Publicado por William Heinemann Ltd, London, 1970
ISBN 10: 0434043036 ISBN 13: 9780434043033
Librería: The Print Room, Cockernhoe nr Luton, Reino Unido
Original o primera edición
Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine. 1st Edition. First published in 1969, this is a second (corrected) impression of 1970. Some minor edge wear and very small closed tears to top of unlaminated jacket and spine, not price clipped (£3.50), no inscriptions, internally clean tight and square, overall a very good, fresh clean copy. 293pp, illustrated. Enid Bagnold, Lady Jones, CBE (1889 ¿ 1981), author and playwright, best known for her 1935 story 'National Velvet' which was filmed in 1944 starring the young Elizabeth Taylor.
Publicado por Published by Random House 457 Madison Avenue, New York First Edition . New York 1964., 1964
Librería: Little Stour Books PBFA Member, Canterbury, Reino Unido
Miembro de asociación: PBFA
Original o primera edición
First edition hard back binding in publisher's original brick red paper over boards, gilt title and author lettering to the black cloth spine. 8vo. 8½'' x 6''. Contains [x] 122 printed pages of text with monochrome photographic stills throughout. Fine condition book in Very Good condition dust wrapper with minor rubbing of the paper to the spine ends and corners, not price clipped $3.95. Dust wrapper supplied in archive acetate film protection, this preserves and prolongs the life of the paper, it is not adhered to the book or to the dust wrapper. Member of the P.B.F.A. PLAYS (Theatre Performance).
Publicado por Published by Dusty Bookcase First Edition not dated.
Librería: Little Stour Books PBFA Member, Canterbury, Reino Unido
Miembro de asociación: PBFA
Publisher's original illustrated card wrap covers [softback]. 8vo. 9½'' x 6''. Contains 171 printed pages of text. In very near Fine clean unopened condition, no dust wrapper as published. Member of the P.B.F.A. LITERATURE 1900-1925.
Publicado por William Heinemann Ltd, London, 1974
ISBN 10: 043404301X ISBN 13: 9780434043019
Librería: The Print Room, Cockernhoe nr Luton, Reino Unido
Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Jacket and illustrations by Laurian Jones Ilustrador. First Edition Later Printing. First published in 1935, this is a tenth impression of 1974. Some edge wear, chipping and short closed tears to top and bottom of jacket and spine, spine of largely pink jacket slightly faded, corners rubbed with small loss, folds slightly rubbed. Not price clipped (£3.95), no inscriptions, internally clean tight and square, overall a vg+ copy for its age. 246pp, illustrated. 'National Velvet' is a classic tale of dreams, ambition and one girl's belief in a horse. 'Velvet'll sit on a horse like a shadow and breathe her soul into it. I never seen such a creature on a horse.' Velvet is mad about horses. When she wins a piebald horse in a raffle, she knows he's something special. His heart is as big as the five foot fences he jumps, and he'll do anything for Velvet. Soon she and her friend Mi, have their sights set on the biggest race in England. But can a girl win the Grand National? A classic.
Publicado por On letterheads of North End House Rottingdean Sussex. Two from the others from 1967 1968 and 1969., 1965
Librería: Richard M. Ford Ltd, London, Reino Unido
Manuscrito Ejemplar firmado
The nine letters are in good condition, lightly aged. They total nineteen pages, on a mixture of 4to and 12mo leaves, and cards. A chatty and gossipy correspondence, written in a flowing loose hand, going well beyond business matters. The first letter, 9 May 1965, is signed 'Enid B.', the others being signed 'Enid'. It is the only letter in its envelope, which is marked 'Private' by EB and addressed by her to 'Stanley Hall Esq | Wig Creations | 25 Portman Close | Baker Street | London W.1'. The tone of the first letter is representative. She states of one wig: 'I was getting desperate about mini it looked like coir door mat but two [buzzy?] to leave theatre. I'm afraid it will all be no good (play) She cant remember her lines sufficiently to get gaiety into it so its all played on downbeat, like a funeral. Oh dear oh dear I wore new wig last night to dine to meet Harold Pinter. I set out full of self-admiration but when I got back at midnight I realised why I had sat straight upright mum & severe. It was because somehow I looked like a retired Royalty living at Chislehurst. Too gold. Too many insistant [sic] curls. You are so patient you not only make beautiful wigs but you allow me to grumble.' In the second letter (15 May 1968) she asks for a wig to be 'dyed carbon-black in mourning for my lost play Terry sd last night "It's a massacre of your play but it might just be entertainment." I have a spare stall (with me) if you'd like to be in at the funeral?' In a letter of 19 July [no year] she gives directions, with a crude drawing, to her home: 'A sort of Cockeyed double house "North End House" with blue plaque "Sir Edward Burne Jones" attached to wall'. On 17 January 1968 she writes of Dame Sybil Thorndyke: 'Rehearsals on Monday Dame Sybil already knew every word unlike the lady bitch I saw look so pretty in your wig (too low over forehead, dear!) & waited. Sang her famous notes so "Modestly". As for me Im not even weaving the topnot [sic] (I must get Gordon to set it) & tonight Diana's rank & fashion assemble her at my house as the semi-hostess (Duff Cooper Memorial Party) will sit in a very expensive dress but bought eleven years ago, & my "charming" hair brushed up over pearly-pink baldness who cares when they've got rehearsals on?' In the last letter, 24 October 1969, she writes, following 'John's party (which was lovely - & how I liked Tyrone Guthrie)', that she 'felt so tired I almost then & there vowed I'd never go to London for the night again. Thats nonsense, of course. But what isn't nonsense is this: that just now what I have been wishing for for at least 3 years has come to pass that I am writing happily excitedly & rhymithically [sic] each day reconstructing my childhood & so on especially girlhood (& the first agonising coping with men plus what I thought was the disaster of my looks!)'. Derek Granger, in an obituary in the Independent, 14 January 1994, describes Hall as 'the undisputed master of his trade', 'in his great heyday without peer in his craft', employing 150 workers 'to sort the hair and weave and dress the wigs' in his Portman Close premises. Granger adds that Hall's 'buoyant sociability made him the friend and confidant of many of those whose heads he so cleverly adorned. [] he also began to flourish as a lavish London host and party-giver'.