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Lot 481
A collection of brooches and pins comprising a 9ct Rose gold walking cane brooch, along with a a 9ct cameo bar brooch, a yellow metal and seed pearl horseshoe cravat pin, a yellow metal foliate brooch, a yellow metal and agate brooch, a white metal boat brooch and a white stone set pin. three other 19th century brooches/stick pins A white metal rowing boat brooch(7)
Lot 291
Two vintage clockwork tinplate early 1950s Motorcycles, 'Motor Artist PN200', one boxed, 16cm long, produced in Germany by Philip Niedermeier. The toys both have keys and appear G, although the mechanism tends to stick, particularly on the unboxed example. The illustrated box included is complete however does have some storage wear, tears and grubbiness otherwise F/G. (2)
Lot 316
A boxed Arnold No.820 Crawler Tractor and Trailer with original white rubber tracks, but missing key. The clockwork motor functions although appears to stick, overall G in P box missing flaps. Also included is an unboxed Arnold 'Candidat' Convertible Saloon in red, 25cm, with composition driver figure, powerful clockwork motor in working order, with key, electrics untested however headlamp bulbs are in situ and battery contacts appear clean. The car has some paint loss and corrosion to bare metal parts, overall G. (2)
Lot 117
O'CASEY SEAN: (1880-1964) Irish Dramatist. T.L.S., Sean O'Casey, one page, 4to, Torquay, Devon, 21st February 1961, to [Lewis Funke], The Editor, Drama Department, The New York Times. O'Casey writes acerbically of Mr. Denis Johnston who he feels, 'seems to be unable to write any article without carrying in the names of Joyce and O'Casey… He can go with this to his heart's content as far as the dead Joyce and the living O'Casey are concerned; but he should begin to drop making statements which aren't true' continuing, 'In a recent article in the Drama Section of THE NEW YORK TIMES, called “What's Funny about the Irish”, he says that neither of the above-mentioned writers are banned in Ireland… My very first biographical book I KNOCK AT THE DOOR was banned the moment it came out…I do not read the catalogue of the banned, but Mr. Johnston does, apparently in the hope that a book of his may one day appear. He need have no fear; he is too cute to stick his neck out' further adding, 'PICTURES IN THE HALLWAY was also banned… as is also my book, WINDFALLS… If I mistake not, WITHIN THE GATE was banned to; and as late as 1958, the Roman Catholic Archbishop of Dublin declared he would not any Mass for the Tostal to be said “if a play by O'Casey or Joyce was performed”…' the dramatist concluding, 'There is the unofficial censorship too, the hundreds of rural library committees who carefully select the books fit for the people to read, and almost all first-class writer in Ireland forever wait on the doorstep. Perhaps there's a psychological reason for the way in which the names of Joyce and O'Casey seem to torment Mr. Johnston.' Accompanied by the original envelope hand addressed by O'Casey and signed ('O'Casey') by him with his surname to the verso. Together with Denis Johnston (1901-1984) Irish Writer.T.L.S., Denis Johnston, one page, 8vo, South Handley, Massachusetts, 2nd March 1961, to Lewis Funke, Drama Editor at The New York Times. Johnson thanks his correspondent for sending him a photostat of Sean O'Casey's letter, further adding, 'I have no objection whatever to brickbats, but as I happen to be right in what I said, I am very glad to be able to repeat what I said at greater length' continuing, 'Thank you also for your news about my play. The author is always the last person to hear that it is coming off. It is bad news, but it's the way of things. I hear that it is shortly to have another production in Washington. Or at any rate, this is in the air. So we come and we go.'Also including a T.L.S., Denis Johnston, one page, 4to, South Handley, Massachusetts, 2nd March 1961, to [Lewis Funke], The Editor, The New York Times. Johnston replies to O'Casey's critical commentary, in part, 'The only cuteness on my part is in not following Samuel Beckett's prudent example by keeping on the right side of Sean O'Casey. Had I done so, by going on strike with him from time to time, none of these exhilarating accusations of mendacity would be flung at me from Devon whenever I mention his name. (And who, after all, could not write about the Irish Theatre without mentioning the Head Man?)' continuing, 'I am, of course deeply envious at never having been banned myself, and the absence of this accolade, which all sensible Irish authors hope for, is one of the points touched upon in my article…”Ulysses”, which was at one time banned by the British authorities under the Customs Consolidation Act, has never been banned by the Irish Board of Censors… No doubt Finnegans Wake would be suppressed at once if any of the Censors could manage to understand it…' further adding, '…what I can say is: that, as the proud possessor of all of Mr. O'Casey's printed works (together with a typescript of an excellent play which he has tried to ban himself), I acquired all of them quite legally in Dublin… it might be fair to say that one of the principle obstacles now, as in the past, to the presentation of Mr. O'Casey's work in our home town is himself.' Further including an A.L.S., Denis Johnston, to the verso of a plain postcard, South Hadley, Massachusetts, 31st March 1961, to Lewis Funke, Drama Editor at The New York Times. Johnston informs his correspondent, in full, 'Yes, I'm not a bit sorry you have shelved the O'Casey correspondence. It can be of no general interest and even bores me! It was kind of you however to have given me the opportunity of answering, & I appreciate this very much.' VG, 4 Lewis B. Funke (1912-1992) American Drama Editor and Critic for The New York Times.
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