Modern Literature & First Editions (KID18B) Lot

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Modern Literature & First Editions (KID18B) Lot

Modern Literature & First Editions (KID18B) Thu, 13th Dec 2018 Lot 905 Estimate: £150 - £200 + Fees Ross (Robert Baldwin, 1869-1918). Ross (Robert Baldwin, 1869-1918). A group of three autograph letters signed, 'Robert Ross' and one 'Robbie Ross', London & Paris addresses, two undated and one from Paris dated 17 June 1909, all to [Ernest] Goldschmidt, the longest letter from Paris, apologising for the delay in replying as he has been on holiday and so unable to come to the Morden Gallery, saying he returns on 22nd July and 'may wish to inquire about the Byron poem ...No doubt impressed on account of its subject, just as Shakespeare's sonnets were concealed for so many years', asking if he will be in London and to let him know using his address at the Reform Club, one page with integral address panel and postmarks to verso, the second letter informing Goldschmidt that 'Alexander has reserved two seats for me tonight at St James's Theatre. Will it bore you to come very much? I want to go particularly for reasons I will tell you another time... ', one page, 4to, the third a short note trying to arrange to meet up, one page with integral blank, small 8vo, all a little dusty and a few light creases, plus Holland (Vyvyan, 1886-1967), Autograph letter signed, 'V.B. Holland', The Bath Club, 34 Dover Street, London, Wednesday, no date, telling Goldschmidt that he is sorry but he is leaving London the next day and 'I have not got a photo of myself in the world. But I am really going to have one taken when I can screw up sufficient courage, and I will send you one. Will you send me your Vienna address. I got the Cazins in red morocco including Heloise et Abelard and Les Jardins for 15/- the other day! Quite good isn't it?', 3 pp., a little dust-soiled on final page, small 8vo Robbie Ross became Oscar Wilde's literary executor after his death in 1900 and, in 1908, he produced the definitive edition of Wilde's works. Vyvyan Holland, the second son of Oscar Wilde and Constance Lloyd, studied law at Trinity Hall in the University of Cambridge from 1905, but left there in 1907. Holland was with Ross in Paris at the time of the dated letter, as they were both there to witness the reburial of Oscar Wilde's remains from Bagneux Cemetery to Père Lachaise Cemetery in Paris on 20 July 1909. Qty: 4.

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Christabel Lady Aberconway
CHRISTABEL LADY ABERCONWAY She was born into a distinguished family of Irish Macnaghtens in 1890. I was born into a family of Scottish/Australian McNaughtons fifty years later. It seemed unlikely we would ever meet. But we had some common interests and eventually did meet—in London in the Swinging Sixties. My mother, Lilian May Besant, and my father, Charles Dudley McNaughton, built a double-brick house in Burwood, eight miles from the center of Melbourne, Australia, and moved in when they married in December 1935. When my sister, Eril Margaret, was born on 8 April 1938, she occupied the second bedroom at the back of the house. After I arrived on 22 July 1940 a third bedroom was added by building a “sleep-out” of fibro-cement behind Eril’s room, punching a door through her brick wall and putting a second door from the sleep-out onto the back verandah. Our rooms were not large. Eril had to put up with traffic from inside the house to my room. The sleep-out became a refuge for some difficult-to-place furniture, including my mother’s large foot-operated Singer sewing machine, a large dark-stained secretaire that belonged to my father, and a large sailing-ship print. My father died of a brain tumor in 1944 and when my step-father joined us in 1946, his cedar chest of drawers landed in my room. I lived in this room through high school, college and a two-year master’s degree and never thought about redecorating. The brick wall between our two bedrooms was painted on my side once or twice, and the curtains on the narrow strip of windows to the south were replaced.
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Oscar Wilde and His Literary Circle Collection: Forgeries MS
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PDF File Created from a TIFF Image by Tiff2pdf
Copyright ofFull Text rests with the original copyright owner and, except as permitted under the Copyright Act 1968, copying this copyright material is prohibited without the pennission ofthe owner or its exclusive licensee or agent or by way ofa licence 200303691 from Copyright Agency Limited, For infonnation about such licences contact Copyright Agency Limited on (02) 93947600 (ph) or (02) 93947601 (fax) A History of Confusion The Two Earliest English Translations of Oscar Wilde's Salome ]OOSTbAALDER ,- /0, l!\' "'lE I ,\0, TR... NSI.... l'El> i THl: rlH;N,:11 ('1" OSCAk WILl)I',: I I '" Ul<. I __ 7x J Introducing the Issues Salomt is now one ofOscar Wilde's most highly regarded plays - no longer only in continental Europe, but also in English-speaking countries. As is well known, it was originally written in French and published in 1893: Oscar Wilde, Salomi.· Dram' en un Act" Paris: Librairie de I'Art Independant; London: Elkin Mathews &John Lane, 1893. - Stuart Mason, Bibliography of Oscar Wilde, London: Bodley Head & T. Werner Laurie, 1914 (new ed., Lon- don: Bertrarn Rota, 1967), no.348. ' 1. This is an extremely rare book. As most readers will have great difficulty locating a copy, I cite Wtlde's French from Robert Ross's first collected edition of the Work, London: Methuen, 1908, reproduced under the title Tht First Colltcttd Edition oftht Works 0fOJcar Wj/dt, 1908-1922. in 15 vols, London: Dawsons of Pall Mall, 1969. Salomiis part ofvo1.l3 (though ofvo1.2 in the 1908 version). I use the form Salomt instead of the French Salomi
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Introduction
Notes Introduction 1. Jeffrey Weeks, Sex, Politics and Society: The Regulation of Sexuality since 1800, 2nd edn (London: Longman, 1989), p. 10. 2. Michel Foucault, An Introduction: Volume 1 of The History of Sexuality (New York: Vintage-Random House, 1978), p. 37. 3. Richard Kaye provides an excellent overview of sexuality-based Wilde schol- arship up to 2004, including the controversy over Christopher Craft’s ‘Alias Bunberry’, which represents The Importance of Being Earnestt as a coded gay text; see Richard Kaye, ‘Gay Studies/Queer Theory and Oscar Wilde’, Palgrave Advances in Oscar Wilde Studies, ed. Frederick S. Roden (Basingstoke: Palgrave Macmillan, 2004), pp. 189–223, and Christopher Craft, Another Kind of Love: Male Homosocial Desire in English Discourse, 1850–1920 (Berkeley: University of California Press, 1994), pp. 106–39. The identification of Wilde as unprob- lematically ‘gay’ or ‘homosexual’ continues, especially in texts that are not centrally engaged with questions of sexuality. Heather Marcovitch, The Art of the Pose: Oscar Wilde’s Performance Theoryy (Bern: Peter Lang, 2010), p. 10, for instance, identifies Wilde as ‘a gay man’, and Paul L. Fortunato, Modernist Aesthetics and Consumer Culture in the Writings of Oscar Wilde (New York: Routledge, 2007) consistently uses ‘gay’ throughout his book on the con- sumerist Wilde. 4. Richard Ellmann, Oscar Wilde (New York: Vintage-Random House, 1988), p. 277. 5. For intriguing interpretations in the context of Wilde’s subversive politics of precisely the texts I push to the background see Sos Eltis, Revising Wilde: Society and Subversion in the Plays of Oscar Wilde (Oxford: Clarendon-Oxford University Press, 1996).
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