, Tom Clarke, Seamus Devins, Liam Lynch, Cathal Brugha, Rory O'Connor, Harry Boland, Liam Mellowes, Erskine Childers, also a few folded posters. 1There are some issues in NLI online catalogue, not clear if there is a complete file. COPAC/JISC shows no complete file; also bound in:-The Nation. Sovereign and Undivided. Complete in 19 numbers, Saturday 12 August - Tuesday 19 December [1922], cyclostyled typescript. First two issues (only) found in NLI online catalogue.-An Gaodhal. The Gael. Vol. 1 no. 1 [New Series], October 20 1923 - Vol. 2 no. 6, May 24 1924.-The National Democrat. Páipéar na Muintire. Vol. 1 no. 1, August 2 1923 - no. 2, August 9 [all pub.] [Organ of National Democratic Party & Land League, Hon. Sec. P. Belton]. Not found in NLI online catalogue.-The Separatist. A National Political Weekly. Vol. 1 no. 1, 18 February 1922 - Vol. 1 no. 29, 9 September 1922, all pub. [edited by P.S. O'Hegarty with funds provided by the IRB].All these in very good condition, with only a few minor marginal tears. A superb compilation. Unique opportunity to acquire an extensive collection of major Republican and separatist periodicals in one volume, including important items rarely if ever found complete.Provenance: 'J.F.' [compiler].

Correspondence relating to the Ecumenical Movement in Ireland, 1962Four Letters between the Rev. J.G. McGarry of Maynooth, editor of The Furrow, and the Rev. J. Lynham Cairns of the Methodist Church in Ireland, discussing an article to be published in the January 1963 edition of The Furrow; another from McGarry to Cairns of 1966.The Rev. James Gerard McGarry (1905-1977), professor of homiletics at St Patrick's College, Maynooth, was the founding editor of The Furrow, which under his guidance proved a major influence on the development of ideas within the Irish Church during a period of transition from ultra-conservatism to renewal. He was an enthusiastic supporter of the ecumenical movement which sought to open new relationships with other churches, with encouragement from the Second Vatican Council. These letters are a significant pointer to his thinking in the early 1960s. As a file, mostly manuscript, w.a.f. (1)

Roberts (Oliver Michael). The Herald of Dawn. Dublin, for the author by George Roberts 1919, with a drawing by the author's mother. Sm qto grey printed wrappers, 6 pp (partly unopened). Laid in are an ALS from Liam Ó Rinn and a TLS from Cecil O'Neill-Watson, thanking the publisher for copies; also an unsigned sheet (on back of an envelope addressed to Miss G. Roberts, Dalkey) with what appears to be a manuscript account of the author, probably by the publisher (his father or uncle?).An interesting item. Rare. (1)

Unique Manuscript - Miniature Book by HeaneyHeaney (Seamus) Holograph manuscript copy by Heaney of his poem Mad Sweeney's Praise of Trees, in green ink, written in a miniature book bound in blue morocco gilt, c. 2 1/4" x 1 1/2", with a bookmark, signed at rear in English and Irish, September 2004. Presumably executed as a gift for a friend. Attractive item for the Heaney Collector. (1)

The Turbulent Evolution of MassachusettsManuscript: An important Contemporary Manuscript, pages numbered 85-155 but mostly written on left hand side only. contains a summary of the proceedings of the Council of the Colony of Massachusetts Bay and its negotiations with the British Parliament on the colonists' rights and privileges. This is evidently the second volume of a series and covers the years 1691 to 1728. The Massachusetts Bay Colony, founded in 1628, developed a strong spirit of independence which led to increasing conflict with the "mother country", caused partly by the King's attempts to exert economic control and partly by the Puritan colonists' intolerance of other religious denominations. In 1691 the colony was unwillingly amalgamated into the new Province of Massachusetts Bay, which was granted a new charter.In this volume the colonists express their anger at the diminution of the rights they had held under the old charter, and complain bitterly about issues such as the powers of the governor and the paying of contributions to the building of a new fort.A significant contribution to the documentation of relations between Britain and her American colonies in this period, in contemporary full gilt decor. mor., as a m/ss., w.a.f. (1)

18th Century Manuscript Volumes on French Peerage Manuscript: "Recueil de tous les actes concernant les Ducs & Pairs de France. Ensemble L'origine de la Pairie d'Angleterre & des Grands d'Espagne. Depuis l'an 900 jusqu'en 1660." Vol. II & III (ex 3) 4to, 327 and 391ff respectively. Bound in contemporary mottled calf with embossed gold tooled supralibros and elaborately gold tooled spine. Marbled endpapers. In excellent condition, apart from slight cracking of joints in vol 3.The arms embossed in gold tooling on the boards of both volumes are those of Gabriel Bernard, Comte de Rieux (1687-1745), a member of the Parlement de Paris and from 1727, President of the Chambre des Comptes. In this capacity he presumably needed works such as these, reproducing the decrees associated with the peerage of France. In his fine pastel portrait by Maurice Quentin de la Tour, now in the Getty Center, Los Angeles, he is shown wearing his official robes,seated in his library; on the table beside him repose two volumes very similar in appearance to those now on offer. (2)

Bibliography: Best (R.I.) Bibliography of Irish Philology and of Printed Irish Literature, roy 8vo D. (Nat. Library of Ireland) 1913; also Bibliography of Irish Philology and Manuscript Literature, roy 8vo D. 1942. Both First Edns. & full buckram. (2)

Kavanagh (Seamus) A Lexicon of the Old Irish Glosses in the Wurzburg manuscript of the epistles of St. Paul, thick roy 8vo Wien 2001. First Edn., with C.D., cold. boards; Stationary Office - O'Donnchadha (Tadhg) An Leabhar Muimhneach, roy 8vo D. n.d. recent buckram, mor. label. (2)

Prize Binding: O'Curry (Eugene) Lectures on The Manuscript Materials of Ancient Irish History, 8vo D. 1878. Hf. title, 26 litho plt. illus., fine full cont. diced green mor. blind tooled borders with single gilt fillet, tooled gilt spine in panels, mor. label, both covers with oval T.C.D. gilt stamp, & prize plate. V. good. (1)

Early 17th. century Manuscript, 7 FOLIO LEAVES ON VELLUM, DOUBLE SIDED: AD MATUTINUM; AD LAUDES, HYMN SALUTIS AETERNAE, DATOR (Matins Hymn of praise to the Giver of eternal salvation;). In multi colours and with a couple of illuminated letters

THE ORIGINAL HANDWRITTEN LYRICS TO ELTON JOHN'S 'YOUR SONG' with 'The Songs of Elton John and Bernie Taupin' book of sheet music and Captain Fantastic graphic novelTAUPIN, BERNIE. Autograph Manuscript Signed ('B. Taupin'), in blue ink, 1 p, 7 x 9 in., n.p. [but London], n.d. [but 1970], the original handwritten lyrics for Elton John's first mega-hit, 'Your Song,' with emendations throughout by Taupin in slightly darker blue ink, in small vintage wooden frame. 5 Stanzas in total, with the Chorus appearing in stanza 3 and not repeated at the end. Together with a period 45 of the song in original sleeve, a period copy of the sheet music to 'Your Song,' a copy of The Songs of Elton John and Bernie Taupin (NY: Warner Bros., 1971), and a complete copy of Captain Fantastic and the Brown Dirt Cowboy.Provenance: Collection of Maxine Taupin.'When Bernie brings me the lyrics, I read them and then I get the first line of the song and deal with that first. I never work to the chorus or the hook. I start at the top and gradually work down, I can't do it any other way. 'Your Song' went straight off in ten minutes. I go round to Bernie and say 'listen, I've done it' and he can't believe it.'—Elton John, in an interview with Penny Valentine Sounds, c.1970These are the original, first and only draft of the lyrics to 'Your Song.' After Taupin handed the lyrics to John, the pianist took all of 10 minutes to come up with the haunting melody that accompanies Taupin's paean to the inarticulateness of young love. 'Your Song' was Elton John's first monster hit, introducing audiences to his exciting new brand of piano pop, and it remains today one of his most identifiable and best-loved songs. This lyric sheet, in the very same modest frame, makes an appearance among the insert material in Elton John's groundbreaking concept album, Captain Fantastic and the Brown Dirt Cowboy. Released in 1975, the album is an autobiographical look at the careers of Elton John (Captain Fantastic) and Bernie Taupin (the Brown Dirt Cowboy), dramatizing the struggles the two faced from 1967 to 1969 before breaking through in 1970 with 'Your Song.' The appearance of these lyrics in the group shot double page spread on pp 7-8 of 'Scraps,' and again photographed singly on p 14 of the 'Lyrics' booklet above the lyrics for 'We All Fall in Love Sometimes' (another love song, this one from an older and wiser prospective), confirms their importance as the first major career milestone for the two artists.Refer to department for Lot Estimates.

Bernie Taupin's original lyrics to the early Elton John hit, 'The Border Song,' with annotations by Elton JohnTyped Manuscript Signed ('BJ Taupin'), 1 p, 8vo, n.p., n.d., being the lyrics to 'The Border Song,' with additional 6 lines of manuscript in blue ink by ELTON JOHN at lower margin, framed. With a 45 of 'Border Song.'Provenance: Collection of Maxine Taupin.Though Elton John has for years said that he writes the music only and Bernie Taupin writes the lyrics, and that each does his work separately from the other, 'The Border Song' is a rare example of the two collaborating on lyrics, as this manuscript attests. Bernie wrote four stanzas of this soulful ballad. Elton crosses the last one out, however, and replaces it with the message of hope and peace for which the song is celebrated.The border songHoly Moses! I have been removedI've seen the spectre, he's been here toa distant cousin from the down the linea brand of people who arnt my kind.Now the wind has changed directionso I will have to leavewont you excuse my franknessbut its not my cup of tea.I am going back to the borderwhere my affairs are'nt abusedI cant take anymore bad waterI've been poisened from my head down to my shoes.My God, I'm sick of this motelplease give me the key to this coal holetheres a man down here in a mousetrappraying that he doesn't see your black cat.The final stanza is entirely in Elton John's hand:Holy Moses, let us live in peaceLet us try and strive to find a wayTo make all trouble hatred ceaseThere's a man over there what's his color I don't careHe's my brother let us live in peace.In 1970 'The Border Song' was Elton John's first US single release, making a mild splash on the charts. Two years later, Aretha Franklin recorded her better-known version, with the subtitle ('Holy Moses') to make it more identifiable to listeners.

Original handwritten lyrics of Elton John's 'Bennie and the Jets'TAUPIN, BERNIE. Autograph Manuscript Initialed ('BJT'), 3 pp, 4to, [Chateau D'Hérouville, France], January 5, 1973, written in red felt-tip marker on typing paper, very mild toning, lower right corner of page 2 creased. With 'Bennie and the Jets' sheet music.Provenance: Collection of Maxine Taupin.'Bennie and the Jets' was the third single from the Goodbye Yellow Brick Road album, one that Elton John was reluctant to release because he feared it was too strange for the airways. A bit of a satire of the rock and roll industry, the song is written in the voice of a fan of the make-believe glam rock band, Bennie and the Jets. In a Rolling Stone interview, Taupin said, 'I saw Bennie and the Jets as a sort of proto-sci-fi punk band, fronted by an androgynous woman, who looks like something out of a Helmut Newton photograph.' This draft includes a second stanza about Candy and Ronnee thumbing a ride to the show that did not make it into the final song.I wish to now if you can shake it looseBennie and the JetsHey kids, shake it loose togetherthe spotlights hitting somethingthats been nown to change the weatherand we'll kill the fatted calf tonight so everbody you should stick aroundYour going to hear electric music Solid walls of sound.And there so wierd, Benny and the Jetsmusic mutationsSay Candy and Ronee have you seen them yetWow but there so spaced out Benny and the JetsAnd there so weird and wonderfuloh Bennie she's really keenShe got electric boots and a mohair suitI know it; I read it in a magazineDee da daCandy and Ronnee both thumbed down a Cadillacinquired if the driver could take them aways Maryhe was happy to help them but felt from there presencethere was something incredibly wrongand inside his head he heard a voice speakWhy not try to tune in the family faithlessthey'll never turn a blind eye some daythey won't be blindedHey kids, plug into the faithlessmaybe there blindedbut Bennie can make you seem agelessAnd music mutations, we shall survivelets bring take ourselves alongplay for the people under youWhere we fight our parents out in the streetsto prove whose right and whos wrong

ANTIQUE MANUSCRIPT IN LATIN

SHORT TORAH MANUSCRIPT SCROLL ON VELLUM PARCHMENT (WHITE) THREE COLUMNS 

SHORT TORAH MANUSCRIPT SCROLL ON VELLUM PARCHMENT (YELLOW) THREE COLUMNS

A Persian illuminated manuscript page of mythological figure on a horse, 30 x 22 cm

Ephemera/Archive. A large selection of letters, receipt books, diaries, and other manuscript material; predominantly 19th century. Also, a selection of photographs, a postcard album, and other loose ephemera. Mainly relating to two family names: Sumner & Gibson. Both appear to have a connection to Grasmere and London. An interesting selection, viewing essential. Provenance: from the estate of 'Kelbarrow', Grasmere.

Antiquarian Manuscript Book. Mid-Nineteenth Century (circa 1840's). A vanity work, author unknown. Folio. A selection of anecdotes, letters, notes, commentary, etc. Written in a neat, legible hand. Approx. 170 pages. Includes passages concerning the Canadian rebellions of 1837-38. Interesting social history. Original binding, worn. (1)

Antiquarian Music. Small format manuscript. Attributed to: Jane Elizabeth Hunter, circa 1818. Approx. 50 sheets of handwritten music and notes. Not known whether this is original material or copied from other sources. Viewing recommended. (1)LARGELY SECULAR, TITLES INCLUDEFAIRY DANCE, LORD CATHCART, MR & MRS LOBSTER, THE BONNY LADDY

Geological Survey of England and Wales, hand-coloured map, sectional, linen-backed, manuscript title with Ordnance Survey blind-stamp at centre of top border (February 1879), 129cm by 104cm. Good, clean, bright; thin strip of discolouration at centre; comes with remnants of contemporary slipcase. Together with a folded printed map in paper folder, West Midlands General Review Area, Report No. 2, London: Her Majesty's Stationery Office, May 1961 (2)

PONTANUS, Jacobus, Jacobi Pontani de Iesu Societate, Poeticarum institutionum libri III. Editio tertia cum auctario, & desired hactenus index. Eiusdem tyrocinium poeticum cum supplement. Inglostadii: ex typograpia Adami Sartorii, MDC. Format: 157x100 mm. Binding in full semi-loose parchment with alumina leather laces, missing in the free part. Manuscript title on the spine and traces of writing on the top casebound. Flyleaf, frontispiece with woodcut, 4 preface shhets with initial and final engraved, 3 index sheets, pages 616, 7 unnumbered sheets, flyleaf. Very good condition.

Napoleon.- Anonymous (late 18th century) Manuscript map illustrating Napoleon's campaign across the Apennines, April 1796, showing the coast from Nice to Savona, part of the Piedmontese Apennine Mountains and French Alps, including military positioning and a 33-point key identifying military units and their respective locations, pen and black ink, red ink, wash, on buff laid paper, several sheets joined, with various late 18th century watermarks, neatly pasted onto cream laid paper with double-ruled black ink border, total approx. 450 x 1120 mm. (17 3/4 x 44 in), attached tab that reads 'I.D/ No. 7', and inscribed verso in French 'Huite du positions de l'armée dans la Piedmont', several folds and handling creases, some splitting, small holes and nicks, rough edges, some surface dirt, unframed, circa 1796 and later.⁂ Napoleon's campaign in Italy between 1796-97 established his fame as a military commander. The present map shows in detail how the geography of the Ligurian Apennines was key to Napoleon's early successes, with the commander taking advantage of a gap that ran from Savona west to the southern end of the Bormida valley. Following Napoleon's strategising and several significant battles, General Colli, in command of the Piedmontese army, sued for peace and on 28 April Piedmont withdrew from the war.

Pierre de La Priamaudaye: "Academie Francoise, En laquelle il est traicté de l'institution des Moeurs...", Paris, Chaudiere, 1582, third edition, wood cut device to title page, contemporary vellum gilt (worn) manuscript pen and ink title to spine. (Oxburgh Hall collection)

An 18th Century Almanac: "Lunario, Calendario, e Pronostico Nuovo dell'anno 1797. Del Famoso Astrologo Rutilio Benincasa...", Malta [1796], woodcut coat of arms device to title page, contemporary manuscript pen and ink notes to interleaved blank pages, floral paper stitched wraps, 15.5 x 5cm. (Oxburgh Hall collection)

WEST, NATHANAEL. 1903-1940.Typed Manuscript with autograph corrections, 3 pp, being chapter 13 of A Cool Million, leaves browned and chipped.RARE ORIGINAL MANUSCRIPT CHAPTER WITH PENCILED CORRECTIONS IN WEST'S HAND. A Cool Million was West's third novel and was a satire of the Horatio Alger series with the main character, Lemuel Pitkin, encountering one tragedy after another. The above chapter covers an episode where Pitkin saves an old man and his daughter from a runaway horse and carriage only to injure his eye, loose his teeth and be berated by the father and daughter due to a misunderstanding. Rare Book Hub shows no examples of West manuscript material on the auction market.

WILLIAMS, TENNESSEE. 1911-1983.Annotated Typescript Draft for The Municipal Abattoir (mistitled 'Municipal Abbatoir' at the head), with significant holograph corrections by Williams, 9 pp, numbered 1 - 9 in blue pencil lower left, the final sheet blank except for the holograph note 'Variations' writ large, on onion skin paper, late 1960s, minor creasing to corners.Provenance: The estate of Lee Hoiby.ANNOTATED DRAFT OF A LATER WILLIAMS PLAY, originally produced posthumously in 2004 at the Kennedy Center, taken from a script Lee Hoiby provided to Artistic Director Michael Kahn. In the 2005 book publication by New Directions, they note that their copy-text is taken from Hoiby's script given to Kahn, 'the only text of the play we know to be extant' (Mister Paradise and Other One-Act Plays, ND, 2005, 'Notes,' p 237). This is likely an earlier (presumably) draft of that manuscript of this darkly wry political gem.Lee Hoiby and Tennessee Williams worked together on the operatic setting of Summer and Smoke, with a libretto by Lanford Wilson, which premiered at the St Paul Opera in 1971. Williams had accompanied Hoiby to the opening night of his first full length opera A Month in the Country (then in an early version titled Natalie Petrovna) in September 1964. The finale of that work was widely praised, with Paul Hume of the Washington Post calling it 'an octet of overwhelming beauty.... This is a supreme moment in opera, and Hoiby's genius has done nothing finer.' Even Tennessee, who had a distinct dislike for opera, liked 'all those voices at the end singing together' and therefore offered Hoiby the highly coveted choice of any of his plays. 'Take your pick!'He chose the delicate Summer and Smoke, which is still the only play Williams allowed to be made into an opera. Hoiby was born in Wisconsin in 1926, becoming a bemused performer with Harry Partch at the University of Wisconsin, a student of Darius Milhaud and Egon Petri for composition and piano at Mills and Cornell, received a scholarship to the Curtis Institute to study composition with Menotti, and became a close associate of both Menotti and Barber. He received a fellowship at Yaddo, the MacDowell colony, and a Fulbright award to Rome, where he was refused entrance to classes at the Accademia di Santa Cecilia because his style was insufficiently radical. (With thanks to Mark Shulgasser for his notes and insights.)