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CATALOGUE NO.1 LITERATURE, PHOTOGRAPHY & THE PERFORMING ARTS

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“HANCOCK’S_HALF_HOUR” d “THE_GOON_SHOW” Item 85 I: LITERATURE AND PHOTOGRAPHY 2. BLOCH, Robert Pleasant Dreams - Nightmares, By Robert Bloch Sauk City: Arkham House, 1960

8vo, pp. 233. Original black boards, lettered in gilt on spine. Dustwrapper by Gary Gore. Spine ends a little bumped, otherwise a fine copy in a near fine, price-clipped dustwrapper, whites of panels a little browned, minimal edgewear, and with two small closed tears to top edge.

First edition, SIGNED BY THE AUTHOR: ‘Best Wishes! Robert Bloch’. One of 2000 copies, according to the limitation page; one of 2060, according to popular bibliographical opinion.

A collection of fifteen horror stories by the 3 4 author of Psycho (Hitchcock’s film of which was released the same year). 1 [1478] 3. BOYD, William 4. De BERNIERES, Louis £150 On The Yankee Station The Troublesome Offspring of INSCRIBED TO RICHARD rural America, where his sexuality saw him cast out by both his family and the wider : Hamish Hamilton, 1981 Cardinal Guzman YATES community, and where he saw his (gay) best London: Secker & Warburg, 1992 8vo, pp. 184. Original blue boards, lettered in friend commit suicide on his wedding day. silver on spine. Fine in a near fine dustwrapper 1. BARR, James [pseud. FUGATE, Quatrefoil, semi-autobiographical and 8vo, pp. 388. Original black boards, lettered in with the very slightest of wear to top edge. James] unashamed, charts the central characters’ silver on spine. A fine copy in dustwrapper. progress as they come to terms with their First edition of Boyd’s second book, a Quatrefoil sexuality, each other, themselves and the world First edition. collection of short stories. Scarce. New : Greenberg, 1950 around them. It eschews all gay stereotypes, and was written at the suggestion of Barr’s [1310] [1003] 8vo, pp. 373. Original black boards, lettered psychiatrist ‘as a key to solving [Barr’s] £175 and decorated in gilt on front panel and spine. A problems at the time’. Although overwritten for £400 bright, tight copy in the pictorial dustwrapper, a today’s taste, and with a melodramatic little edgeworn, with some chipping to spine ends, ending, Quatrefoil quickly became a rallying and a closed lateral tear to spine centre. Very point for the gay readership of the 1950s, good. a readership delighted at last to have been written about with insight, accuracy and a First edition of the author’s first book, modicum of style. 2 INSCRIBED BY BARR TO RICHARD YATES ON FRONT FREE ENDPAPER: One of the first true works of gay literature - ‘To: My dearest friend, Dick Yates, with my as opposed to gay fiction - and certainly the very best wishes always. James Barr New York first ever to be published by a mainstream 1959.’ In the late 1950s both Barr and the imprint. novelist Richard Yates were contributors to the New Yorker. An important book with a fine association.

Described by Roger Austen as ‘one of the most Slide 1. intelligently written of American gay novels’, and ‘one of the earliest novels that could have [1284] produced a glow of gay pride.’ Barr was born in £1,750 4 5 7. [Erotica] [ARAGON, Louis] ANONYMOUS Irène : Chez L’Auteur [Jean-Jacques Pauvert], 1952

8vo, pp. 108. Variant binding: blue stiff paper wrappers, white title label on front panel. Fifth (blank) leaf missing, as in all copies. French text. A fine, unopened copy. 8 Second authorised edition: the first edition was published by Rene Bonnel in 1928 with the title Le Con d’Irène [Irene’s Cunt], and a piracy 8. [Erotica] ANONYMOUS appeared in 1948. [BELOT, Adolphe]

This edition included 100 copies printed on L’Education d’Une Demi-Vièrge 5. ELIOT, T. S. Verge d’Archès, and bearing the original title. Paris-Bruxelles N.p. 1903 The Four Quartets 6 According to Patrick Kearney, most ordinary copies of this edition were issued in cream Two volumes, small 8vos, pp. 157, 159. French London: Faber, 1940-1 6. [Erotica] [ANONYMOUS] wrappers with the title printed in red on the text. Original tan paper wrappers. Tear with slight 4 vols., 8vos. East Coker: pp. 15, original Pédérastie Passive ou Memoires d’un front panel, but a few (like this one) were loss at head of spine of volume one, one closed yellow wrappers. Burnt Norton: pp. 15, original Enculé, par L. B. issued in blue wrappers, thought to have been tear at foot of spine of volume two, otherwise a added by the printer. very good set. blue-green wrappers. The Dry Salvages: pp. 15, N.p., n.d. [prob. original pale blue wrappers. Little Gidding: pp. 16, original mulberry wrappers. All four printed in Rotterdam: Bergé, 1894 or 1895] A beautiful copy. Early reprint of a title first published in 1883. black on front panels. The Dry Salvages a little rubbed and unevenly faded, some chipping to Small octavo, pp. 159. Original plain brown paper [1293] Attributed to playwright and romancier lower edges, about very good. The other three in wrappers, spine a little rolled and with one closed £250 Adolphe Belot, who died in 1890. A nice set. better than very good condition, Little Gidding 5 tear at foot. Cheap paper, uniformly browned. with some offsetting at spine, all with just a little [ 1225] First edition. wear commensurate with their age. A very nice misremembered the type of crab he had with an almost exclusively British audience.’ £85 set. encountered on the Massachusetts beaches (Richard Badenhausen, T. S. Eliot And The Art of his childhood, and no-one in his circle had Of Collaboration). This all but unfindable piece of nineteenth- First separate editions, The Dry Salvages proved sufficiently up on the subject of East century pornography is usually dated to 1911, PRESENTED BY ELIOT TO HIS Coast crustacea to be able to correct him. (When the U.S. edition of Four Quartets was notably by Louis Perceau in his Bibliographie SECRETARY AT FABER: ‘Inscribed for Miss They weren’t the only ones: published in 1943, the American literary du Roman Erotique aux XIXe Siècle [1929], Susan MacEwan by T. S. Eliot’. AND WITH community also remained silent on the but the book was prosecuted in Cologne in AN ADDITIONAL TEXTUAL ‘The error, a mistake for ‘horseshoe crab’, which subject of crabs. Why they kept their superior 1895 (see Palombi, Katalog, 1926). Although CORRECTION BY ELIOT: on p. 7, l.19, Eliot Eliot must have remembered finding on the knowledge of the aquatic arthropods of New anonymously published, it bears all the printing has deleted ‘hermit’, and written the correction New coastal beaches as a boy, slipped England to themselves will be the subject of characteristics of Bergé of Rotterdam, and in the right hand margin: past the many readers of the drafts, readers of Professor Badenhausen’s next book.) the court case in Cologne gives us a probable ‘horseshoe, T.S.E.’. the New English Weekly version, and those of date of publication of 1894 or 1895 [see also the American first edition. It finally surfaced Signed copies of these individual issues are Pascal Pia, Les Livres de l’Enfer: Bibliographie des The story is well known, but only if you know it. in the British edition, and prompted Eliot to rare; inscribed copies are rarer still. Copies Ouvrages Erotiques du XVIe siècle à Nos Jours On New Year’s Day, 1941, Eliot sent the first write a letter to the New English Weekly telling which are both inscribed and corrected . . . [1978], 1024. draft of The Dry Salvages to his friend, the readers to make the correction themselves in editor and critic John Hayward, for comment their own copies. He then tweaked Hayward A very nice set. Extremely scarce. and advice. (Geoffrey Faber was also privately by expressing surprise that his friend consulted). After discussion and some did not spot the error. This situation Gallup A36c; A37; A39; A42. [1591] rewriting the poem was published in February demonstrated that there were certain £950 in the New English Weekly, with l.19 reading: drawbacks to becoming too dependent on [1362] 7 ‘The starfish, the hermit crab, the whale’s collaborators to vet your poems, especially £4,750 backbone;’. This was a gaffe: Eliot had when it came to discussing American details 6 7 11. FLEMING, Ian 12. FORD, Charles Henri, and Thunderball TYLER, Parker London: Cape, 1961 The Young and Evil Paris: Obelisk Press, 1933 8vo, pp. 254. Original black boards, skeletal hand blindstamped on front panel, lettered in gilt on 8vo, pp. 215. Edges uncut. Original brown paper 10. [Erotica] [pseud. TROCCHI, spine. Very slightly cocked, but a near fine copy wrappers, lettered in red. Small (contemporary, in a near fine, unclipped dustwrapper with original Alex] HARRIS, Frank Parisian) bookseller’s stamp on rear endpaper. The price (15s) to front flap, and with a single small rear panel has a production-fault crease down its My Life And Loves, Fifth Volume scuff to foot of spine. centre. (The Obelisk logo has been printed across Paris: The Atlantic Library, 1954 it, proof it’s been there since the book’s First edition. manufacture.) A little inevitable edgewear to the Octavo, pp. 186. Original orange stiff paper 12 oversize wrappers and, as with nearly all copies, wrappers. A little dusty, production-fault creasing Ninth novel in the series, in which Ernest lacking the almost unfindable wraparound band to spine, faint crease to top front corner. A very Stavro Blofeld makes his first appearance. By carrying the Gertrude Stein puff for the book. good copy. 1961 the Bond series was a big success, and the Otherwise a near fine copy of a fragile and initial print run of Thunderball - some 50,000 extremely scarce book. First edition. copies - reflected this. But the survival rate has been low: copies in collectable condition are First edition, trade issue. The Olympia Press (of which the Atlantic now scarce, and getting scarcer. Library was an offshoot) was founded by 50 numbered copies, printed on pure linen Maurice Girodias, the son of Jack Kahane, [1517] Lafuna and signed by the authors, were issued whose Obelisk Press had published Harris’s £600 simultaneously with this trade issue which, My Life And Loves in 1934. Girodias employed according to Hugh Ford in Published In Paris, Paris-based English students to churn out ‘may have numbered 2500 copies’, of which pseudonymous pornography for his press, 500 were seized and burned by British 9 10 among them Austryn Wainhouse, Christopher Customs. Logue, and Alexander Trocchi, the Scottish writer who would later found the influential Ford and Tyler were Americans, and had met 9. [Erotica] [pseud. BATAILLE, literary magazine Merlin, and whose heroin when Tyler became a contributor to Ford’s Georges] AUCH, Lord addiction would provide the subject matter for New York-based poetry magazine Blues. They Histoire De L’Oeil his influential and much-banned novel, Cain’s became lovers, and together cruised New Book (1960). In 1954 Girodias published this, York’s underground gay scene. The drag balls of Paris: Burgos [Jean-Jacques a supposed fifth volume of My Life and Loves. Harlem and the speakeasies of Greenwich Pauvert] 1941 [1951] Worked up into book form by Trocchi from Village would provide them with the raw notes left by Harris, it cuts almost all of Harris’s material for their collaboration on The Young Octavo, pp. 127. French text. Original grey paper usual name-dropping and banquets and balls, And Evil. Originally entitled Jump Back, it was wrappers, lettered in red on front panel only. A making room for avowedly pornographic - and turned down by Liveright, Cape, and little edgewear, otherwise a fine, unopened copy. avowedly fictional - odysseys through India Gollancz. When it was championed by and the Far East, including accounts of nights Gertrude Stein it finally found a home with the Number 238 of 500 stated copies (although spent playing nude leapfrog with teenage obscure Paris-based imprint Obelisk Press, an 2,000 are thought to have been printed). girls, all related in a pitch-perfect imitation of English-language publishing house specialising Harris’s style. A far more satisfying book - in in the erotic and outré. The typeface used in the last section of the many ways - than any of the instalments Harris book is smaller than the rest: according to wrote himself. Modernist and uncensorious, impressionistic Patrick Kearney, this is because Pauvert didn’t 11 and joyous, The Young And Evil can lay order enough paper for the job. First published A very good copy of a very scarce book. :reasonable claim to be the first ‘out’ gay work in 1928 in an illustrated edition of just 134 of mainstream literature, and the beginning of copies, few of which survive. A very fine copy. Kearney 4.10.1. the Gay Lit genre.

Dutel 1700. [1224] Pearson A-26(b) £250 [1237] [1262] £175 See also item 15 £2,750 8 9 17. LEARY, Timothy 18. MILLER, Arthur Multilevel Measurement of The Misfits My Life and Loves first appeared in a privately Interpersonal Behaviour New York: Viking Press, 1961 published edition issued by its author between Berkeley: Psychological Consultation 1922 and 1927, in Nice. A German edition of 8vo, pp. 132. Original beige boards, lettered in part of the book appeared in 1926 [S. Fischer, Service, 1956 red on spine. A very good copy in a slightly dusty, Berlin]. Jack Kahane, proprietor of the Obelisk near fine dustwrapper, a little darkened at spine. Press in Paris and soon-to-be publisher of the Large 8vo, pp. 110. Sunning to edges and lower early work of Henry Miller, Lawrence Durrell portion of front panel, slight curling to leading First edition of Miller’s novelisation of his and Anais Nin, acquired the rights in 1931: edge. A very good copy. own screenplay. The film starred Clark Gable, taking advantage of the lax French obscenity Montgomery Clift and Marilyn Monroe. laws (which were only ever used against work First edition, with the Interpersonal Check List published in French) he published this, only the laid in. [1413] second complete edition. Leary’s first book, published a year after the £250 Although bearing none of the usual Obelisk suicide of his first wife, a time when Leary was, identifying marks, its provenance is established in his own words, ‘an anonymous institutional by a letter from Kahane to Frank Harris’s employee who drove to work each morning in 13 14 widow Helen (‘Nellie’) Harris, dated 16 a long line of commuter cars and drove home February 1935, in which Kahane states that each night and drank martinis . . . like several million middle-class, liberal, intellectual robots.’ 13. GOLDING, William 14. GOLDING, William Hachette refused to take copies of the book because it was ‘Privately Printed’. (Kahane Leary was an assistant professor at Berkeley The Inheritors Free Fall quickly issued another edition, otherwise 16 between 1950 and 1955, and in 1959 was London: Faber, 1955 London: Faber, 1959 identical to this one, which did bear the Obelisk installed as a lecturer in Psychology at Harvard. Press imprint, despite his first edition being He was fired in 1963 for his championing of 16. 8vo, pp. 233. Original blue boards, lettered in gilt 8vo., pp. 253. Original red boards, lettered in gilt ‘very far from exhausted’). My Life And Loves, HARRIS, Joel Chandler psychedelic drugs, both on campus and in on spine. A near fine, very slightly cocked copy on spine. Small name to ffep. and very slight a scandalous, libellous, sexually explicit and Uncle Remus: His Songs and His print, although the official reason given for his in a near fine dustwrapper, with just the lightest of lean to spine, otherwise a near fine copy with very almost completely inaccurate autobiography, Sayings, The Folk-Lore of the Old dismissal was that he failed to fulfil his teaching wear at corners, and with two small chips: one (9 slight browning to preliminaries, in a near fine was a huge hit for Obelisk. Over the next duties. The rest is the Sixties. x 4 mm) to the lower edge of rear panel, the other dustwrapper with slight creasing to top edge of twenty-five years huge numbers of anglophone Plantation a tiny sliver at the head of spine, not affecting rear panel and spine. visitors to Paris - among them American G.I’s New York: D. Appleton and Co., 1881 Scarce. text. on their way home from the war - bought 18 One of 7500 copies of the author’s fourth the book in vast numbers, and the book went 8vo, pp. 231, 8 pp. advertisements bound in at [1488] First edition of Golding’s second novel (and his novel. through many Obelisk editions, the last rear. Original green cloth illustrated in black and £275 own favourite) published in an edition of 5080 appearing in 1960. This, the very first of them, gold. Illustrations by Frederick S. Church and copies. Gekoski & Grogan A6a. is very difficult to find in any condition, let James H. Moser. A couple of signatures a little 17 alone fine. A remarkable set. loose. Bookplate of Enoch Harvey to front A tight, clean copy of an increasingly scarce [1000] pastedown. Some rubbing to spine ends, edges book. £175 Pearson A-28. and corners, a few marks to cloth, otherwise a bright, very good copy. Gekoski and Grogan A3a. [1238] Pringle, Science Fiction, 19. £200 First edition, first issue, with no mention of this 15. HARRIS, Frank book in the advertisements, and with 15 [1341] My Life and Loves ‘presumptive’ on p.9. £400 Paris: N.p. [Obelisk Press], 1934 Grolier: 100 American Books, No. 86.

Four volumes, 8vos, pp. 353, 450, 265, 268. [1233] Vol. 4 uses a different paper stock from p.193 onwards (as in all copies). Original red and white £3,000 stiff paper wrappers, bookplates on versos of front wrappers. Minimal edgewear, one small scuff to spine of volume one, otherwise a fine set.

Second complete edition. 10 11 19. [Photography] CHARTERS, 21. [Photography] [GRIERSON, 22. [Photography] HOCKNEY, Ann John] [ed. HARDY, Forsyth] David] JOYCE, Paul Beats & Company: Portrait of a Grierson On Documentary Hockney On Photography: Literary Generation London: Collins, 1946 Conversations With Paul Joyce New York: Doubleday, 1986 London: Cape, 1988 8vo, pp. 256. Original green boards, lettered in 8vo, pp. 159. Original grey boards, lettered in 19 black on spine. 92 photographic illustrations. A 4to, pp. 192. Original blue boards, lettered in gilt white on black spine. Photographs by Ann little wear to edges and spine ends, but a very on spine. Illustrated throughout, both with good copy in a very good dustwrapper, foxing to Charters, some colour reproductions, mostly 21 Hockney’s own work and the work of those he black and white. Slight wear to spine ends, rear panel, very light chipping to spine ends, spine discusses. A near fine copy in a near fine Film Centre, Grierson and his group of young otherwise a fine copy in a very good panel a little off-centre, seemingly the result of a dustwrapper. film-makers produced some of the most dustwrapper, a little edgeworn and with one or production fault. influential films in the history of the genre, two scuffs, and one area of creasing and closed First edition. among them Industrial Britain, Coal Face and tears around head of spine. First edition, INSCRIBED BY GRIERSON Night Mail. Forsyth Hardy, the editor of this IN THE YEAR OF PUBLICATION: ‘To Ben A discursive and revealing conversation with book, later wrote a biography of Grierson, First edition, SIGNED BY ALLEN Lepkin from John Grierson Dec. ‘46’. Hockney, conducted during his experiments published by Faber in 1979. GINSBERG: ‘Allen Ginsberg 1988 NYC’. with ‘paintings’ made with multiple Polaroid Foreword by John Clellon Holmes. John Grierson [1898-1972] gave ambition to images. the documentary form. Inspired by the Ben Lepkin, to whom this book is inscribed, was a Canadian film reviewer. A collection of more than one hundred of the pioneering work of Robert Flaherty, he [1505] photographs of Ann Charters, accompanied transformed the genre from a mere celluloid [1400] by her written recollections, and featuring the magazine into an art form in its own right. £95 whole headline cast of the Beat movement. During the 1930s, first as head of the General £275 Post Office Film Unit, and later as founder of [1476] £175

20. [Photography] ELLENZWEIG, Allen The Homoerotic Photograph: Male Images From Durieu/Delacroix To Mapplethorpe New York: Columbia University Press, 1992

4to, pp. 230. Original black boards, lettered in silver on spine. 127 b&w photographs. A fine copy.

First edition.

A beautifully illustrated history of homoerotic photography, from the 1850s to the 1990s.

A fine, unread example. 21 [1438] £85 22

20 12 13 23. [Photography] [LOSEY, 24. [Photography] 25. [Photography] RUSCHA, 26. [Photography] [SNOWDON, Joseph] [trans. BROCKWAY, J. MAPPLETHORPE, Robert Edward Lord] ARMSTRONG JONES, T.] Black Book Every Building On The Sunset Strip Tony This Is Greece: The Islands New York: St. Martin’s Press, 1986 Los Angeles: Privately Printed, 1966 London Oxford: Bruno Cassirer, N.d London: Weidenfeld & Nicolson, 1958 Large 4to, pp. 91. Original black boards, lettered Small 8vo, one continuous page in concertina Small 8vo, pp. 96. Original illustrated card in silver on spine. Foreword by Ntozake Shange. form. Title printed in silver on front panel and 4to, pp. [unpaginated]. Original blue boards wrappers. Slight scuff to head of spine, otherwise 91 b&w plates. A fine copy. spine. Slight darkening to spine. Silver slipcase. lettered in gilt on spine. B&W photographs a near fine copy. Inscription to title page (see below). A near fine throughout. A very good copy, a little worn at the First edition. copy in a slipcase with no splits or wear, and with spine and extremities, slightly musty, in a rubbed, Later, softbound edition. JOSEPH LOSEY’S no chips to the silver wrapping. worn and chipped dustwrapper, with slight loss at COPY, SIGNED, AND MARKED UP BY Mapplethorpe’s breakthrough collection of corners and spine ends. HIM WHILST ON A LOCATION RECCE. black male nudes, shot through with his twin First edition of 1000 copies, second issue, with hallmarks: ravishing composition, and a massive the last page trimmed flush. With an inscription First edition of Snowdon’s first book, 2pp. Given the vintage of this little travel guide, it sexual charge. to title page: ‘May 1, 1980. Dearest Dick - I ALS FROM SNOWDON LAID IN, envelope seems likely that Losey used it while scouting hope this night turns out to be the most postmarked 16 November 1981, in which he locations for his 1970 film Figures In A Gorgeous - and in gorgeous condition. glorious day in Hollywood & Night in the replies (rather snittily) to a well-wisher: ‘Thank Landscape (which was eventually shot in you’ve ever had!!! Love, Kate’. The you so much for the very amusing carte de Spain). The book has many underlinings, [1421] book was a gift from the actress Kate Draper visite - what a pity it is spelt with an E rather to the playwright and Dick presumably by Losey, and a number of pages £125 than O. I am so glad you enjoyed the have been folded over at the corners. Vosburgh, on the occasion of the opening night programmes - I don’t know whether the show of Vosburgh’s A Day In Hollywood, will be repeated - it’s up to the powers that be [1328] The Ukraine at the John Golden Theater, in the BBC. With best wishes, Yours sincerely, Broadway. Vosburgh wrote the show, in which Snowdon.’ £250 Draper was appearing. Also laid in is a handwritten compliments slip Ed Ruscha’s landmark survey of landmarks, a from BEAUMONT NEWHALL, author of the complete photographic record of one of the classic textbook The History of Photography: world’s most famous streets. To get the shot ‘with all best wishes for a most happy and Ruscha strapped a motorised Nikon camera to prosperous and healthy and productive New the back of a pick-up truck and photographed Year! Love from Beaumont and Nancy.’ every building, one by one, on both sides of the road. House numbers were added to the [1466] images, and the whole was published in an accordian format which, when opened out £125 26 fully, stretches to some twenty-five feet. 23 Heart-gladdeningly inventive and evocative, a key book in photographic history, and a beautiful object. Google Earth, eat your heart out.

[1409] £3,000

24 25 14 15 29. SMITH, Lillian Strange Fruit New York: Reynal & Hitchcock, 1944

8vo, pp. 371. Original blue boards, lettered on Charles Geneviève Louis Auguste André front panel and spine in white and yellow. Leading Timothée d’Eon de Beaumont [1728-1810] was edge uncut. Light abrasion to lower edge of front an eighteenth-century diplomat, soldier, spy, board, otherwise a fine copy in a fine dustwrapper and transvestite - the earliest known with just a very slight darkening to rear panel. transvestite to have lived openly in British society. He gave his name to Eonism, a now First edition of the author’s first book. more or less defunct psychological term, coined by Havelock Ellis, and used to describe Lewis Allen’s song Strange Fruit, recorded by a man who adopts female dress and behaviour, Billie Holiday in 1939, gives its title to this, the and also to the Beaumont Society, which today first book by Lillian Smith [1897-1966]. Smith gives advice on transgender issues. In 2011 a is now scandalously under-read and portrait of Chevalier d’Eon surfaced, painted in under-remembered. She was a liberal, 1792 by Thomas Stewart, showing the subject atheist, lesbian, anti-racist Southerner, living at 27 28 wearing a dress, a feathered hat, and about two a time when being only one of those was often days of stubble. The painting has been bought enough to get you killed. Strange Fruit, the by the National Portrait Gallery in London. 27. RICE, Anne 28. RIDING, Laura With Everybody’s Letters and Poet: A Lying story of an interracial love affair, is a blistering 30 Word, The Life of the Dead was one of three indictment of segregation, and sets out the Interview With The Vampire The Life Of The Dead D’Eon joined the secret service of Louis XV Riding books to be published by Arthur Barker political territory Smith was to occupy, loudly in 1755, and was posted to London as a spy in London: Raven Books/Macdonald and London: Arthur Barker, 1933 in 1933. This copy is from the library of the and bravely, all her life. The novel sold quickly EIGHTEENTH CENTURY 1763. He fell out with the French ambassador, journalist Honor Wyatt, a member of the and well, and went through several early Jane’s, 1976 TRANSVESTISM Guerchy, and when appeals for support were 4to, pp. 48. Original mottled brown stiff paper Graves-Riding inner circle centred around reprints. The first edition is scarce - copies in ignored by the king, he published several secret wrappers, oversized and frayed at edges, and Deya and the Seizin Press at that time. She this condition are scarcer still. 8vo., pp. 372. Original black boards, lettered in documents in an ill-advised attempt to apply lacking the spine. Rear wrapper and final was later a contributor to Epilogue, Riding’s 30. VIZETELLY, Ernest Alfred gilt on spine. Dustwrapper. Very slightly cocked, pressure. As a result, he found himself the illustration detached. Title label to front panel. annual literary compendium, which ran to three [1465] otherwise a fine copy in dustwrapper. The True Story Of The Chevalier subject of a libel suit from Guerchy, and when Mottled brown endpapers. Some foxing to volumes between 1935 and 1937. Riding £275 found guilty, he fled the country dressed as a contents, some leaves detached. Nine of the used this copy of The Life of the Dead to make D’Eon His Experiences And His First UK edition. A very nice copy. woman. This mode of attire seemed to calm ten illustrations by John Aldridge are present. A extensive revisions before publication. All of Metamorphoses In France Russia him down, and when Louis XVI came to the photocopy of the tenth is laid in. Some foxing to her changes, a full list of which is available [1008] Germany And England Told With throne he agreed to restore D’Eon’s pension contents, some leaves detached. on request, were incorporated into the final on condition he made his transvestism £100 printed version. The Aid Of State & Secret Papers By LAURA RIDING’S BOUND PROOF COPY Ernest Alfred Vizetelly permanent. D’Eon agreed, and when he returned to Britain in 1785 it was as a OF THE FIRST EDITION, WITH A unique copy. London: Tylston and Edwards and EXTENSIVE REVISIONS IN HER OWN Chevalière. He continued to pursue his love of boxing and fencing, but always while wearing a HAND. One of 200 copies, this copy [1146] A.P.Marsden, 1895 unnumbered. dress. (There is an excellent illustration of £1,250 Large 8vo, pp. 358. 8pp. advertisements bound Mademoiselle d’Eon engaged in fisticuffs with in at rear. Original red cloth boards, lettered in the Prince of Wales at p.316 of this volume). gilt on front panel and spine. Top edge gilt, others uncut. Printed on Van Gelder. Colour There has been more than one biography of frontispiece, 16 engraved illustrations, including d’Eon, but this is the most informative, the four in colour of the Chevalier(e) him/herself. best written, and easily the most sumptuously Boards a little rubbed and scuffed, spine sunned, produced, featuring many illustrations of its bookplate to front pastedown, offsetting and subject, some in colour, both in and out of his browning to endpapers, offsetting to pages facing preferred attire. plates, foxing to frontispiece. Pages facing plates aside, inner contents clean and bright. Very scarce - especially, as here, near fine and in the large paper edition. 29 First edition, no. 23 of the large paper edition, of which there were 100 copies. There were a [1472] further 500 copies of the small paper edition. £675 16 17 31. WAUGH, Evelyn 32 WAUGH, Evelyn 33. WAUGH, Evelyn II: PERFORMING ARTS Officers And Gentlemen The Loved One Unconditional Surrender London: Chapman & Hall, 1955 London: Chapman & Hall, N.d. London: Chapman & Hall, 1961 [1948] 8vo, pp. 335. Original blue boards, lettered in 8vo, pp. 311. Original blue boards, lettered in gilt gilt on spine, top edge stained blue. Offsetting 8vo, pp. 144. Original blue boards, lettered in on spine. Top edge stained blue. Light offsetting to to endpapers, thumb-sized darkening to leading gilt on spine. Illustrated by Stuart Boyle. Slightly endpapers, otherwise a fine copy in a fine The film, and radio scripts Nixon, Vanessa Lee and , and edge of text block (not affecting text), a very cocked, but a near fine copy in a very good dustwrapper, slightly faded at spine, and with very offered here are a representative this episode’s special guest (perhaps a strange good copy in a near fine dustwrapper, very slight dustwrapper with bumping to corners and light slight browning to rear panel. choice for a radio show) was ventriloquist darkening to rear panel, and with the lightest of chipping to spine ends. selection from our stock. In addition Terry Hall. Also a little wasted on the wireless wear to spine ends. First edition. Final volume of the Sword Of to these items, we can offer a wide was regular cast member Sabrina, an actress First trade edition, preceded by a large paper Honour trilogy. selection of material covering more best known for her impossibly curvy 41-19-36 First edition. The second volume in the Sword edition of 250 copies signed by both author figure. Of Honour trilogy. and illustrator. Dedicated to Nancy Mitford. [1520] than thirty years of British Shortly after the war, Waugh visited Hollywood £95 broadcasting, including more episodes During the run of Askey Galore! a story [1519] to discuss the possible filming of Brideshead of , appeared in the Daily Mirror which appeared to £150 Revisited. Predictably, nothing came of it, but confirm Sabrina’s measurements. Mr. Zygfryd Waugh returned home with the idea for this and . We also have Szmidt, 34, proprietor of a handicraft shop in hilarious, scabrous on the American film much more material relating not Plymouth, did not believe anyone’s industry, mostly set in a crematorium. The only to the work of those featured measurements could begin 41-19, and so he novel was later adapted for the screen by Terry made Sabrina a 19-inch belt. He challenged Southern, and filmed by Tony Richardson in here, but also , Anne Shelton, her to wear it, offering her £25 if she was able 1965 with a cast which included , , , Dickie to. The Mirror takes up the story: and Liberace. Valentine, , Kenneth ‘While Sabrina concentrated on her deep [1523] Connor and Ken Dodd, among many breath, two strong men tugged and tugged £125 others. Further information is until the belt buckle clicked closed. available on application. Contact “Is it on?” gasped Sabrina, peering down over her 41in. “I can’t see it.” 34 details can be found on p. 58. She wore the belt later for half an hour at a during the recording of the 34. [ASKEY, Arthur] radio show, Askey Galore!. VOSBURGH, Dick and Afterwards she told us: “Tight? No, I wouldn’t ASHTON, Brad say that. I’m used to wearing tight things.” Of Mr. Szmtd’s £25 she said: “I would like the Askey Galore!: Series 1, Episode 1 money to go to the Battersea Dog’s Home”.’ London: N.p. [BBC], 1957 A number of Sabrina’s lines have been changed 27 mimeographed pp., secured with split pin to or annotated in this script, and there is what top left. Title page a little browned, occasional looks like a telephone number written in pencil 33 markings and underlinings throughout. on the title page. 31 First edition. EPISODE 1 OF THE ONLY [1576] SERIES. SABRINA’S COPY, WITH £275 OCCASIONAL UNDERLININGS AND CORRECTIONS TO HER LINES. A See also Item 68 RECORDING OF THIS EPISODE DOES NOT EXIST.

Produced by the indefatigable Dennis Main 32 Wilson, Episode 1 of Askey Galore! was recorded on 27 January 1957 at the Garrick theatre in London. A vehicle for , the show ran for just one series of twelve Sabrina, slipping into something less comfortable episodes. The supporting cast included David 18 19 ‘STINKER’ MURDOCH’S COPY 35. [ASKEY, Arthur] 37. BARKER, Ronnie; BROOKE- [MURDOCH, Richard] TAYLOR, Tim; CHAPMAN, ROTHWELL, Talbot, and COLIN, Graham; CLEESE, John; Sid CRYER, Barry; FELDMAN, Living It Up: Series 2, Episode 3 Marty; FROST, David; London: N.p. [Associated-Rediffusion GIFFORD, Dennis; HALL, Willis; / Productions], 1957 IDLE, Eric; JONES, Terry; LAW, John; LEHRER, Tom; MUIR, 27 mimeographed pp., secured with split pin to top left. A little edgeworn and age-toned, but a Frank; NOBBS, David; very good copy. NORDEN, Dennis; ODDIE, Bill; PALIN, Michael; TINNISWOOD, First edition. RICHARD MURDOCH’S WORKING COPY OF THE REHEARSAL Peter; VOSBURGH, Dick; SCRIPT, WITH HIS NAME (‘DICKY’) TO WATERHOUSE, Keith; WOOLF, TITLE PAGE, AND HIS ANNOTATIONS Dennis AND REWRITES THROUGHOUT. In January 1938 the first episode of Band London: N.p. [BBC], 1966 Waggon, starring Arthur Askey, was broadcast 37 36 on the BBC. For a show which would go on to Five episodes: approx 35 pp. per episode, secured 35 revolutionise radio it was an 36. [ASKEY, Arthur] with split pin to top left. Draft running order: 25 uninspiring debut, and the show was limping [MURDOCH, Richard] unnumbered pp., secured with split pin to top left. towards cancellation before Richard Murdoch Episode title pages a little age-toned, first 2 pp. was brought in to act as Askey’s foil. With ROTHWELL, Talbot, and COLIN, of draft running order marked up in an unknown Episode 1: Authority, nothing to lose, the pair injected an air of Sid hand. transmitted 10 March 1966 flippancy into proceedings - exactly what the Living It Up: Series 2, Episode 4 Episode 3: Sin, show had been missing. Ratings soared, Band First editions. transmitted 24 March 1966 London: N.p. [Associated-Rediffusion Waggon enjoyed a two-season run, and was Episode 4: Elections, hastily recommissioned for a third when war /Jack Hylton Productions], 1958 Written by and starring almost everyone who’s transmitted 31 March 1966 loomed and morale needed bolstering. ever made you laugh over the last fifty years, Episode 5: Class, 27 mimeographed pp., secured with split pin to The Frost Report was the laboratory whose transmitted 7 April 1966 Askey and Murdoch were re-united eighteen top left. A little dog-eared and age-toned, but a experiments made possible ’s Episode 7: Education, years later for this early ITV based very good copy. Flying Circus, , Yes, Minister and transmitted 21 April 1966 on the format, in which Askey . (It was on the set of The Frost and Murdoch play flatmates living on top of First edition. Report that Corbett and Barker were first Also included is a draft running order rehearsal Rediffusion House in Aldwych. Written by referred to as ‘The Two Ronnies’). It was also a script for the Sin episode, listing cast members and (who would later A rehearsal script for the show, with occasional landmark show in its own right, a natural heir for each sketch and musical segment. (There collaborate on Spying (1964) and Up pencil markings - including brackets around to That Was The Week That Was, and a show are differences between the running order Pompeii! (1969)) the show was highly the following exchange: which demonstrated that television could be given here, and that in the final camera script). innovative for its time, the characters often entertaining and important at the same time. Usefully, both the rehearsal script and the speaking directly to the audience. Living It Up - ‘You know, I’ve always rather fancied myself camera scripts name the writer(s) of every ran for two series and a total of nine episodes as a dress designer. If you want to be a success, Two series of The Frost Report were made in piece, giving an intriguing insight into the way (all of which have survived). all you have to do is throw a few bits of old 1966 and 1967, 29 episodes (including one each show was put together. 35 material together and put on a show.’ stand-alone special) in all, each built around a This script, Richard Murdoch’s own, has his - ‘That’s true. Look at .’ single theme. Of these, 14 episodes are A wonderful collection of material from one of pencilled name on the title page. All his lines missing: 13 from Series 2 and one (the Love the defining programmes of the ‘60s. are underlined, and there are extensive rewrites Very scarce. episode) from Series One. The camera scripts in his hand throughout the script. A miraculous offered here are all from Series One: [1566] survivor, and a wonderful association. [1580] £1,750 £150 [1579] £750

20 21 forty years much of the show has been When the show moved to television it revealed ASSOCIATED LONDON 40. [BROUGH, Peter] SYKES, Eic reassembled following searches of two things: that was the worst international archives and private collections. ventriloquist in the world, and that Marty SCRIPTS Educating Archie: Series 3, Episode 9 Feldman was the coming man in British London: N.p. [BBC], 1952 During the 1950s and 60s an agency called 13 episodes of At Last The 1948 Show were comedy. The show’s switch to TV played to Associated London Scripts, based at 130, made, over two series. Of these, seven now Feldman’s strengths, enabling him to write 20 mimeographed pp., secured with split pin to Uxbridge Road, represented almost everyone exist complete, five incomplete, and one - the scripts heavy on slapstick and visual humour. top left. Tear without loss to title page, a little in Britain who was funny for a living. It was the very first - is, but for two minutes of video, still Educating Archie launched Feldman’s TV foxing to rear page, dusty and age-toned. brainchild of . missing. The episode offered here is one of the screenwriting career: soon he would be writing seven complete ones, having been reassembled for and Bootsie and Snudge. First edition. Series 3, Episode 9, first Desperate for company while working on by the BFI from material rescued from broadcast 13 November 1952. ERIC SYKES’ Educating Archie scripts above the grocer’s Swedish compilation shows. It features A very scarce example of Feldman’s early work. COPY, WITH HIS DISTINCTIVE SWIRLING shop in Shepherds Bush, Sykes had invited additional material written and performed by INITIALS TO TITLE PAGE. NO his friend to share the office , - and , [1588] RECORDING OF THIS EPISODE EXISTS. space. The co-operative grew to four when whose copy this seems to have been £500 and Alan Simpson signed up, and (the voiceovers assigned to ‘Dick’ are heavily Two cast additions for the third series Milligan’s characteristically manic recruitment marked and rewritten). cemented the show’s success. The new tutor drive brought in many more: Dave Freeman, was played by , already wildy , , , An extremely scarce survivor: we can find no popular for his work on The Goon Show. And , Dick Vosburgh, Frankie record of any script of this show ever having in the role of Monica the lisping schoolgirl Howerd, and , the whole stable been publicly offered for sale. (‘Aren’t I the absolute terminus!’) was Beryl looked after by , an old 40 Reid. She dressed in gymslip and pigtails for 38 schoolfriend of Alan Simpson’s, who rose [1541] each recording, and would go on to play the through the agency from secretary to business 38. Brummie Marlene in later series of the show. BROOKE-Taylor, Tim; £850 manager to agent to company CLEESE, John; CHAPMAN, director. [1577] Graham; FELDMAN, Marty EARLY By the early 1960s the firm had relocated to £375 At Last The 1948 Show Bayswater, at 9, Orme Court, where Sykes London: N.p. [Rediffusion Television], created Sykes, Milligan worked on Milligan’s 39. [BROUGH, Peter] 1967 Wake, and wrote the 41. [BROUGH, Peter] SYKES, FELDMAN, Marty; WOLFE, episode of which would Eric [x] + 48 mimeographed pp., secured with split Ronald; CHESNEY, Ronald grow into . In 1967, Australian film producer bought a Educating Archie: Series 3, Episode pin to top left. Name (TURHAN) to top right of Educating Archie: No. 11 [Series 2, front page, extensive markings and reworkings to controlling interest in the company. The 23 Episode 10: Brough And The development was welcomed by Galton and pp. [a] and [d], word doodles to rear page. Slight London: N.p. [BBC], 1953 edgewear, some pages dog-eared, but a very Bald-Headed Bandit’] Simpson, who had always wanted to write for good copy. the cinema, but Sykes and Milligan were less London: N.p. [Associated- 26 mimeographed pp., secured with split pin to impressed. They sold their shares in the top left. Slight foxing to title and rear pages, First edition. Camera script of Series 2, Rediffusion], 1959 company to Stigwood, and stood aside. Beryl 39 dusty and age-toned. Episode 2: Recorded 26 September, Vertue also moved on, becoming Deputy 48 mimeographed pp., secured with split pin to transmitted 3 October 1967. CO-WRITER Chairman of the Robert Stigwood top left. Browning to title page, a little dusty, First edition. Series 3, Episode 23, first DICK VOSBURGH’S COPY, WITH HIS Organisation. pages dog-eared at lower corner. Occasional broadcast 28 May 1953. ERIC SYKES’ COPY, MARKINGS. WITH HIS DISTINCTIVE SWIRLING underlinings and annotations throughout, Though no longer a force the ALS name including to title page, none signifying ownership. INITIALS TO TITLE PAGE. NO Produced by ’s Paradine lingered on into the 1990s, producing RECORDING OF THIS EPISODE EXISTS. Productions, At Last The 1948 Show was occasional clip and compilation shows. Later First edition. Series 2 Episode 10 of the radio British television’s first modern sketch series. still, the Orme Court address lost its last show’s TV spin-off, transmitted on 20 There are very occasional pencil markings to Starring its writers, the show gave screen surviving connection to its glamorous past, with November 1959. the script - and one doodled formula to the debuts to both Marty Feldman and the Four the death in 2012 of its canny freeholder, Eric rear page: ‘2 eggs + chips = Eric = happy’. Yorkshiremen sketch, and hothoused the Sykes, at the age of eighty-nine. In 1957, 23-year-old Marty Feldman joined talents of those who would go on to create 41 the regular writing team of Ronald Wolfe and [1578] Monty Python’s Flying Circus two years later - Ronald Chesney on the radio series none of which stopped £375 Educating Archie (from Series 8 onwards). the show in the , having acquired the Rediffusion back catalogue. Over the last 22 23 42. [BROUGH, Peter] SYKES, 43. [BROUGH, Peter] A LOST 45. [BUTTERWORTH, Peter] Eric and WOLFE, Ronald MAGUIRE, Eddie and WOLFE, SHOW VOSBURGH, Dick and Educating Archie: Series 4, Episode 4 Ronald ASHTON, Brad London: N.p. [BBC], 1953 Archie’s The Boy! [Educating Archie: 44. [BUTTERWORTH, Peter] For Pete’s Sake Series 5, Episodes 4, and one DAWE, Rex London: N.p. [Associated- 27 mimeographed pp., secured with split pin to top left. Rear 3 pp. dog-eared, red pencil swirl to unnumbered] Pym College Rediffusion], 1958 title-page, a little dusty and age-toned. London: N.p. [BBC], 1954 London: N.p. [BBC], 6 mimeographed pp., secured with staple to top 1954 First edition. Series 4, Episode 4, first Two episodes. 34 and 32 mimeographed pp., left. A little edgeworn and dusty, pencilled notes broadcast 5 November 1953. ERIC SYKES’ secured with split pin to top left. A little dusty and to some pages. Last pages beginning to detach 29 mimeographed pp., secured with split pin to from staple. COPY, WITH HIS DISTINCTIVE SWIRLING age-toned, unnumbered script lacking title-page top left. A little dusty and darkened, pencilled INITIALS TO TITLE PAGE. NO and with final page detached, both scripts name to title page. A very good copy. RECORDING OF THIS EPISODE EXISTS. annotated and revised throughout. First edition. CO-WRITER DICK VOSBURGH’S CAMERA COPY, WITH First edition. AN UNTRANSMITTED PILOT left the cast at the end of Series First editions. NO RECORDINGS OF HIS PENCILLED ANNOTATIONS. NO SHOW FOR A SERIES WHICH WAS RECORDINGS OF THIS SERIES EXIST. 3; he was replaced in this series by Ronald THESE EPISODES EXIST. NEVER MADE. THE RECORDING OF Shiner. THIS SHOW IS NOW LOST. In this 20-episode attempt to move the series An interesting example of the 1950s phenomenon of Ad-Mags. With the arrival of [1570] forward Archie’s education was now complete. 45 Pilot script, recorded on 2 March 1954. commercial television in the UK in 1955, £375 , Shirley Eaton and Written and starring Rex Dawe, and featuring 42 joined the cast for this series, but the audience regulations were put in place to keep any television characters and TV personalities when Peter Butterworth, Graham Stark, David advertising content separate from the looking to sell goods to their audience, and didn’t warm to the changes, and Archie was Jacobs and Ann Lancaster. The show began life sent back to school for Series 6. programmes themselves. An exception was television companies began dropping the shows in with the title The Fourth Form at made for so-called ‘shopping guides’, US-style even before they were outlawed by Parliament. St. Percy’s, and later Yes, What? It ran there for promotional shows where, instead of being Two working scripts, used in the recordings of 520 episodes with Dawe in the lead role, and episodes which have not survived. advertised in commercial breaks, products For Pete’s Sake ran for 15 episodes in 1957-8, was itself based on ’s radio series of were integrated into the fabric of a show and starred husband-and-wife team Peter the 1920s, The Fourth Form at St. Michael’s. No [1571] where their benefits, availability and price Butterworth and Janet Brown. Each fortnight transmission date appears on the script, and no were discussed by the cast. An extreme form they would parody a well-known film, £275 record of its transmission has been found. of product placement, they usually ran for cramming puff pieces for a variety of products Certainly, no series was ever made. Occasional fifteen minutes, and gave the audience the into the action. This episode, transmitted on 28 43 pencil revisions throughout, presumably made feeling they were flipping through a mail-order January 1958, presented a courtroom drama by the same person who, infuriatingly, has catalogue. The most popular Ad-Mag show was while singing the praises of, among others, the written his/her name illegibly on the title page. Jim’s Inn, starring Jimmy Hanley as the Fridor Stitchmaster, Christie’s Liquid Lanoline, landlord of a village pub, who would serve up and Player’s Cigarettes (‘I always say ‘please’ to Extremely rare. pints while the cast discussed a wide variety Player’s’). of household gadgets over a packet of pork [1572] scratchings. (Counter-intuitively, this is No recordings of For Pete’s Sake exist. An £850 probably a much more realistic slice-of-pub- extremely scarce survivor from a long-dead TV life than that in, say, Eastenders or Coronation format. Street, where the locals never discuss soap operas). The Pilkington Report on British [1557] Broadcasting, published in 1962, condemned £400 Ad-Mags for blurring the distinction between

43 44 24 25 OLIVIA DE HAVILLAND TO 47. DANIELS, Bebe; BLOCK, 48. [COOPER, Tommy] CRACKERJAAAAAAAAACK - thwarted at every turn. Upon being thwarted, JAMES IVORY THE DEBUT OF CROWTHER he would turn to the camera, scrunch up his Bob; HANBURY, Ronnie FREEMAN, Dave and SADLER, face, stick out his lower lip, and, in a fit of what Freddie AND GLAZE was supposed to be comedy frustration, he 46. [ed. CARTER, Graydon] London: N.p. [BBC], 1954 onwards That’s Life [Life With Tommy] would attempt to blow his own eyebrows off. I was six when I first saw him do this, and I knew Vanity Fair’s Proust Questionnaire: (incomplete) 49. [prod. DOWNES, Johnny] Six episodes, approx. 40 mimeographed pp., then it wasn’t funny. From there, Peter Glaze 101 Luminaries Ponder Love, Death, Crackerjack: Series 6, Episode 1 secured with split pins to top left. Edgeworn and London: N.p., [Associated- went on to fail to make me laugh for the rest of Happiness and the Meaning of Life a little dusty, some title pages missing, extensive Rediffusion], 1957 (incomplete) my childhood. New York: Rodale, 2009 annotations and amendments throughout. London: N.p. [BBC], 1960 20 mimeographed pp., secured with split pin to This episode, the first of Series 6, was Large 8vo, pp. 215. Original blue boards, lettered First editions. top left. First and last pages a 15 mimeographed pp., secured with staple to top transmitted on 29 September 1960. This in blind on spine. A fine copy in a lightly marked little browned, some small closed tears to last left. Age-toned, a little dusty, otherwise very script, used during the show’s broadcast, may but otherwise fine dustwrapper. Life With The Lyons was a long-running page, rough pencil drawings of set design to good. be missing its final few pages. (We have other domestic comedy, scripted around real events blanks of last two pages. Crackerjack scripts in stock from this era: most First edition, INSCRIBED BY OLIVIA DE and starring real-life husband and wife Ben First edition. Series 6, Episode 1 (lacking its last are around 20 pp.). 46 HAVILLAND TO THE FILM DIRECTOR Lyon and , ‘Hollywood’s happiest First edition. First 20 pages of Episode 1 of a few pages): THE FIRST CRACKERJACK JAMES IVORY: ‘For James Ivory on his couple’. Running over eleven series between very early TV appearance, the APPEARANCE OF [1569] eighty-second birthday with admiration and 1950 and 1961, it spawned two films and three front page dated Monday 25 March 1957. AND PETER GLAZE. RECORDING £450 very much affection from Olivia de H. Paris television series, and was one of the first radio Life With Tommy was broadcast on ITV between BOOTH COPY, WITH ANNOTATIONS June 7 2010 (simultaneously (though not quite to dispense with musical interludes March and July 1957, the series comprising 12 AND TIMINGS THROUGHOUT. NO together) we have felt the earth tremble!). and concentrate entirely on its cast. The Lyons, episodes. This incomplete copy of the script RECORDING OF THIS EPISODE EXISTS. 49 Please overlook the savage caricature on page an American couple, had settled in London carries the working title That’s Life. Although 64!’. during the war; their first radio appearance was the name of Associated-Rediffusion does not The first episode of Crackerjack was in Hi Gang! (1940-1949). Their children appear on it, the transmission date on the title transmitted on 30 August 1955; it finally Olivia de Havilland is one of the last surviving Richard and Barbara joined the cast for Life page, and the fact that p.13 announces the died twenty-nine years later. Hosted for stars from Hollywood’s Golden Age, and a long With The Lyons, and the show went on to commercial break, confirm that That’s Life and the first ten years by , and time resident of Paris, where this book was chronicle the family’s ups and downs for more Life With Tommy were one and the same show. subsequently by , the show was inscribed. It was presented to Ivory during a trip than 300 episodes. The regular supporting cast Pencil sketches on the blanks of the final two famous for its pencils, its game of Double or there to attend a festival of Merchant-Ivory was , Horace Percival, Hugh Morton pages suggest that this copy belonged to a Drop (where schoolchildren would answer films presented by the American University. and Doris Rogers. member of the show’s design department. questions while being loaded up with either The opening night, a screening of Le Divorce prizes or cabbages), and its agonisingly bad at the residence of the American ambassador, The six episodes offered here are: [1565] parodies of current pop songs. was attended by Miss de Havilland, with whom Series 4, Episode 14: Be My Valentine £175 Ivory was hoping to work on a film version Series 4, Episode 19: Go To Your Corner Running the show from this September 1960 of The Aspern Papers. (The film has not been (lacking title page) episode onwards were Leslie Crowther and 47 made). Series 4, Episode 23: A Ghost In The House Peter Glaze - by quite some distance, the Series 5, Episode 18: Second Honeymoon least funny man ever to appear on television, The ‘savage caricature’ mentioned in the (lacking title page) anywhere, ever. Glaze’s job on Crackerjack was inscription refers to the pen portrait of Miss de Series 5, Episode 19: I Can Do It Myself to be thwarted, thwarted by wisecracks from Havilland which accompanies her entry in the Series 6, Episode 21: Come Back A Little, Crowther, by planks of wood, by soda siphons. book. Since she was ninety-four at the time Bebe Ladders, pies, revolving doors: Glaze would be of the presentation, and since Mr. Ivory is gay, it’s probably safe to assume that the ‘earth- Until recently there were just three recorded trembling’ reference is a mischievous allusion episodes of Life With The Lyons in the BBC to a shared experience of an earthquake. archive. But when these three were broadcast A wonderful association copy. in 2011, a private collector came forward with his own stash - of more than 200 episodes. [ 1390] Thanks to Mr. Graeme Stevenson the show is £550 now one of the best represented radio shows from the 1950s in the BBC’s holdings.

[1559] £375 48

26 27 RAY GALTON (1930-) AND 50. GALTON, Ray and 51. GALTON, Ray and 52. [GIELGUD, Sir John] 53. GRAFTON, Jimmy ALAN SIMPSON (1929-) SIMPSON, Alan SIMPSON, Alan War And Remembrance: Gielgud’s All Star Bill Forces All Star Bill: Episode 2 All Star Bill: Series 3, Episode 15 Working Script London: N.p. [BBC], 1951 The undisputed guvnors of situation comedy, Galton and Simpson (or as their earliest scripts London: N.p. [BBC], 1952 London: N.p. [BBC], 1952 N.p. 1985 [The show was eventually 2 episodes. No. 8: 15 mimeographed pp., secured had it, Simpson and Galton) would be peerless transmitted in 1988-9] with staples across top edge. No. 11 (incomplete): if all they had written was Hancock’s Half Hour. 27 mimeographed pp., secured with split pin to 27 mimeographed pp., secured with split pin to top left. Title page becoming detached at pin, top left. Lower edge of title page cropped, not 12 mimeographed pp., secured with split pin to The show revolutionised radio comedy in Large 8vo, pp. 10, printed on rectos only, bound heavily annotated throughout, a little edgeworn affecting text. Edgeworn and age-toned, pencilled top left. Amendments and timings through both Britain, both in style and content. The between yellow wrappers with a split pin. Sunned and dusty. deletions, amendments and timings throughout scripts, edgeworn and age-toned. obligatory variety turn - even the anarchy and faded, jottings on front panel and tea stain of The Goon Show stopped for a song - was the script. to rear. First editions. dropped. Instead, Hancock delivered thirty First edition. SOUND ENGINEER’S STUDIO COPY, HEAVILY ANNOTATED First edition. minutes of beautifully written ‘chat’, a Sir John Gielgud’s working script for scenes FOR USE DURING AND AFTER In 1951, not content with getting The Goon poignantly hilarious half-hour of the Lad ‘Imself from episodes 6 and 8 of War And RECORDING. Series 3, Episode 15, first broadcast 29 Show up and running, in 1951 fighting a losing battle with his own life. For ten Remembrance, a twelve-part television September 1952. Compered by Bernard was also providing scripts for this weekly light years Galton and Simpson wrote almost every blockbuster made in 1985 as a sequel to In the summer of 1952, Calling All Forces Braden, and starring and Donald entertainment show featuring ‘. . . the musical word uttered professionally. The The Winds of War. The show starred Robert became Forces All Star Bill, ‘. . . presenting the Peers. stars of showbusiness in Britain.’ (Producer ensemble radio dynamic was boiled down to Mitchum and Jane Seymour, and also featured best of Britain’s showbusiness for our Armed Dennis Main Wilson was also just Hancock and for the TV Robert Hardy as and Steven Forces serving overseas’. This was the second Calling All Forces, Forces All Star Bill, All Star working on both shows). version, and 1961 brought us The Bedsitter, Berkoff as Adolf Hitler. Gielgud played Aaron episode of the new incarnation,which featured Bill, Star Bill . . . these shows played, twenty-five minutes of miraculous television Jastrow, and this portion of his script is a different compere every week. (This week’s consecutively and pretty much 52 Compered by a different host each week, these featuring nothing but Hancock confronting extensively annotated by him, his lines often was Bernard Braden). The show was interchangeably, through 1952 and 1953. All episodes featured, among others, Dorothy his own insecurities. Hancock the character, written out beside the typescript with words transmitted on 11 August 1952, and as well as Star Bill was compered by a different star and Squires, Vanessa Lee, Ted Ray, Cyril Fletcher Hancock himself. Take your pick. and phrases underlined as a guide for emphasis. the ever-present Graham Stark and Fred Yule, featured different guests each week; The and The George Mitchell Glee Club. The lifelong friendship of Galton and Simpson it featured Lizbeth Webb, Lee Lawrence and George Mitchell Glee Club and the ubiquitous An intriguing glimpse into the working method These scripts (one of which bears the began as teenagers, when both were being Freddy Randall among the guest stars. Graham Stark were show regulars. of one of the twentieth century’s greatest ownership name ‘SYLVIA’) were used to edit treated for tuberculosis in the Milford actors. the shows: both carry numerous deletions and Sanatorium in . By 1951 the team were A very early Galton and Simpson script This copy, with intricate double-column dating from the first year of their career, timings throughout, was probably producer amendments, and both are marked with show writing jokes for ’s show Happy Go [1357] heavily marked up for use during the recording Dennis Main Wilson’s copy. timings throughout. Lucky. An apprenticeship on Calling All Forces £750 and All-Star Bill brought them to the attention of the show itself. A very early Galton and Simpson script, from [1561] of Hancock. This perfect marriage of writers 52 and star would last from 1954 until the feature [1567] only the second year of their professional £350 filmThe Rebel (1961). Hancock called the whole £750 partnership. thing off in October that year. It was the biggest mistake of his professional life. See also Items 56 to 65 [1564] £750 The 1962 series of Comedy Playhouse included a one-off, bittersweet take on a father-and- son rag-and-bone business. The Offer, written by Galton and Simpson, starred Wilfrid We have more Galton and Simpson Brambell and Harry H. Corbett, and both returned later that year to make a series based material in stock. Details available on on the characters. Steptoe and Son ran on application. television until Christmas 1974. (A mid-sixties hiatus was plugged by a radio version). There were also two feature films, and a stage revue.

Galton and Simpson’s world of laundrettes, football pools and East End pubs has never dated. They are the founders of modern , and their greatest creations provide the benchmarks by which all other must be judged. 50 53 28 29 TONY HANCOCK (1924-1968) HANCOCK, WITHOUT HANCOCK From the mid 1950s to the early 1960s, Tony Hancock was the most popular in Britain. Born in , his talent 56. [HANCOCK, Tony] GALTON, was hothoused during the war. Although he Ray and SIMPSON, Alan auditioned unsuccessfully for ENSA, his time Hancock’s Half Hour: Series 2, with the Gang Show primed him for his post-war professional career. He soon Episode 4 (A Visit To Swansea). became resident comic at London’s Windmill N.p. 1955 theatre, and also toured Britain’s variety halls. But radio made him a star. 38 mimeographed pp., secured by split pin to top left. Last page detached. Occasional pencil In 1951 Hancock was cast as tutor to a markings to text, working titles in pencil on front ventriloquist’s dummy in Educating Archie. A page. Light age toning and wear to edges, radio programme starring a ventriloquist seems leading corners dog-eared, but in very innovative to the point of madness, but the presentable condition. show was a huge hit. While starring in Archie, Hancock continued to perform variety turns First edition. NO RECORDING OF THIS in radio shows like Calling All Forces, and it was EPISODE EXISTS. there he met the comedy-writing duo, Ray Galton and Alan Simpson. Together the three A lost radio episode of Hancock’s Half Hour, in created Hancock’s Half Hour, one of the most which Hancock travels to Wales in search of influential shows in the history of British Harry Secombe. comedy. Starring Hancock as a morose dreamer with delusions of grandeur, and with Tony Hancock, tormented by stage fright, 54 55 Sid James and among the had not shown up for the recording of the supporting cast, the series began in 1954 and first three episodes of the second series, and ran for six series. Later, the television version 54. GRAY, Spalding ‘Needless to say I’m in no rush to return to 55. GREENE, Graham his place was taken by Harry Secombe. In London. Also, the review in was delivered classic episodes still watched today this episode Hancock returns, and he and Sid ALS to David Gothard, co-founder of lame and disgusting. NO THOUGHT OR TLS to David Gothard, co-founder of because they’re still hilarious: The Blood take a train to Swansea to thank Secombe the Riverside Studios RESPECT. My best to you, Spalding.’ the Riverside Studios Donor, The Lift, The Radio Ham. for standing in. He’s eventually found working London: 7 June 1985 London: 18 August 1988 down a coalmine. Gray, who struggled with depression all his life, Meeting Galton and Simpson had been the making of Hancock; splitting with them in 1961 2 pp. ALS, 280 x 215 mm, in the original killed himself in New York in 2004 by jumping 1 pp. TLS, 200 x 150 mm, on Greene’s headed The episode was recorded on Sunday 8 May was his undoing. Galton and Simpson’s stock envelope, written on the stationery of the Hyatt off the Staten Island ferry. notepaper bearing his Antibes address. Original 1955, transmitted the following Wednesday, continued to rise with their new show Steptoe Regency, Minneapolis. envelope not present. and repeated once. No recording of the [1090] and Son; Hancock’s slumped, as failure after episode is known to have survived. failure proved how much he owed them. David Gothard met monologist and Wooster £275 In his letter, Greene notes David Gothard’s Group co-founder Spalding Gray at the recent move from the Riverside Studios to the This copy of the script has occasional pencil Having closed the door on everyone who loved Playwrights’ Workshop at the University of Haymarket, Leicester, and offers for annotations throughout, mostly brackets him, he finally closed the door on himself. In Iowa, and in 1985 Gothard extended a badly- production his play, A House of Reputation. around gags which may or may not have made 1968 he travelled to Australia to make a timed invitation to him to perform at the (The production never happened, and the play it into the final, transmitted version. television series, and while there killed himself Riverside. Gray had just endured a miserable was never published, although the typescript with an overdose of amylo-barbitone tablets. run at the ICA - an experience he recounts and its variants is present in Greene’s papers All Hancock scripts are extremely scarce; at length in this letter. Over two pages he rails held at Gerogetown University (Box 2, 56 episodes covering the period of Hancock’s against incompetent publicity officers, Folders 14-18)). See also Items 50 and 51 absenteeism (the first four episodes of Series disappearing agents, chaotic travel 2) are truly rare. arrangements, and more: [1089] [1531] £400 £1,750

30 31 57. [HANCOCK, Tony] GALTON, 58. [HANCOCK, Tony] GALTON, CO-STARRING GALTON AND 60. [HANCOCK, Tony] GALTON, Ray and SIMPSON, Alan Ray and SIMPSON, Alan SIMPSON Ray and SIMPSON, Alan Hancock’s Half Hour: Series 3, Hancock’s Half Hour: Series 3, Hancock’s Half Hour: Series 3, Episode 5 (The Winter Holiday) Episode 9 (A Visit To Russia) 59. [HANCOCK, Tony] GALTON, Episode 14 (The Student Prince) N.p. 1955 N.p. 1955 Ray and SIMPSON, Alan London: N.p., 1956 Hancock’s Half Hour: Series 3, 39 mimeographed pp., secured by split pin to top 34 mimeographed pp., secured by split pin to top 34 mimeographed pp., secured by split pin to top Episode 10 (The Trial Of Father left. Last two pages detached. Occasional pencil left. Occasional pencil markings to text, working left. Occasional pencil markings to text, working markings to text, front page heavily pencilled. title (‘Russian’) in pencil on front page. Light age Christmas) title pencilled to front panel, lower corners a little Light age toning and wear to edges, but in very toning and wear to edges, but in very presentable N.p. 1955 dog-eared. In near fine condition. presentable condition. condition. 28 mimeographed pp., secured by split pin to top First edition. First edition. NO RECORDING OF THIS First edition. NO RECORDING OF THIS left. Occasional pencil markings to text, working EPISODE EXISTS. EPISODE EXISTS. title (‘Santa’) in pencil on front page. Light age A radio episode from the third series of toning and wear to edges, but in very presentable Hancock’s Half Hour, in which Hancock lands A lost radio episode of Hancock’s Half Hour, A lost radio episode of Hancock’s Half Hour, in condition. the role of the Student Prince in Moravia, only in which Hancock takes a winter holiday. In which Hancock decides to do his bit for East- to find himself in danger of assassination. Brighton.The show featured Hancock’s usual West relations by transmitting the episode First edition. NO RECORDING OF THIS supporting cast of Sid James, , Andree from the Bolshoi Theatre in Moscow. EPISODE EXISTS. The episode featured the usual Kerr/James/ Melly and Kenneth Williams, and was written, 57 Melly/Williams supporting cast, and was as ever, by Ray Galton and Alan Simpson. It The episode featured the usual Kerr/James/ A lost radio episode of Hancock’s Half Hour, in 59 recorded on Sunday 15 January 1956, with was recorded on Sunday 13 November 1955, Melly/Williams supporting cast, was recorded which Hancock dreams he’s Father Christmas, transmission the following Wednesday. and transmitted the following Wednesday. on Sunday 11 December 1955, transmitted the charged with failing to carry out his duties. The This copy has occasional pencil annotations Despite being repeated a number of times following Wednesday, and repeated once. prosecutor in the celestial court is none other throughout, mostly brackets around gags shortly after first transmission, no recording of Nobody has heard it since, as no recording is than Sid James . . . considered expendable. A recording of this the episode is known to have survived. known to have survived. episode exists in the BBC Sound Archives. The episode was recorded on Sunday 18 Extremely scarce. This copy of the script has occasional pencil This copy has occasional pencil annotations December 1955, transmitted the following annotations throughout, mostly brackets throughout, mostly brackets around gags which Wednesday, and repeated once. It featured [1535] around gags which may or may not have made may or may not have survived into the final, rare cameo appearances from Galton and £500 it into the final, transmitted version. transmitted version. Simpson themselves - with Simpson appearing (not unreasonably) as William Extremely scarce. Extremely scarce. Shakespeare. And yet no recording of the episode is known to have survived. [1530] [1533] £800 £800 This copy has occasional pencil annotations throughout, mostly brackets around gags which may or may not have survived into the final, transmitted version. Truly rare.

[1532] £950 58

60

32 33 61. [HANCOCK, Tony] GALTON, HANCOCK ON TELEVISION performed and transmitted live, the linear narrative format of the radio show would have Ray and SIMPSON, Alan been extremely difficult to reproduce. Instead, 62. Hancock’s Half Hour: Series 3, [HANCOCK, Tony] GALTON, the TV show used the sketch show format, with Episode 15 (The Breakfast Cereal) Ray and SIMPSON, Alan scene and costume changes covered either by a dance sequence or a song from Miss N.p. 1956 The Tony Hancock Show: Series 2, Whitfield. The new structure played neither to Episode 3 Hancock’s strengths nor the audience’s 30 mimeographed pp., secured by split pin to top London: N.p. [Associated- expectations, and the response to the first left. Discolouring to top edge of last page, which series was muted. is also a little rubbed and creased. Occasional Rediffusion] 1956 We have more Galton and Simpson pencil markings to text, red ink marking to top The second series (from which this episode right corner of front page. Light age toning, light 27 mimeographed pp., secured by split pin to top material in stock. Details available on comes) threw out the sketch show format, wear to edges, but in very presentable condition. left. Title page bound inwards. Occasional ink application. markings to text, a little age-toning, otherwise in brought in additional writers (among them Galton and Simpson), and appears to have First edition. NO RECORDING OF THIS near fine condition. done whatever it could to remind its audience EPISODE EXISTS. First edition. NO RECORDINGS FROM of the radio show. But without Sid James, Bill Kerr, Andree Melly and Kenneth Williams, the A lost radio episode of Hancock’s Half Hour, THE SERIES SURVIVE. linear format didn’t work either, and the show in which our hero believes the claims made in was dropped. an advertisement for a breakfast cereal, and A television episode from the second series then sues its manufacturers when he fails to of The Tony Hancock Show, transmitted on 14 No recordings of the second series of The Tony 63 be imbued with ‘zing, pep and get-up-and-go’. December 1956. Hancock Show are known to have survived. The show was recorded on Sunday 22 January 61 Extremely scarce, and extremely important: 63. [HANCOCK, Tony] 1956, transmitted the following Wednesday, The first series of The Tony Hancock Show ran one of the few direct links left to a show that is and repeated four times between 28 January through the spring and early summer of 1956. MONKHOUSE, Bob and now lost. and 1 February that year. Despite this, no Written by Eric Sykes and featuring a regular GOODWIN, Dennis recording of the episode is known to have cast of , and John [1536] Calling All Forces (incomplete) survived. Vere, the show was Hancock’s first television show, and was not a success. Since it was £1,250 London: N.p. [BBC], This copy has occasional pencil annotations 1952 throughout, mostly brackets around gags which may or may not have survived into the final, Incomplete. 12 mimeographed pp. [title page, transmitted version. The red ink inscription 3-12], secured with split pin to top left. Title page on the cover page - ‘Home Pres[entation]. darkened, pages dog-eared, occasional pencil B[roadcasting]. H[ouse].’ - is in an unknown markings, mostly brackets. hand. First edition. Series 2, Episode 1, broadcast on An extremely scarce survivor - and still very 14 April 1952. funny. Charlie Chester and Tony Hancock had taken [1522] over this weekly radio show from Ted Ray. £850 According to Bob Monkhouse’s autobiography, Hancock hated the material he and writing partner Dennis Goodwin provided for the show, and would use pages of the script as toilet paper. (This may explain why the script offered here is incomplete, but we’ll never know).

Extremely scarce.

[1563] 62 £275

34 35 THE SECOND GALTON AND written entirely by them was Series 2, 65. [HANCOCK, Tony] We have a number of scripts of both 66. HORNE, Kenneth, and Episode 11 of Calling All Forces, transmitted Beyond Our Ken and Round The Horne SIMPSON SCRIPT, EVER on 23 June 1952 - which makes the script VOSBURGH, Dick and MURDOCH, Richard offered here, broadcast the following week, the ASHTON, Brad in stock. Details available on Much Binding In The Marsh: Series 3, 64. [HANCOCK, Tony] GALTON, second. It carries Simpson’s pencilled name on Pantomania: Babes In The Wood application. Episode 33 the title page, and his occasional amendments London: N.p. [BBC], 1957 Ray and SIMPSON, Alan throughout. (It’s testament to the tautness of London: N.p. [BBC], 1949 Calling All Forces: Series 2, Galton and Simpson’s writing, even in the early 37 mimeographed pp., secured with split pin years, that there are relatively few of these). 17 mimeographed pp., 2 typescript pp., secured Episode 12 to top left. Edgewear, front page a little dusty, with split pin to top left. Title page worn, and with occasional pencil markings throughout, pencilled London: N.p. [BBC], 1952 A stunning survivor from the beginning of one a tear to leading edge. Annotations, mostly notes to back page. of the most important partnerships in the deletions and timings, throughout, and with a 39 mimeographed pp., secured with split pin to history of British comedy. pencilled ownership name (‘Margaret’) to title top left. Lower right corner missing from title First edition. page. page, not affecting text. Edgeworn and age- [1562] toned, pencilled deletions and amendments Camera script for the BBC’s all-star panto for First edition. A RECORDING OF THIS scattered through the script. £2,750 1957, broadcast on Christmas Day, and starring EPISODE DOES NOT EXIST. , Eamonn Andrews, , First edition. ALAN SIMPSON’S COPY OF Benny Hill, Sylvia Peters, Ted Ray, Kenneth Much Binding In The Marsh ran on BBC Radio THE SECOND EVER PRODUCED Connor, Sid James and, giving the final speech, (and briefly ) between 1944 GALTON AND SIMPSON SCRIPT, WITH Tony Hancock as Robin Hood. Hancock had and 1954. Horne and Murdoch had met in the HIS PENCILLED OWNERSHIP just finished filming the second television series Air Ministry during the War: this much-loved, 66 SIGNATURE (‘Alan’), DELETIONS AND of Hancock’s Half Hour with Sid James (but long-running comedy show, set in a fictional AMENDMENTS. without the rest of the regular radio cast). RAF outpost beset by red tape, was the result. Said to be the favourite show of King George Series 2, Episode 12, first broadcast 30 June [1551] VI, Much Binding featured Horne, Murdoch, 1952. £375 and Sam Costa in the regular cast, and is credited with the creation of Galton and Simpson had been given their break ‘Disgusted, Tunbridge Wells’ and the mythical in late 1951, when producer Dennis Main Charlie Farnsbarns. Richard Murdoch’s Wilson hired them to write for the final introductory monologue is here typed on a episodes of a Derek Roy vehicle called Happy- paper of inferior quality to that used for the Go-Lucky. The 60-minute had rest of the script, presumably having arrived been a total disaster, and since it was later. This copy, to judge from the pencilled impossible to make it any worse it proved an timings which appear throughout, belonged to ideal place for the pair to begin their careers. the programme’s editor. Among the supporting cast of Happy-Go- Lucky were Benny Hill, , Graham The script has ‘(111)’ typed next to the title on Stark . . . and a 27-year-old Tony Hancock. the front page. It seems likely that this is the Hancock’s segment of the show was scripted 64 overall episode number. That would make this by others, but a Galton and Simpson sketch the script for Series 3 Episode 33 (of 43). featuring Benny Hill and Frances King as Only 11 episodes from this series are known to squabbling children had caught his attention, survive: this episode, transmitted on 29 June and the following year he asked the duo to 1949, is not one of them. write him a piece to perform on Worker’s Playtime. Shortly after that, Galton and [1552] Simpson found themselves writing Calling All £400 Forces (a show Hancock and Charlie Chester had taken over from Ted Ray) and the partnership which would go on to produce See also Item 75 Hancock’s Half Hour was born. 65

Galton and Simpson wrote the last three episodes of Happy-Go-Lucky - but other scriptwriters were also providing material for that show. The first broadcast script to be

36 37 was not a success, and the show was quietly EARLY FRANKIE, CO- (1917-1992) a run of Carry On-erie (starting with Carry On dropped. Frankie Howerd spent much of WRITTEN BY THE INVENTOR Doctor (1967) brought him into contact with the mid-1950s entertaining troops overseas screenwriter Talbot Rothwell. It was Rothwell after a couple of flops at home, but when this OF THE who created the perfect role for Howerd, revamped show returned for a second series Lurcio in Up Pompeii! The character was seven years after its first, Howerd was again shamelessly based on Pseudolus in A Funny cast in the lead. Now written by Terry Nation 68. [HOWERD, Frankie] Thing Happened on the Way to the Forum, a role (who would later create the Daleks for Doctor NATION, Terry and JUNKIN, Howerd had played in the original West End Who) and John Junkin, it co-starred Dora production at the Strand theatre in 1963. Bryan, Maria Charles, Freddie Mills and Ronnie John Barker as cast regulars. (Both Son Of Mother Goose But whoever he was playing, Howerd’s jokes and Betty Marsden appeared in occasional London: N.p. [BBC], 1957 and comedy patter never changed. He wasn’t episodes: in the 1960s they would appear Terry Nation, in more familiar surroundings an actor. On the contrary: the success of together regularly in Round The Horne as 45 mimeographed pp., secured with split pin to his act, whether as stand-up or as part of a ‘ageing juvenile’ Binkie Huckaback, and Dame top left. A little edgewear, some age-toning, company, was entirely dependent on him being For more Terry Nation material, see Celia Molestrangler). This was the first series occasional markings throughout (mostly himself. It was funny because it was Frankie. to place Howerd in the format he loved best: a Items 87 to 89. parentheses). From his earliest radio successes it was his strong supporting cast keeping the plot moving ability to time a pause, to play the house, to forward, while Howerd, playing more or less First edition. NO RECORDING OF THIS deliver a marvellously filthy , himself, wanders among them and gossips with SHOW HAS SURVIVED. which made audiences love him. Add to this the audience. the mock outrage and battalion of Recorded at the RAF Depot, Uxbridge, and catchphrases - ‘Not on your nellie!; ‘Nay, nay Episode 3 carries the ownership signature of transmitted on Boxing Day 1957, Son Of and thrice nay!’; ‘Oh, please yourselves!’; and 67 Terry Nation on the cover page, and very Mother Goose was written by Terry Nation (in the unsurpassable (and, indeed, unspellable) occasional minor amendments to the text. (He his pre- days) and John Junkin. Frankie Howerd made more career come- ‘Oughoooooooooooooooooo’ - and titter ye A LOST FRANKIE HOWERD has also, on what was clearly a slow rehearsal It co-starred Shani Wallis, Gilbert Harding, backs than Frank Sinatra. Surviving a failed most certainly will. SHOW, CO-WRITTEN BY THE day, filled in the O’s, R’s and D’s on the front , Ronnie Hilton and the RADA audition and life in the army, he CREATOR OF THE DALEKS page in the same blue pencil). All episodes have prodigiously stacked Sabrina who, with emerged after the war a brash, audience- After another career ebb during the 1980s, their working title written in ink on the cover measurements of 42-17-36, may have been a confiding master of innuendo. Radio gave Howerd found himself back at the top once page, and all have minor written amendments, little wasted on the radio (see Item 34). Here him his first taste of success, and the intricate more. Towards the end of his life, students 67. [HOWERD, Frankie] and occasional doodles. However, with the she plays the Fairy Godmother, and on her first monologues Eric Sykes wrote for his fell in love with him, and he found himself NATION, Terry and JUNKIN, exception of Episode 4 there is nothing in any entrance has the following exchange: appearances on Variety Bandbox made him playing to packed-out houses on the of the scripts to signify ownership. a star. Feature films followed. He ad-libbed university circuit, including one memorable John SABRINA: ‘I’ve been having a nibble at Ronnie his way through ’s The Runaway Bus (and recorded) gig at the Oxford Union. At Fine Goings On: Series 2, 19 of 20 An all but complete run of the second series Hilton’s hot meat pie’ (1954), and gave a memorable cameo as the the time of his death, Frankie Howerd was the episodes of this show, lacking just a single episode. FRANKIE: ‘Well, wipe the gravy off your chin.’ disgruntled barrow-boy in the Ealing classic coolest septuagenarian comic in the world. No recordings exist, making these scripts an (1955). But then Howerd’s N.p., N.d. [1958] invaluable link to a lost Frankie Howerd show - We assume this was put in for the live RAF career stalled, reaching the deepest pit of hell co-written by the creator of the Daleks. audience and cut before broadcast, but we’ll when he found himself starring in movie-cum- 19 episodes, averaging 30 mimeographed pp. per never know, as no recording of the show has war-crime The Cool Mikado (1963), in which script, each secured by split pin to top left. Cover [1529] survived. However, a reading of the script director re-imagines the work sheet (erroneously labelled ‘1st SERIES’) listing shows that Nation and Junkin knew exactly of Gilbert and Sullivan with a cast including the twenty episode titles. Age-toning to paper, £2,500 how to write to Howerd’s strengths. Both Lionel Blair and . edgewear, some last pages detached. here and in Fine Goings On [see previous item] (Schnorbitz, who presumably had the best Howerd was given plenty of freedom to use agent, does not appear). Then, as the sixties First editions. THE ENTIRE SECOND the gossipy, straight-out-front style for which began to swing, two appearances - one at SERIES, LACKING ONLY EPISODE 2. audiences would come to love him. ’s Establishment Club, and another EPISODE 3 SIGNED BY TERRY NATION. on That Was the Week That Was - put Howerd NO RECORDINGS OF THIS SERIES An original typescript of a lost show, co- back at the top of the funny tree. EXIST. written by the creator of the Daleks, and starring a legend of British comedy. Ray Galton and Alan Simpson, who had stood Fine Goings On ran to two series, one of by Howerd through the lean years, wrote him fourteen episodes in 1951, and a second of [1560] his own TV show (1964-66). The British film twenty episodes in 1958. The first series, 68 industry also took him up again. He starred in written by Eric Sykes and co-starring Hattie £850 The Great St. Trinian’s Train Robbery (1966), and Jacques, and , 38 39 . . . SCRUBBA, BILIUS, 71. KNOPFLER, Mark 72. [LOSEY, Joseph] WARD, John VOLUPTUA . . . The Secret Policeman’s Third Ball: Alain Resnais, Or The Theme Of Time Signed Proof Sheet New York: Doubleday, 1968 70. [HOWERD, Frankie] COLIN, N.p., N.d. [1987] Sid 8vo, pp. 167. Original illustrated paper wrappers. Illustrated throughout. Edges and spine worn, but Up Pompeii Single page proof sheet, 415 x 295mm. Fold to bottom edge, not affecting text, slight edgewear a very good copy. London: Ned Sherrin Productions/ and age-toning, but very well preserved. Anglo-EMI, 1970 First edition. JOSEPH LOSEY’S COPY, SECOND PROOF FOR A PIECE WITH HIS OWNERSHIP INSCRIPTION: Large 8vo, 139 pp., bound in brown stiff paper WRITTEN BY MARK KNOPFLER FOR THE ‘Joseph Losey, Hanover, N. H. ‘70.’ Additional wrappers, text block secured with two split pins. PROGRAMME OF THE SECRET underlinings and highlightings, presumably in Rear wrapper separated from lower split pin, POLICEMAN’S THIRD BALL, AND SIGNED Losey’s hand, mostly to the opening chapters wrappers rubbed and dusty with one or two closed BY HIM. of the text. tears. The Secret Policeman series of fundraising The McCarthy/HUAC witch-hunt saw Losey First edition. shows for Amnesty International began in hounded out of the United States in the 1950s 1976, and they are still staged most years. The and, to his huge regret, he never made another film in his home country. But professionally Script for the film version of Up Pompeii!, collective name for the shows was applied 71 which cast Michael Hordern as Ludicrus, Julie retrospectively: this, The Secret Policeman’s it was the making of him. In collaboration Ege as Voluptua, and Madeleine Smith as Third Ball, was actually the fifth of the series. with , Losey made three of the Erotica. (The feature film dispensed with the The brainchild of , Amnesty’s key British films of the 1960s: The Servant, TV show’s exclamation mark). In this script, Peter Luff and music executive Martin Lewis, Accident and The Go-Between. The two men screenwriter’s Sid Colin’s name is misspelt the first shows’ participants were almost all also worked closely together on an adaptation of Proust’s A La Recherche Du Temps Perdu, 69 ‘Collin’ on the title page. drawn from Cleese’s address book. Hugely successful both in raising Amnesty’s but although the script was later published the [1587] profile and as entertainments in their own film was never unmade. Losey and Resnais shared both a political philosophy and a cinema £150 right, Lewis found that top-name musicians were queuing up to help. By the time this, aesthetic, and Losey’s 1978 film Les Routes Du Us Part, Are You Being Served and Last of LUDICRUS, AMMONIA, the fifth production, was staged, the cast list Sud is a sequel to La Guerre Est Finie, filmed the Summer Wine, among many others. Up EROTICA, NAUSIUS . . . featured comedians and musicians in roughly by Resnais in 1966. Both films starred Yves Pompeii! was screened in September 1969; it equal measure. As well as Knopfler himself, Montand. was immediately commisioned, and went into David Gilmour, Eric Clapton, Duran Duran, 69. [HOWERD, Frankie] production early the following year. 13 episodes Kate Bush, Peter Gabriel and Lou Reed were A wonderful association copy linking two of the were made over two series, as well as two one- ROTHWELL, Talbot and COLIN, among the rock stars to appear, while Fry and great auteurs of the mid-twentieth century. off specials and a feature film. Sid Laurie, French and Saunders, , , the puppets from Spitting [1326] Up Pompeii The six scripts offered here are: Image, and Ruby Wax provided £400 London: N.p. [BBC], 1970 the laughs. Series 1, Episode 1: Vestal Virgins Six mimeographed camera scripts, secured with Series 1, Episode 3: The Senator And The Asp This piece appeared on the first inside page of split pins to top left. A little dusty and Series 1, Episode 5: The Actors the programme. Minor textual changes were discoloured. Title page missing from Series 1 Series 2, Episode 1: The Legacy made to the proof before the piece went to Episode 3 (The Senator and the Asp), title page Series 2, Episode 3: James Bondus 72 print: in the final printed version, ‘You’ has of Series 1 Episode 1 (Vestal Virgins) detached. Series 2, Episode 4: The Peace Treaty become ‘We’ at the beginning of the first two Scribbled notes to rear page of Series 1 Episode 5 sentences, and the inverted commas around (The Actors), otherwise a clean set. Apart from one rear page (see above) all are ‘left’ and ‘right’ have been removed. ‘clean’, with no markings anywhere to indicate First editions. ownership or use. [1581] Up Pompeii! began life as a 35-minute play for Frankie Howerd’s finest hours. 70 £275 Comedy Playhouse. Between 1961 and 1975, Comedy Playhouse screened 120 stand-alone [1586] See also Item 94 sitcom pilots, and was responsible for launching £450 , Steptoe and Son, ‘Til Death Do 40 41 73. MACKENZIE, Compton script is in Mackenzie’s hand, and has been 74. MARCEAU, Marcel 75. MERRIMAN, Eric heavily corrected in both ink and pencil. The Les Rêveries De Bip Beyond Our Ken: Series Four, Liquid Treasure (Whisky Galore!) document throws up some interesting London: N.p. [Ealing Studios] 1948 questions, For one, the title it bears, Tight Little Paris: Les Éditeurs Français Réunis, Episode 10 Island, suggests an assumption on the author’s 1978 London: N.p. [BBC] 1960 100 mimeographed pages, printed on rectos only, part that the film would carry the American held in oversize green card wrappers by two split title everywhere. And the speaker of the 16mo, pp. 91. Original cream boards, lettered in 24 mimeographed pp., secured with split pin to pin fastenings. With 13 loose typewritten pages famous opening voiceover in the finished film brown. Illustrated by the author. A little darkening top left. A little edgewear and age-toning, tear to of a first treatment laid in, printed on rectos only, was an uncredited Finlay Currie; in this to top edge, otherwise a fine copy. title page (without loss). and secured with a paper clip. Wrappers worn treatment, however, Mackenzie writes ‘the and faded, with extensive wear to edges. Script is commentary at this point will be written by First edition, INSCRIBED BY THE AUTHOR First edition. a little age-toned and dog-eared, but has been Emmett to suit his own particular style of ON HALF-TITLE: ‘A Hubert Juin, de tout well-preserved by the outsize wrappers. delivery’. We are grateful to Natalie Morris of couer, Bip [flower], Marcel Marceau 1978’. There were seven series of Beyond Our Ken, the the , who has suggested Copy no. 419 of 2200 copies. first two written by Eric Merriman and Barry Revised shooting script for the Ealing classic this may refer to E.V.H. Emmett, an associate Took, the rest by Merriman alone. In 1964 Whisky Galore! (1949), COMPTON producer on Passport to Pimlico (1949) and Hubert Juin - real name Hubert Loescher Merriman left the show to write for television, 74 MACKENZIE’S OWN COPY, WITH HIS Dance Hall (1950), and who earlier in his career [1926-1987] - was a Belgian poet, novelist and but the BBC wanted the show to go on, and so TYPESCRIPT FIRST TREATMENT LAID IN, had worked as a newsreel commentator. critic. the core cast - , Kenneth EXTENSIVELY REVISED AND Williams, Hugh Paddick, Betty Marsden - were ANNOTATED. There is no mark of ownership to the script, [1349] immediately reunited in Round The Horne, nor any annotations which would identify it as written by Barry Took and Marty Feldman. When a ship is caught in a storm off the Mackenzie’s own. But the treatment laid in is £125 Scottish islands and becomes stranded on certainly by Mackenzie, and the revisions to it The survival rate of recordings of Beyond Our rocks, the locals are delighted to discover that are certainly in his hand. Ken is good: of the twenty episodes of Series its cargo is 50,000 cases of whisky. 4, this is one of the nineteen to have survived. An extremely scarce survivor, a wonderful Built around a spoof of Dickens’ A Christmas Mackenzie’s screenplay, co-written with Angus provenance, a film historian’s goldmine, and a Carol, with Hugh Paddick as Scrooge and MacPhail, is based on his own book of the same beautiful thing. Kenneth Williams playing the ghosts, it was name (minus the exclamation mark) which transmitted on 22 December 1960. This copy itself was based on a real life incident. In 1941, [1534] has no markings or annotations, save for a pair the S.S. Politician had been carrying a similar £6,000 of pencilled brackets on p.11. cargo when it ran aground on the Hebridean island of Eriskay. Mackenzie was Home Guard [1553] commander at the time, and turned a blind eye to the subsequent pillaging by the islanders. £275 Whisky Galore! was the directorial debut of See also Item 66 Alexander Mackendrick. The film starred Basil Radford, Joan Greenwood, James Robertson Justice and a young Gordon Jackson, with a 73 brief cameo from Mackenzie himself as a ship’s captain. The title of both book and film was changed for the US: with Prohibition a recent We have a number of scripts from memory, American film studios were still both Beyond Our Ken and Round The forbidden to use the names of alcoholic drinks Horne in stock. Details available on in titles. In the United States Whisky Galore! became Tight Little Island. application.

This revised shooting script is unannotated except for ticks in purple ink which appear over every scene number, and it carries the working title Liquid Treasure. (Another title used in the early stages of production was Golden Treasure. Why no-one ever thought to call it Scotch On The Rocks is beyond us). The thirteen-page first treatment laid in to the 75

42 43 Spike Milligan (1918-2002) GOON SHOW, SERIES ONE 79. MILLIGAN, Spike The Goon Show: Series 4, Episode 23 Spike’s own bitter epitaph for his life and work 76. was: ‘Wrote The Goon Show. Died’. That much- MILLIGAN, Spike; London: N.p. [BBC], 1954 celebrated, hugely inspirational cornucopia of STEPHENS, Larry; GRAFTON, 26 mimeographed pp., secured with split pin to belches, giggles and delayed splashes remains Jimmy his most lasting contribution to humour. The top left. Extensively amended and annotated, Crazy People [The Goon Show]: show ran right through the 1950s: its mind- and with timings marked throughout. Edgewear, bending absurdism remained with Milligan all Series 1, Episode 12 especially to first and last pages, light age-toning, very good. his life. London: N.p. [BBC], 1951 First edition. Original mimeographed script of Gunner Milligan spent the war in the Royal 22 mimeographed pp., secured with split pin to Series 4, Episode 23 - the only episode in this Artillery, an experience which shaped both his top left. Slight edgewear and age-toning, two series of which a recording survives. The work and his life. The first of his war memoirs, pencil markings to title page, one (‘POW’) working copy of a Valerie Simons, with her Adolf Hitler: My Part in His Downfall, revealed alluding to the subject matter of the episode extensive annotations and timings. the traumatic catalogue of events that saw (Prisoners of War). friends made and lost. Its philosophy: laugh in 77 This episode, The Greatest Mountain In The 78 the face of adversity or you will go mad. First edition. Original mimeographed script, 76 World, tells of the the gang’s attempt to Typically, Milligan did both. Series 1, Episode 12 of The Goon Show, The few scripts from the series which survive relocate Mount Everest in Hyde Park. transmitted on 16 August 1951. ALL 78. MILLIGAN, Spike; are now our only remaining link to the early Spike had met Harry Secombe in the Western RECORDINGS FROM THE FIRST SERIES days of a show which redefined ‘funny’, and STEPHENS, Larry [1544] Desert; newly demobbed, the others were OF THE GOON SHOW HAVE BEEN which made Monty Python possible. picked up in clubs, the Windmill, and LOST. The Goon Show: Series 4, Episode 3 £450 Jimmy Grafton’s pub, where the first Goon (incomplete) Show scripts were performed. With roots in [1542] The Goon Show ran for ten series between 1951 London: N.p. [BBC], 1953 everything from Chaucer to barrack room and 1960 - although it wasn’t called The Goon £850 80. banter, it scaled the battlements of the British MILLIGAN, Spike Show until Series 2: 16 mimeographed pp. only, secured with split Broadcasting Corporation without anyone The Goon Show: Series 5, Episode 6: pin to top left. Marked ‘File’, and with an inked knowing quite what it was, or how to stop it. ‘[W]e soon met opposition to this title from 77. MILLIGAN, Spike; name (‘Pat’) to top right of title page. Extensive The Canal the BBC. As spokesman for the others, I found reworkings and deletions, and with timings marked London: N.p. [BBC], 1954 Goon humour spread through film, television STEPHENS, Larry; GRAFTON, myself once more at odds with the planners, throughout. Slight edgewear and age-toning, and stage. All four starred in Down Among the whose suggestion for a title was The Junior Jimmy tear to top edge of title page with slight loss not 26 mimeographed pp., secured with split pin to Z-Men (1952), but it was the cinematic short Crazy Gang. This implicit comparison with the affecting text. top left. Extensively amended and annotated. The Case of the Mukkinese Battlehorn (1956), The Goon Show: No. 41 (Second very popular Palladium Crazy Gang was both Edgewear and light age-toning, very good. starring Spike and that captured series) [Series2, Episode 24] unapt and inept. ‘Why not The Goon Show?’, First edition. Original, incomplete the Goon spirit on film. On radio and (later) I demanded. They brushed this aside as being London: N.p. [BBC], 1952 mimeographed script of Series 4, Episode 3. First edition. EDITOR’S COPY, WITH CUTS television, Spike reigned over Idiot’s Weekly, A 79 meaningless. The controversy continued, and ONLY ONE SHOW FROM THIS SERIES AND TIMINGS MARKED THROUGHOUT. Show Called Fred and his Q series. the first six programmes were booked under 25 mimeographed pp., secured with split pin (No. 23) HAS BEEN PRESERVED IN THE NO RECORDING OF THIS EPISODE the BBC’s suggested title. to top left. Occasional cuts and annotations. BBC SOUND ARCHIVE. EXISTS. His gravestone bears the inscription “I told you Edgewear and light age-toning, very good. I was ill.” In Gaelic. Finally, however, we compromised with the The first three series of The Goon Show were ‘After forty-three years at school young Ned title, Crazy People. Determined to have our First edition. PRODUCER DENNIS MAIN episodic in format, but in Series 4 the show Seagoon returns to Seagoon’s Folly, the own way, we amplified this within the WILSON’S ANNOTATED COPY, WITH HIS adopted a straight-through narrative style ancestral home, to find it empty save for a programme to ‘those Crazy People, The NAME TO TITLE PAGE. NO RECORDING featuring a single half-hour ‘plot’. This show, sinister oriental valet, a refugee heroin importer Goons’, and made reference internally always OF THIS EPISODE EXISTS. The Ghastly Experiments of Dr. Hans Eidelberger, and Gravely Headstone, the butler.’ Guest We have more Goon Show material to The Goon Show. After the first series, the tells the story of an unusual ascent of Mount starring . in stock - including a number of BBC gave in and our title was adopted.’ (Jimmy Both and Dennis Main Wilson Everest. Grafton, The Goon Show Companion). left the show at the end of this series, which complete scripts lacking only their [1546] ran to 25 episodes. The transmission and [1543] title pages - and other Spike Milligan This script featured the core cast of Milligan, repeat dates on the title page are given as 8 £450 £250 material relating to non-Goon Show Sellers, Secombe and Bentine - and The and 10 June respectively. This is a Stargazers, a close-harmony group who must typographical error: ‘June’ should read ‘July’. projects. Further information is have felt they’d wandered into the wrong available on application. Contact studio every week. They were dropped midway [1547] through Series 2. details can be found on p. 58. £650 80 44 45 81. MILLIGAN, Spike: SYKES, 83. MILLIGAN, Spike; ’ absent-minded habit of doodling Goonish caricatures on his scripts is Eric STEPHENS, Larry well documented (see above), but examples The Goon Show: Series 5, Episode 21: The Goon Show: Series 7, Episode 4: rarely appear on the open market. The script The Sinking Of Westminster Pier The Macreekie Rising Of ‘74 offered here carries some excellent examples, notably the full-page rendering of ‘Xerxes London: N.p. [BBC], 1955 London: N.p. [BBC], 1956 Print, Horse-Plucker-In-Ordinary’. The dampstaining (which has not affected the 27 mimeographed pp., secured with split pin to 23 mimeographed pp., secured with split pin doodles) seems to have taken place a long top left. Extensively amended and annotated. to top left. Revisions, annotations and doodles time ago: Stephens’ name on the front page is Edgewear and light age-toning, very good. throughout, some dampstaining to upper half. blanched slightly, but is perfectly legible. We have more Goon Show material First edition. PRODUCER ’S First edition. CO-WRITER LARRY in stock - including a number of A recording of this show is held in the BBC COPY, WITH HIS ANNOTATIONS, AND STEPHENS’ COPY, WITH HIS Sound Archives. Spike Milligan was unwell at complete scripts lacking only their HIS OWNERSHIP SIGNATURE TO FRONT OWNERSHIP SIGNATURE TO FRONT the time of recording, and did not appear; his title pages - and other Spike Milligan PAGE. PAGE, AND WITH HIS REVISIONS AND place was taken by George Chisholm. material relating to non-Goon Show ELABORATE DOODLES THROUGHOUT. Peter Eton joined the show at the beginning An extremely rare piece of British comedy projects. Further information is of Series 3, taking over as producer from ‘Larry was an ex-commando captain, who had 82 history. available on application. Contact Dennis Main Wilson. ‘Getting Eton was a seen some tough service in the Far East. He 84 stroke of luck for the Goons. . . . [H]e had the had a natural flair for comedy scriptwriting details can be found on p. 58. 82. [1548] 84. reputation of being a hard man to make laugh, MILLIGAN, Spike; and shared with the Goons their irreverence MILLIGAN, Spike and and was able to control the Goons’ tendency STEPHENS, Larry and sense of the ridiculous, and also their £3,500 STEPHENS, Larry towards self-indulgence. He made them The Goon Show: Series 6, Episode 10: artistic and musical leanings. He was both an Forces All Star Bill: Episode 6 rehearse properly and perform to a higher able pianist and a meticulous illustrator of the standard than they had achieved before - The Pevensey Bay Disaster definitive Goon character, with which he was London: N.p. [BBC], 1952 and he was not afraid to bawl them out if he London: N.p. [BBC], 1955 wont to adorn the pages of his script.’ (Jimmy 24 mimeographed pp., secured with split pin to thought they needed it.’ (Roger Wilmut, The Grafton, The Goon Show Companion). Goon Show Companion). 23 mimeographed pp., secured with split pin to top left. Annotated throughout, a little edgeworn and dusty. top left. Very occasional pencilled brackets to Larry Stephens is one of the more elusive The show was billed in the under dialogue, otherwise a clean copy. Light toning and figures in British comedy history. He and Spike First edition. MUSICAL DIRECTOR the title The Six Ingots Of Leadenhall Street, but edgewear, otherwise fine. Milligan were kindred spirits. Both were jazz STANLEY BLACK’S STUDIO COPY FOR the script was quickly rewritten and then fanatics (Stephens was a skilled pianist); both USE DURING RECORDING, WITH HIS retitled when Milligan saw a news photograph First edition. NO RECORDING OF THIS had faced the terror of war (Stephens as a ANNOTATIONS, AND NAME TO TITLE of the floating pier at Westminster under EPISODE EXISTS. Commando Captain); both battled personal PAGE. several feet of water, with an ‘Out of Order’ demons. notice pinned to it. This episode was recorded on 20 November Episode 6 of this reincarnation of Calling All 1955 - the day a train crash at Didcot killed Stephens began his comedy career writing Forces, which featured a different compere A recording of this episode is held in the BBC 10 people and injured 116 more. Because The material for his close friend, the yet-to-be- 83 every week. (This week’s was Harry Secombe). archives. This means the song Lean Baby, sung Pevensey Bay Disaster features a train crash, famous Tony Hancock, but by 1951 had found The show was transmitted on 7 September by ‘Gladys Ellington and Her Water Babies’, the transmission of the episode was cancelled his spiritual home at The Goon Show. He was a 1952, and as well as the ever-present Graham has been saved for the nation. (Chorus: ‘She’s and replaced with an episode from a previous rock for the famously unstable Spike Milligan, Stark and Fred Yule, featured Tessie O-Shea, so skinny/She’s so drawn/When she stands series. The show was eventually broadcast on 3 able most weeks to distil the essence of Spike’s The Beverley Sisters, Eddie Calvert and Jimmy sideways/You’d think she’s gawn’). April 1956. madness into a workable Goon Show script. Young among the guest stars. Stephens’ ability to speak fluent Milligan made [1545] [1549] their writing partnership the most reliably Milligan and Stephens wrote 33 episodes of productive on the show; it’s also why the short £450 £400 The Goon Show in 1952, yet still found time to film The Case of the Mukkinese Battlehorn 81 write this, in which Secombe lectures the (1956) comes closest of all visual adaptations audience on the subject of ‘Rare Musical to the near-abstract imaginary universe of the Instruments of the Pre-Neolithic or Post- Goons. But Stephens was an alcoholic, and his Early-For-Christmas Period, with Particular excessive drinking led to battles with the BBC Reference to the Armenian Blurtpipe’. as early as Series 2. It also led to his tragically early death from a cerebral haemorrhage in [1568] January 1959, at the age of thirty-five. £375

46 47 SPIKE MILLIGAN’S OWN 86. MUIR, Frank; VOSBURGH, We Have Ways Of Making You Laugh was the only remembered today for being one of the COPIES first programme to be broadcast by London first to showcase the unique animation style of Dick; CRYER, Barry; HANLEY, Weekend Television - except it wasn’t. , which would give Monty Python’s Jenny; IDLE, Eric; GILLIAM, Industrial action taken by technical staff during Flying Circus its defining look the following 85. MILLIGAN, Spike Terry; NOBLE, Trisha what should have been its live broadcast meant year. Idiot Weekly that it has the unique distinction of being the We Have Ways Of Making You Laugh: only television show ever to be watched by These scripts, seven of the nine broadcast, N.p.: N.d. [1958] Episodes 5, 6, 8, 9, 10, 11, 12 literally no-one. The cast were only told the contain occasional markings and scribbles (the plug had been pulled once they’d finished rehearsal script, predictably, is annotated more Nine typescripts, each averaging 12 pp., and each London: N.p. [London Weekend performing the show, when producer extensively), but are for the most part ‘clean’. secured with split pin to top left. Most a little Television], 1968 Humphrey Barclay explained to Eric Idle that edgeworn and browned with age, extensive ink ‘. . . we didn’t want you to stop in case they put Very scarce. and pencil annotations throughout. One rehearsal script (Episode 5) and six camera the plugs back in.’ The industrial action also scripts, secured either with staples or split pins at wiped out the next two weeks. This, coupled [1583] SPIKE MILLIGAN’S OWN TYPESCRIPTS, top left. Title page missing from Episode 8, all a with the fact that the boast of the show’s title WITH HIS HANDWRITTEN £1,000 little dusty and edgeworn. Very good copies. was not backed up by the content of the show’s AMENDMENTS AND ANNOTATIONS. scripts, ensured that We Have Ways Of RECORDINGS OF THESE EPISODES First editions. Making You Laugh died at birth. The show is ARE LOST.

From 1955, Australia had been regaled with transcriptions of The Goon Show, re-recorded by an Australian cast, and when the driving 85 force behind the real thing visited his parents in Woy Woy in 1958, Milligan was signed up by the Australian Broadcasting Commission to write an original, Goon Show-style series for their home audience. The result was Idiot Weekly, which ran for 38 episodes spread over three series between 1958 and 1962. The scripts offered here are headed Alongside Milligan in the cast were John as follows: Bluthal, Bobby Limb, Ray Barrett and Michael Eisdell. The scripts were often reheated Goon IDIOT WEEKLY No 4: IDIOT WEEKLY No 11 RAAF SHOW: Show episodes incorporating current Milligan’s working copy, with rewrites in his own Amendments throughout in an unknown hand. Australian news stories, playing to the hand throughout. The All Australian Leather Rocket episode. strengths of the local cast. Recordings of only 14 episodes of the show survive, with only one IDIOT WEEKLY No 5: IDIOT WEEKLY No 12: of those - an incomplete one - coming from Pencilled amendments throughout, in an Milligan’s working copy, with rewrites in his own the first series. unknown hand. hand throughout.

The nine typescripts offered here are IDIOT WEEKLY No 9 [deleted] 5: THE IDIOT WEEKLY: numbered 4, 5, 9 (deleted and renumbered 5 Milligan’s working copy, with rewrites in his own Occasional markings in an unknown hand. A by hand), 6, 7, No. 1 (8) No. 11, 11 and 12, with hand throughout. photocopy. one unnumbered photocopied script. There are no duplicates, and no titles. Of the nine scripts, IDIOT WEEKLY No 6: . . . and a single, opening page, possibly six carry extensive amendments and Milligan’s working copy, with extensive rewrites photocopied, headed THE IDIOT WEEKLY. annotations by Milligan. Three have the word in his own hand ‘Original’ handwritten in the top right corner of throughout. A unique archive of this important Goon Show the first page. Only two are dated: handwritten spin-off. notes to the first pages of Nos. 7 and 8 read IDIOT WEEKLY No 7: ‘Typed 3/7/58’ and ‘Typed 9/7/58’. The second Milligan’s working copy, with rewrites in his own [1585] series of Idiot Weekly was made in 1959. All of hand throughout. £6,000 which would suggest that this is a run of scripts from the first series of the show. That entire NO 1 (8) No 11: series, excepting a partial recording of one Amendments throughout in a variety of hands, 86 episode, is now lost. one of which is possibly Milligan’s.

48 49 whose first radio appearance this was. Its 88 90. [NIJINSKY, Vaslav] TERRY NATION writing team was equally stellar. At the same (1930-1997) time (1956) as providing scripts for this Nijinsky Matinee for the Benefit of middle-of-the-road radio comedy, Freeman, Vaslav Nijinsky Terry Nation invented the Daleks. His CV Junkin and Nation were also working on Idiot’s London Nijinsky Foundation: 1937 includes writing credits for The Avengers, The Weekly Price 2d, the first attempt to present Saint and The Persuaders; he wrote for Harry Goon Show humour to a television audience. Large 8vo, pp. 14. Stiff paper wrappers. Wrappers Worth, Frankie Howerd, , and a little dusty and edgeworn, detached from most notably for an end-of-his-tether Tony The script offered here is for Series 1, Episode contents but complete. Hancock during his time at ATV. With Dave 3 of Floggit’s, first transmitted on 31 August Freeman and John Junkin, Nation wrote a large 1956. No recording is known to exist of this First edition. number of scripts for many BBC radio shows episode, but if the writers’ extensive rewrites of the 1950s. He created Survivors, and Blake’s are any guide, the show was still very much in Commemorative programme for a matinee of 7. But all of this has been largely forgotten, the process of bedding down. The script as first dance in aid of the Nijinsky Foundation, staged because Terry Nation invented the Daleks. 90 presented clearly found no favour with its stars: at His Majesty’s Theatre, London, on 28 May extensive deletions and rewrites cover almost 1937. Organised by a committee chaired by Born in Cardiff, by January 1955 Nation was every page of this copy, and newly typed pages First editions, including EDITOR’S COPY OF The Ladies Juliet Duff and Diana Cooper, the in London. According to legend he was found (themselves heavily revised) have been inserted CHRISTMAS EPISODE,EXTENSIVELY programme featured appearances by Margot starving in the street by Spike Milligan, who at intervals. The whole was then re-submitted ANNOTATED FOR USE IN Fonteyn, Robert Helpmann, Alicia Markova, bought one of his sketches from him as an act to the producer, Alastair Scott Johnson, with a PRODUCTION. Anton Dolin and Serge Lifar, and John Gielgud of charity. This chance meeting introduced handwritten note on the title page from reading a specially commissioned poem by Nation to the comedy hothouse of 87 Nation: ‘Dear Alastair, The amendments and Floggit’s, starring Elsie and Doris Waters, ran These episodes of Floggit’s (the apostrophe is Christopher Hassall. Associated London Scripts (see p. 23). With TERRY NATION’S WORKING cuts which we hope you can read and with for three series on BBC Radio between 1956 missing from the scripts’ title pages) are from co-writers John Junkin and Dave Freeman, which Elsie and Doris seem happy. Sincerely, and 1959, and among the regular cast were the first series, which was transmitted between ‘Vaslav Nijinsky, to whose inspiration and Nation carved out a remarkable early career in COPY, SIGNED AND Terry’. Anthony Newley, , Ron Moody - and August and November 1956. It was during marvellous power the modern ballet owes so radio comedy - notably on Floggit’s, the Elsie EXTENSIVELY REWRITTEN , whose radio debut this was. this show that Ronald Barker became Ronnie much of its success, has suffered for many and Doris Waters vehicle which ran for three So. Only the third episode, now lost, of a show Barker, producer Alastair Scott-Johnson years from mental trouble; and although series between 1956 and 1959. which gave a radio debut to Ronnie Barker; The script offered here is an unmarked trial having decided that ‘Ronnie’ sounded more extremely sensitive and susceptible to his which featured very early appearances by Joan script for the series, pre-dating the show itself friendly. The first Barker knew of it was when surroundings, is quite unable to look after Then, in 1963 Nation was asked to write for 87. NATION, Terry; JUNKIN, Sims and Anthony Newley; and which is co- by three months. It is unknown whether it was he read the cast list in the Radio Times. himself or earn any money. He is at present a new science fiction series called Doctor John; FREEMAN, Dave written, signed twice, and extensively revised ever recorded or transmitted. living in a Swiss nursing home, in a kind Who. His script,The Dead Planet, was the fifth by the man who, seven years later, would go on [1575] of mental twilight, with very little hope of episode of the show ever to be screened, and Floggits [sic]: Series 1, Episode 3 to invent the Daleks. [1574] recovery. All his savings have long ago been introduced the Daleks to an audience which, £500 London: N.p. [BBC], 1956 exhausted, and though his wife, by her devoted then as now, couldn’t get enough of them. £750 [1554] 89 efforts, has hitherto succeeded in supporting Since that first appearance, every Doctor from 34 mimeographed pp., 5 typed inserts, all secured £4,750 him, it is impossible for her to continue to to Matt Smith has fought with split pin to top left. A little edgeworn and provide for him without considerable help. the psychotic pepper pots, running upstairs dusty, but a well preserved copy. 89. NATION, Terry; JUNKIN, The object of the Nijinsky Matinee is to as- only when all else fails. sist in raising a sufficient fund to provide for First edition. TERRY NATION’S 88. John; FREEMAN, Dave NATION, Terry; JUNKIN, the proper care of Vaslav Nijinsky during his A long career in British sci-fi television EXTENSIVELY REVISED WORKING Floggits [sic]: Series 1, Episodes 8, 13, John; FREEMAN, Dave life, and subject to this, to give assistance to followed, and in 1980 Nation moved to the COPY, WITH HIS SIGNATURE, AND WITH 14, 15, Christmas Special, and one any other artists of the ballet who by reason United States, where attempts to break in A SIGNED HANDWRITTEN NOTE TO The Floggits: Trial script of sickness or similar misfortune may be in to American television met with only mixed PRODUCER ALASTAIR SCOTT unidentified London: N.p. [BBC], 1956 need of help.’ [Statement of Objects, Nijinsky success. He died of emphysema in Pacific JOHNSON TO TITLE PAGE. NO London: N.p. [BBC], 1956 Foundation]. Palisades, California, in 1997. RECORDING OF THIS EPISODE EXISTS. 40 mimeographed pp., secured with split pin to top left. A little edgeworn and dusty, last page Six scripts, approx. 40 mimeographed pp. per Scarce. Floggit’s, starring Elsie and Doris Waters, ran detached, but a well preserved copy. script, each secured with split pin to top left. A for three series on BBC Radio between 1956 little edgeworn and dusty, but well preserved [1201] and 1959. Transplanting their Workers’ First edition. TRIAL SCRIPT FOR THE copies. Occasional pencilled markings in Playtime characters to a family-run general SHOW WHICH BECAME FLOGGITS, numbered episodes, and informal titles pencilled £150 store, this unexceptional and now very dated STARRING ELSIE AND DORIS WATERS. to title pages. More extensive markings to show featured a phenomenal supporting cast: NO RECORDING OF THIS EPISODE Christmas episode (see below). One episode Anthony Newley, Joan Sims (whose name EXISTS. DATED 29 MAY 1956 - THREE lacking title page and so not identified. Last page is misspelt ‘SIMMS’ on the title page of this MONTHS BEFORE EPISODE 1 WAS of Episode 15 and title page of Christmas episode script), Hugh Paddick - and Ronnie Barker, RECORDED. detached. 50 51 mention he gets in two later songs. In Billy 92. [SECOMBE, Harry] A LOST PETER SELLERS SHOW Wilson, and ran for a single series between Joel’s We Didn’t Start The Fire, Ray is the fourth July and August in 1954. The show has not person to be name-checked, and in Dexy’s PEDRICK, Gale been heard since: no recordings are known to Midnight Runners’ Come On Eileen a couplet is The Laughtermakers: No. 8: Harry 93. [SELLERS, Peter] GRAFTON, survive. devoted to him: ‘Poor old Johnnie Ray sounded Secombe Jimmy and GRIFFITHS, Peter sad upon the radio / He moved a million hearts All copies offered here are studio copies, London: N.p. [BBC], 1956 Happy Holidays in Mono.’ Two convictions for homosexual extensively marked up with amendments and soliciting bookended his career, which was over London: N.p. [BBC], 1954 timings. It is common for such copies to be 94 23 mimeographed pp., secured with split pin to by 1959; he was Judy Garland’s best man at missing the title page (as four of these are): top left. Light edgewear and age-toning, but a her wedding ten years later; he died of Five episodes, c.45 pp. each, secured with split pin since it carried no information of use to anyone very good copy. cirrhosis of the liver at the age of 53. And he to top left. Variously age-toned and edgeworn, in the recording booth, it was often discarded was almost deaf - the device you can see in extensive markings and timings throughout most as surplus to requirements. Jacques Brown’s First edition. HARRY SECOMBE’S COPY, most of his performances isn’t a studio copies, some missing title pages. copy is Episode 4 (and retains its title page); ANNOTATED BY HIM, AND WITH earpiece, it’s a hearing aid. If you can’t place the others are Episodes 3, 10, 14, and one SEVERAL DOODLES, INCLUDING A him, may we recommend YouTube. He’s First editions. PRODUCER JACQUES unnumbered. SELF-CARICATURE TO FRONT PAGE. phenomenal. BROWN’S COPY, WITH HIS ANNOTATIONS, AND FOUR OTHER Extremely rare, and our only remaining link to a Recorded between Series 6 and 7 of The EPISODES, EXTENSIVELY MARKED UP piece of Sellers’ career which is now Goon Show on 21 August 1956, this profile of In 1955, Ray was in town to film an edition of FOR STUDIO USE. NO RECORDINGS comprehensively lost. Secombe included contributions from, among Sunday Night At The , and OF THIS SHOW ARE KNOWN TO EXIST. others, Spike Milligan and Jimmy Grafton. recorded Show Band Show during his visit. The [1558] Secombe has underlined and amended his show also featured Alfred Marks and Bert Co-written by Jimmy ‘Goon Show’ Grafton, own lines throughout the script, and doodled £5,000 91 Weedon, and was compered by Rikki Fulton. Happy Holiday starred Peter Sellers, Dennis caricatures on several pages - including one of It was pre-recorded on 2 May 1955 for Price, , Elizabeth Larner and Dick himself on the front page. ‘THE FIRST SINGER WHOSE transmission later the same day, and as well as Emery. (Emery was by now a semi-regular in appearing in a short sketch at the end of the The Goon Show, stepping in whenever Spike 94. STOPPARD, Tom VOICE AND STYLE I TOTALLY [1550] show, Johnnie Ray sang Alexander’s Ragtime Milligan’s fragile health failed him). Set in The Secret Policeman’s Third Ball FELL IN LOVE WITH.’ Band, As Time Goes By, Flip Flop And Fly and If £350 the seaside resort of Littleton-on-Sea, this 45-minute show was a light-hearted sitcom N.p., N.d. [1987] BOB DYLAN You Believe. His script is neatly marked up, with his name written in red and underlined twice with plenty of musical interludes, in which Single hand-corrected proof sheet, mounted, on the title page, and his musical numbers are everybody played themselves except Peter glazed and framed, 505 x 255mm. Unexamined 91. [RAY, Johnnie] VOSBURGH, ticked in the running order. Sellers, who played everybody else. The show was devised by the indefatigable Dennis Main out of the frame, but apparently fine. Richard and BENTLEY, Jack 92 Very rare, redolent of its time, and absolutely Show Band Show with Johnnie Ray 93 PROOF FOR A PIECE WRITTEN FOR THE equal measure. David Gilmour, Eric Clapton, beautiful. London: N.p. [BBC], 1955 PROGRAMME OF THE SECRET Mark Knopfler, Duran Duran, Kate Bush, Peter POLICEMAN’S THIRD BALL, WITH Gabriel and Lou Reed were among the rock [1573] 19 mimeographed pp., secured with split pin to top MANUSCRIPT CORRECTIONS BY stars to appear, while Fry and Laurie, French left. Tear to final page, amendments and markings £3,000 STOPPARD, AND SIGNED BY HIM. and Saunders, Lenny Henry, Ben Elton, the throughout, a little dusty and age-toned. puppets from Spitting Image, Rory Bremner The Secret Policeman series of fundraising and Ruby Wax provided the laughs. First edition. A Johnnie Ray Special. shows for Amnesty International began in JOHNNIE RAY’S COPY, WITH HIS NAME 92 1976, and they are still staged most years. The This piece, Stoppard’s written contribution to TO TITLE PAGE AND HIS LINES collective name for the shows was applied the show, appears on p. [12] of the programme UNDERLINED IN RED THROUGHOUT. retrospectively: this, The Secret Policeman’s (a copy of which is include with this item). All Third Ball, was actually the fifth of the series. Stoppard’s proof corrections have been Johnnie Ray [1927-1990] was the singing The brainchild of John Cleese, Amnesty’s Peter incorporated into the printed text, and one sensation of the early 1950s, taking the baton Luff and music executive Martin Lewis, the first new paragraph indent has been added (not from Frank Sinatra and eventually handing shows’ participants were almost all comedians called for by Stoppard). it to Elvis Presley. His unbuttoned style, the drawn from Cleese’s address book. Hugely hair-tearing and the dropping to his knees, successful both in raising Amnesty’s profile [1521] anticipated the stage shows of, among many and as entertainments in their own right, £1,750 others, James Brown and Little Richard, and Lewis found that top-name musicians were his emotionally supercharged singing style queuing up to help. By the time this, the fifth See also Item 71 opened the door for rock and roll itself. Yet if production, was staged, the cast list featured he’s remembered at all today it’s for the comedians and musicians in roughly 52 53 95. STRAVINSKY, Igor 95 Terry-Thomas (1911-1990) EARLY TERRY-THOMAS, Le Sacre Du Printemps NEVER TRANSMITTED, AND With his gap~toothed grin, houndstooth Berlin, Moscow, Leipzig and New blazers, and immortal cry of ‘You’re an absolute NOW LOST York: Edition Russe de Musique, 1921 shower’, Terry-Thomas was the definitive English cad. Beloved by Hollywood, his very 97. TERRY-THOMAS and MUIR, 8vo, pp. 139. Original cream coarse grain three- British contributions to elephantine epics like quarter cloth boards, lettered in gilt on purple It’s A Mad, Mad, Mad, Mad World and Those Frank spine. Boards a little marked and soiled, gilt to Magnificent Men in Their Flying Machines Terry’s Topics spine faded, but a very good copy. made him world famous. Born Thomas Terry London: N.p. [BBC], 1947 First edition. ERIC SYKES’ COPY, WITH HIS Hoar-Stephens and hailing from , he First edition of the full orchestral score, WITH NAME TO TITLE PAGE. began life as a clerk, but worked tirelessly on 15 mimeographed pp., secured by split pin at top THE OWNERSHIP SIGNATURE OF THE the upper-class persona he would play - off left. Occasional pencil markings to text, a little COMPOSER/CONDUCTOR HYAM This version of Cinderella was staged at the screen and on - for the rest of his life. His age-toned, one closed tear and a small drink stain GREENBAUM. The signature is dated London Palladium at Christmas in 1953. It button~hole was never without a carnation to front page, otherwise very good. ‘London, 1925’. was the making of Julie Andrews, who on the and, while billeted in America, he would raise 96. SYKES, Eric; MILLIGAN, 97 strength of her work in this show was cast in and lower a Union Jack in his garden every day. First edition. TERRY-THOMAS’ FIRST Hyam Greenbaum [1901-1942] was a violinist, Spike; BISHOP, Michael; PARK, the Broadway production of The Boy Friend, a STARRING ROLE IN A RADIO SHOW. composer and conductor, and orchestrator of huge hit which launched her international A film extra in the 1930s, after the war Terry- Phil THE ONLY EPISODE, RECORDED BUT many of William Walton’s early film scores. In career. Also among the cast were Max Thomas worked in variety theatres as a Cinderella NEVER TRANSMITTED. 1936 he founded the BBC TV Orchestra, and Bygraves, Richard Hearne (Mr. Pastry), and comedian, and in 1946 supported that year conducted the first music London: N.p.[Moss Empires Ltd.], the future Dr. Who , who played in the West End revue Piccadilly Hayride. He Described on the front page as ‘ A Weekly programme ever to be broadcast on television. 1953 one of the Ugly Sisters. The reception for made a string of guest radio broadcasts for the Radio Magazine of Comedy, Music and the show was generally good, although some BBC, and his early television series How Do Personalities’, which also states ‘Trial recording [ 1097] Mimeographed playscript, bound with brown critics questioned the its occasional forays into You View? (1949-1953) remains an unheralded only - Not For Transmission’. Recorded on 30 ribbon in outsize red card covers. 3x4 cm piece offbeat, off-colour humour. (Step forward, pioneer in the genre of . But his £1,250 March 1947, with a supporting cast of Helen of front cover missing at foot of spine. Title page Milligan . . .). career as a TV star was relatively short-lived. Hill, Leslie Welch ‘The Memory Man’, Horace and cast list torn away from binding, but present In the 1950s he began to appear in the films Percival, Doris Nichols and It’s That Man and complete. Occasional pencilled markings and A unique copy. which would come to define him - notably Again scriptwriter Ted Kavanagh. The show was minor annotations throughout. Embossed logo in the character of Major Hitchcock, the co-written by Terry-Thomas and , of Mrs. Marshall’s Typewriting Office to foot of [1582] thwarted-at-every-turn upper-class idiot who but the partnership wasn’t a success. This pilot title page. appeared in both Private’s Progress and I’m £350 show was recorded but never made it to air, Alright, Jack. and the project was aborted.

By the end of the 1970s debilitating Impossibly rare. Parkinson’s Disease had ended Terry-Thomas’s career, but today’s audiences are still [1539] introduced to his work at a young age. He is the voice of Sir Hiss the snake in Disney’s £3,000 Robin Hood, and - crowningly, in our view - was the inspiration for the Wacky Races character Dick Dastardly. (Muttley was based on Jack Lemmon). The scripts offered here provide an extremely rare glimpse of the beginnings of a career which would soon turn stellar.

95

96 54 55 98. [TERRY-THOMAS] 99. [TERRY-THOMAS] 100. [dir. VISCONTI, Luchino, Top Of The Town (incomplete) GRAFTON, Jimmy; GRIFFITHS, des. DALI, Salvador] London: N.p. [BBC], 1951 Peter; COLIN, Sid; ROTHWELL, SHAKESPEARE, William As You Like It (Come Vi Piace) 21 mimeographed pp. of 36, [pp. 2-7, 14-21, 31- Talbot 36], secured with split pin to top left. Rewrite to Top Of The Town: Episode 9 Rome: Collezione Dell’Obelisco, 1948 p. 21 secured by pins top and bottom. Pencilled London: N.p. [BBC] 1953 amendments and deletions throughout. Dog- Large 8vo. Original illustrated card wrappers. 8 eared, edgeworn, and age-toned. Episode subject 35 mimeographed pp., secured by split pin to top card-mounted colour plates by Salvador Dali, (‘IRELAND’) pencilled to front page. left. Occasional revisions throughout, front page who also designed the wrappers. Wrappers a little marked, near fine. browned, chipping with some loss to edges. Last First edition. page separating from binding slightly, resulting in First edition. Episode 9, transmitted 27 some closed tears. Presentation inscription, dated Terry-Thomas’s first attempts at radio stardom December 1953. May 1949, to title page. had come to nothing. Terry’s Topics, co-written with Frank Muir, was aborted after a single, Terry-Thomas’ first radio lead was in To Town First and only edition of this lavish untransmitted, pilot show, and although the With Terry, which he co-wrote with Talbot commemorative brochure. Luchino Visconti’s BBC was very happy with his next show, To ‘Carry On’ Rothwell. The show was transmitted production of As You Like It opened at the Town With Terry, co-written by T-T and Talbot in 1948 but, although popular, its star was Teatro Elisio in Rome on 26 November 1948. ‘Carry On’ Rothwell, Terry-Thomas thought unhappy with it, and it was shelved after a His assistant was a twenty-five-year-old it was below standard and walked away from single series. It took five years for this follow- Franco Zeffirelli, Vittorio Gassmann played it after a six-month run. Next came Top Of up to appear. The show’s regular co-stars were Orlando and Visconti regular Rina Morelli 98 The Town, co-starring Leslie Mitchell and Joan Joan Sims and Leslie Mitchell, and each show was Rosalind. A young Marcello Mastroianni Sims, and featuring a different town and guest featured special guests. This episode featured made his debut as First Nobleman. The entire star each week. Donald Houston, and Albert and Les Ward. production was designed by Salvador Dali who, This copy of the script has ‘STANLEY’ written on the evidence of these spectacular (and The town of this (partial) script was in blue pencil across the front page. The show’s very well-preserved) colour plates, populated Londonderry, and the guest star was Irish tenor Musical Director was Stanley Black, a fixture of the Forest of Arden with spindle-shanked Josef Locke. 1950s radio who, among much else, wrote the elephants and noblemen wearing deer’s-head theme tune for The Goon Show. codpieces complete with antlers. The [1556] recruitment of Dali is explained by Visconti’s Very early, and very scarce. reading of the play as ‘a fantasy, a dream, a £200 fairy tale verging on ballet’ - a perfect [1540] description of A Midsummer Night’s Dream, not As You Like It. The neorealist Visconti and the £800 surrealist Dali found little common ground, and the production was a failure, although Dali’s designs were later used to illustrate a Folio Society edition of As You Like It, published in 1953 with a preface by Peter Brook.

A scarce item - fragile, too. This copy is a little ragged round the edges, but all that makes it beautiful is present and correct.

[1199]

99 £950

100

56 57 Neil Pearson Rare Books Bibliography 2 Scout Lane DUTEL, Jean-Pierre: Bibliographie des Clapham Old Town Ouvrages Erotiques Publiés Clandestinement London en Français entre 1880 et 1920 SW4 0LA GEKOSKI, R.A. and GROGAN, P.A.: William Golding: A Bibliography Please note this is an office address, not a shop. Visits by appointment only. GROLIER: 100 American Books

FORD, Hugh: Published In Paris www.neilpearsonrarebooks.com FOSTER, Andy: Radio Comedy 1938-1968

Email: [email protected] GALLUP, Donald: T. S. Eliot: A Bibliography

Tel: +44 (0)7508 349122 KEARNEY, Patrick: The Paris Olympia Press [2007]

KEARNEY, Patrick: www.scissors-and-paste.net

MONKHOUSE, Bob: Crying With Laughter

PEARSON, Neil: Obelisk: A History Of Jack Kahane And The Obelisk Press

PRINGLE, David: Science Fiction: The 100 Best Novels, An English-Language Selection, 1949-1984

ROSS, Robert: Marty Feldman: The Biography Of A Comedy Legend

SLIDE, Anthony: Lost Gay Novels: A Reference Guide To Fifty Works From The First Half Of The Twentieth Century

STEVENS, Christopher: The Masters Of Sitcom, From Hancock To Steptoe

WILMUT, Roger: The Goon Show Companion: A History And Goonography

We are also very grateful to the proprietors of The Tony Hancock Appreciation Society, The Goon Show Site, and laughterlog.com.

Item 73 www.neilpearsonrarebooks.com