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Programme: Prince of Wales Theatre – Ivor Novello in “I Lived with You” a comedy in three acts by Ivor Novello, 1932. Signed on front cover by Ivor Novello. Damaged - torn top of back cover.

8/1) Michael North [Charles Edward Fletcher Stokes] (1902-1960). Typescript signed letter, 3 May 1951 on BBC letterhead. He discusses the 'lay-out' and 'running order' of the programme, and a 'the little "snag"', before continuing: 'The actual script for the show will be written and narrated by John Watt, but I should very much like you to appear in the programme as one of Ivor's oldest associates. We shall, as you surmise, be using an Orchestra and Chorus.'
With carbons of two letters from MP to North. In the first, 26 April 1951, he sends him 'a rough suggestion of what should be included in the programme. I have spoken with Olive Gilbert and Mr. Novello's friends and their suggestion is that, of course, we should as far as possible keep the original singers. These would include Miss Gilbert herself, Peter Graves, Vanessa Lee, etc.' On 4 May 1951 MP replies to North's letter: 'As John Watt is writing and narrating the programme, I think it would be best for him to take over from now on. Perhaps he will put himself into touch with Olive Gilbert as under these conditions the matter will no longer concern me.' (3 items)

8/2) 'B. Provan (Miss), for Talks Booking Manager'. Typescript signed letter, 19 April 1951 on BBC letterhead. Regarding his five guinea expenses for 'your part in "Ivor Novello - Man of the Theatre" which was broadcast on 8th March at 8.30 - 9.30 p.m. in the Light Programme'. (1 item)

8/3-4) Two typewritten lists of music by Ivor Novello, one (with pencil annotations) headed 'Suggestions re Ivor Novello Music for Festival Broadcast. Sixteen Numbers Wanted.'; the other (a carbon) headed 'Suggestions for Music for Ivor Novello Broadcast'. With second copy of former, to which are attached two pages of pencil notes. Clearly compiled by Macqueen-Pope for Michael North, and sent to Olive Gilbert. Carbon copy letter from Macqueen-Pope to Olive Gilbert, 26 April 1951, sending 'the rough list of Ivor's music, along the lines of our discussion'. He is 'getting in touch with the B.B.C. and will arrange for us all to meet when we get something into shape'. (5 items)

8/5) Douglas Moodie, BBC producer. Two letters, one (on BBC letterhead) sending 'a copy of the script of the tribute programme to Ivor as you request', the other thanking Macqueen-Pope for 'the charming dedication'. With carbons of two letters from Macqueen-Pope to 'Douglas Moody'. In the first, 17 April 1951, MP writes: 'You will remember when we all came to the B.B.C. and did that tribute to Ivor. I wonder if you ever got a script?' He asks to be lent a copy, 'because there are certain statements therein which would be very useful to me for the book I am writing.' (4 items)

8/6) Carbon letter from Macqueen-Pope to Fred Allen enquiring about the film rights of ‘Ivor’, 20 October 1951.

Correspondence between Frederick Walter Allen, (Ivor Novello's business manager and executor) and Macqueen-Pope.

Approximately 43 letters and notes. 29 are signed 'Fred', of which 17 are in autograph and 12 typed, all to Macqueen-Pope. Also 15 typescript copy replies from Macqueen-Pope dated 1950 and 1951, apart from two (one from 1946 and one from 1953), with a few of the undated items clearly dating from Ivor Novello's lifetime (passing on messages from 'Ivor' and in one case giving financial information).
Twenty-four are on 'IVOR NOVELLO' letterheads (on 6 March 1951 he describes himself as 'Ivor's Sec[retary] & Executor'). The correspondence concerns business and estate matters (both during Ivor Novello’s lifetime and after his death), and information and help in the writing of ‘Ivor: The Story of an Achievement'.
In the earliest dated letter, 28 April 1946, Allen writes regarding Ivor’s trial: 'Ivor stuck out at the time that on no consideration would he plead guilty to a charge of Conspiracy so there appeared to be no other way but to speak the Truth!!' On 27 June 1950 he seeks to placate Macqueen-Pope, who is clearly offended that Ivor Novello has agreed to a biography by Peter Noble (published in 1951, as 'Ivor Novello: Man of the Theatre'): 'he is very sorry if you were feeling at all hurt about it, but he asked me to let you know - when I next saw you - that it is in no sense a personal biography (he has not contributed a single word) but only a sort of yarn as to his career. [...] He emphasised particularly that it was not a Personal thing, such as you would have undertaken, and I feel quite confident that if and when he does get down to this, that there is no one other than yourself to whom he would turn, after you long years of friendship and all you have done to help to put him where he is today.'
An undated letter concerns the arrangements for Ivor Novello’s funeral, beginning: 'Dear Popie - Please phone Carter (Crematorium) Speedwell 2375 urgently about Press. I've told him to give them no information'. In an undated signed autograph letter ('Sunday'), presumably sent around the beginning of 1951, Allen discusses the plans for the biography, concluding: 'Apart from Constance, Heather Thatcher was at one time a great deal in Ivor's life (particularly in Hollywood) & I'd like you [...] to have a chat with her. She is at the Mayfair Hotel. Also I'm anxious that Eddie Marsh should figure prominently - Also he knows a lot about the case as he went to the Home Office as you know. Chris Hassall also please. These two give a certain "TONE" which is lacking in Noble's book which as the Tatler says is "fan fare"'. In an undated letter he writes: 'I have heard that Constance Collier is here, staying at Claridges. It occurred to me that possibly you might like to arrange a chat with her, for as you well know she co-operated with Ivor in his first play "The Rat", and was also associated with him in the ill-fated "50/50 Club". Also of course she played in "The Firebrand" with him. And, he originally wrote "The Truth Game" for her, but she turned it down, as also did Ellis Jeffreys, and then dear old Lilian came to the rescue. Gerald du Maurier also backed out as producer, and Graham Browne - bless him - took it on.' On 28 April 1946 he returns Macqueen-Pope's 'invaluable article' ('A Night of Real Theatre', below). 'I agree with you, but Ivor stuck out at the time that on no consideration would he plead guilty to a charge of Conspiracy so there appeared to be no other way but to speak the Truth!!' An interesting letter of 5 June 1951 concerns Sybil Vane ('She went to U.S.A. during World War I - married a pianist Leon Dunn (still living happily with him). & was a great help to Ivor during Lloydie's illness in California. The Bank of England would not allow Ivor to have Sterling sent out to pay Hospital fees. & Dunn paid them on Ivor's behalf till we could straighten matters out'.
Also present is a signed autograph letter from Allen to 'Mabel, Tommy, or John' (Ivor Novello's servants), 26 June 1951, explaining that Macqueen-Pope is 'writing Mr Ivor's biography, [and] would like to look over Redroofs, & doubtless have a chat with you all'.
On 26 August 1951, he discusses the circumstances around a letter from the photographer Jack Joel which he has found at Redroofs. On 21 October 1951 he discusses 'the film possibilities' proposed by Macqueen-Pope, which will 'be dealt with by Miss Sims and Mr Todman, though I hope it may be done through Ivor's company - Aldwych Novello Films Ltd - in which I have a tiny interest. Will you send your proposition to Miss Sims, or if you would like to have a talk with me first, could you come into the flat for a few minutes on Wednesday morning about 11 and have a coffee.'
On 19 November 1951 he thanks Macqueen-Pope for ‘Ivor: The Story of an Achievement': 'I read it over the weekend & thought it even better than the manuscript.' In a 'Private' letter written around the same time he urges Macqueen-Pope to accept payment for his work on the biography: 'Ivor would be very annoyed with me if I failed him in this. I know if the Estate were bankrupt you would most gladly have done it for nothing but it isn’t Popie, so do please oblige me.'
On 17 July 1953 he tells Macqueen-Pope that he has heard 'from Gray that "Redroofs" is being officially opened by the Lord Mayor of London on the 14th Sept.' A carbon of a letter from Macqueen-Pope, 22 October 1951, gives details of the forthcoming publication of ‘Ivor: The Story of an Achievement': 'The results so far are anything but satisfactory. They are worse than we had feared.'

More than 150 letters to Macqueen-Pope, mostly handwritten, with a few postcards, all dating from 1954, written in response to newspaper articles (in The Times, the Stage and other periodicals) announcing plans to set up an Ivor Novello Fellowship (three newspaper cuttings of articles are present, including one with covering note from 'the editor of "The Star"'). Also present are a number of carbon copies of Macqueen-Pope's replies.
Among the correspondence are a number of communications from former colleagues, acquaintances and fans.
Writing to Margaret Ambridge he explains the proposal (4 September): 'The idea is simply to have a Fellowship whereby he may be remembered, to erect a tablet to his memory in the Actors' Church, St Paul, Covent Garden and to have at least three annual events, a meeting and tea party, a dinner, at both of which celebrities will recall him and his works and an annual Garden Party at "Redroofs" - to follow on the tradition he laid down. Income, after deduction of expenses (and I hope all work will be voluntary) to go towards the upkeep of "Redroofs"'.
By the end of the year plans for the fellowship had stalled, as Macqueen-Pope explains to Diana Wilson (2 December): 'I have not been able to proceed with this for some time past owing to great pressure of work and very bad health on my own part. You see, the whole work of this falls upon me and the expense as well, and both are considerable.'
One of the more interesting letters is from Mary Powell, on 4 July: 'I would not describe myself as one of his "fans" but he was my dearest friend from the time he was about 7 years old! I was about 18 & living in Cardiff & just started having singing lessons with "Madam"! I spent many hours & days at "Llwyn yr Eos" & for some reason he became devoted to me & I to him! I took him to his first school & helped him with his first music lessons etc & later I saw so much of him at the old Aldwych "Flat" & in the days when he was struggling to achieve all his wonderful successes!'
Betty Algar: 'I may call myself an "Old Novellian" as I was for some twelve months ballet mistress & principal dancer in the "Dancing Years"'.
Alan Selby: 'I worked with "King's Rhapsody" for over a year, and was also with "Gay's the word" following that, and I was connected with Ivor's tribute at the Coliseum, and therefore have made many friends, who were also friends of Ivor'.
Hermione J. Kennedy: 'I think I was one of the first to meet him, during the 1914 war, when I was singing to the troops in France & he came out with a Concert Party, & was astonished to hear the audience of soldiers joining in the chorus of "Keep the Home Fires burning" which had only just been published'.
Hazel Bailey: 'I was a great fan of Mr Novello's and saw every one of his shows from 1935 onwards - not once but many times. I also had the pleasure of speaking with him on many occasions, and I believe I was the last of his fans to speak to him on the night of March 5th 1951 as he was leaving the Palace Theatre.'
Jack Webster of Fraserburgh: 'Staying in this northern outpost of Scotland one is very far from the centre of things so far as the theatre is concerned but the spell cast by Ivor Novello reached every corner and had me very much in its grip. [...] His name meant little to me until 1948, when I was seventeen. [...] I wrote to him and on my first visit to London I went to see him in King's Rhapsody. On the next night I went to the stage door but missed him; Vanessa Lee was there and told me that he had just gone. "Come back again," she said, but on the following day I had to leave for Aberdeen. I was determined that next time I would definitely speak to Ivor. But, alas, there was no next time.'

The correspondents are: Shirley Adamson; Betty Algar; Ruth Allard; Margaret Ambridge; 'Miss C. Andrews Miss C. Russell'; C. R. Arben; Stanley Ascherberg; Ethel V. Asherson; Hazel Bailey; Kenneth R. Barnes; A. E. Barton; Joan Bazalgette; A. E. Beale; E. Beer; Ivy Blackwell; Marigold V. Blake; Jean Boyd; John Briggs; Ruby E. Campbell; Philip E. Carden; E. H. Carlos-Simmonds; Irene Carter; P. Chanaler; Nora B. Chance; Gladys Claydon; J. M. Clayton; Evelyn Clifford; Bryan E. Colley; A. A. M. Cooke; H. A. Cooke; D. M. Cooper; Sydney Corder; Beatrice Corley; J. C. Costerton; Harold A. Cross; Crossini; Geoffrey Cruley; A. Cunningham; 'Mrs Cunningham & Mrs Buckle'; Elisabeth Cusworth; Margaret M. Davies; Beryl Davis; Joan Davies; Vernon Davis; Donald F. Decks; E. Dennell; Vera Dennis; Elizabeth J. Dinwoodie; W. Dore; P. G. Dymock; M. R. Eddalls; Mary Evans; Megan P. Evans; Henry Fermor; Patricia Fincham; W. D. Fitzgerald; Michael Geer; Joan and Arthur Glover; Audrey Gold; Patricia M. Gordon; Marion Greenfield; R. F. Greenwood; Augusta Griffith; T. A. GriffinRose Hadaway; Florence A. C. Haddow; D. Hall; Mr and Mrs F. Hand; W. Hardy; Emillie Hartley; Karl Hartmann; Henney [Mary L. ] Edith M. Hill; Violet M. Hillman; R. J. Hipperson; Vera C. Hodgson; Florence A. Holdship (Secretary, Theatrical Ladies' Guild of Charity); I. Gwenllian Hopper; K. Hulme; J. M. Hulme; K. F. James; M. Johnson; Doris Jones; Marina A. Jones; Stephanie E. Jones; W. Henry Jones; Ella F. Kelly; B. Keenan; Hermione J. Kennedy; Renée Kennedy; A. Key; Dorothy Kindred; W. Kindred; B. J. King; L. M. Kingsmill; A. H. Laughery; M. E. Lee; Betty P. Lee; Fay Lee; M. E. Lee; Winifred L. Lee; Vera Lewis; Dorothy E. Lowe; A. M. McCalla; Duncan M. McFarlane; Kenneth McGrath; G. Mackintosh; K. Martin; Mary Martin; Edith Martyn; A. H. S. Mason; Artie Mayne; Elsie M. Meston; Mabel Mills; J. Miron; M. Moore; P. M. Moore; Mary Morris; Jean Mortimer; Lilian V. Moyse; Thea H. Mühler; Mackenzie Newton; Adèle Norman; Sydney Farley Nunny; William F. Page; J. Paluszak; A. Parker; Jack H. Parris; Arthur K. Patterson; Geoffrey A. Paulson; Arthur H. Payne; V. E. Pearce; Walter Pepper; E. Perry; Gladys Perry; Robert Pettitt; Joyce E. Pimlott; Dorothy Piper; G. I. Poyser; Mary Powell; Robert P. Primmer; Bert Rayson; Patti Regina; G. M. Redgate; Madeleine Reynolds; Diana Redhead; E. G. Rideman; Valerie L. Ripley (on letterhead of the publishers Longmans); Peggy Rowan; J. Rowley; L. M. Rush; L. Walls; E. Waterson; Dorothea Sample; Alan Selby; Shepherd; Margaret Smith; Edward C. Stansmore; Margaret Stapleton; Margaret Stewart; Josephine Stockmans-Bosschaerts; Muriel Streekland; B. M. Stuart; C. Teape; W. Thatcher; A. Trunkfield; Florence Twilley; Elsie A. TryonAlfred Warburton; 'Miss D Warren' and 'Mr. P Morgan'; Krishna Vines; E. Waterman; W. Watson; Jack Webster; Cecil A. Westrope; Phyllis Whitworth; Ethel Wicks; Olivia Wigram; Diana Wilson; Toné Woollard; J. Young.

1/1-2) Undated publicity statement sent to W. J. Macqueen-Pope by Ivor Novello [signed] on letterheads of the Royal Albion Hotel, Brighton. The document reads: '"Glamourous [sic] Night" was the first of the series of my musical Plays at Drury Lane followed by "Careless Rapture" "Crest of the Wave", "The Dancing Years" and is in many ways my favourite of them all - partly because it brought me back to music on the big scale & partly because it brought prosperity back to Drury Lane after some considerable time and I am more than happy that it is being restored to the stage at this present moment - In my opinion it contains all the colour & excitement we badly need in the Theatre in these unsettled times, it takes one "out of one self [sic]", a pleasant and rare experience. I shall be more than anxious to have the opinion of the present day public of this full-scale operetta-Drama - Ivor Novello'.
A covering signed autograph letter from Ivor Novello to W. J. Macqueen-Pope, [undated] on Royal Albion Hotel letterhead. Reads: 'Dear Popie - Will this do? How I wish I could sit in on the Production - I know so little about it all - who's designing it & who's doing the costumes and the cast? I know nothing! How I love your books. Best love, Ivor'.

1/3) Signed typescript letter from Ivor Novello to W. J. Macqueen-Pope ('My Dear Popie'), 11 October 1948. Congratulations to you and yours over the success of “Glamourous Night”. ‘Visited eight towns with “Perchance to Dream”, and have broken the record for each Theatre since it was built’.

1/4) Signed typescript letter from Ivor Novello to W. J. Macqueen-Pope ('My Dear Popie'), 28 April 1949, thanking him 'for another enchanting addition to my shelf of "Popeyiana". You really have got the most extraordinary quality of capturing nostalgia and putting it into printed word! I think I should have liked to have died at the age of 60 in 1914, but I didn't, I lived to give a lot of trouble to myself and everyone else.' He ends with a reference to 'King's Rhapsody', and in a postscript refers to Macqueen-Pope 'knuckle-rapping' of Beverley Baxter: 'I expect he will give the play a stinker. He always does!'

1/5-6) Signed typescript letter from Ivor Novello to W. J. Macqueen-Pope, 8 August 1950; on his letterhead. Writing while Macqueen-Pope is on holiday, Novello asks him to correct the 'impression that I have left the cast of "King's Rhapsody", which as you know is not true, and I am re-joining the cast on Friday the 15th September (which is also our Anniversary performance) - so I thought you might be able to make a double splash!!!' He continues with reference to 'the Michael Redgrave engagement', before declaring: 'I am getting along fine and very impatient to be out. Am going for a drive tomorrow afternoon to sit in Roma Beaumont's garden for an hour or so. Am leaving the Nursing Home on Friday or Saturday week for Brighton where I expect to be for the best part of three weeks'. A carbon copy of Macqueen-Pope's reply [1/5], 9 August 1950. In it he writes: 'I don't think anyone believes you have left the cast, although it was unfortunate that Redgrave should have said what he did say when interviewed over his unfortunate film adventure.'

1/7) Undated press release by Macqueen-Pope headed 'Ivor Novello's Return', [1950].

1/8) Unattributed press release titled 'Ivor Novello Ill', [1950?].

1/9) Double-column full-page list of 'First Night Press. Ivor Return Palace', [1951].

1/10) Signed typescript letter to Macqueen-Pope from the General Manager of the Palace Theatre, confirming that 'Mr. Novello returns to the cast of "King's Rhapsody" on Monday February 19th/51'.

1/11) Carbon letter from Macqueen-Pope to H. Briden, regarding special arrangements to be made for a member of the press.

1/12) Carbon copy of letter from Macqueen-Pope to Ivor Novello, 25 August 1949. He thanks him 'for the pleasure, glory and pride you gave us last night. The great days have come again.' He continues with a reference to 'a suggested list of pictures' and 'Angus' [Angus Macbean], who is 'reliable. I believe we could get a good fashion series out of the Mannequin dresses'.

1/13) Carbon copy of a letter from Macqueen-Pope to Ivor Novello, 7 October 1950, beginning: 'My Dear Ivor, I was truly horrified to read in yesterdays "News Chronicle" a story to the effect that Barry Sinclair was to play your part when you take a holiday and that John Palmer's heart was broken.'

1/14) Accompanying this item is a carbon of a letter from Macqueen-Pope to Tom Arnold ('T. A.'), 7 October 1950, in which he writes that he is 'very disturbed to read the enclosed in yesterdays "New Chronicle". This is a further instance of the unauthorised leakage of news of which I complained before and it comes from the same source. [...] These sort of things want proper handling and timing. It is not an easy job nowadays with small papers to get publicity at any time and if this sort of thing is to continue it will be much harder still. [...] The paragraph was the first intimation I had of Barry Sinclair's engagement. [...] extremely damaging from our point of view as such a premature disclosure of the fact that Mr Novello will be out of the cast for a period will have an adverse effect'.

Ossia Trilling, Theatre News Services Ltd, 16 March 1950, requesting an interview with Mr Novello for Mordecai Gorelik, an American designer; Undated copy typescript letter to Ivor Novello from Harry Ainley; Two signed typescript letters from D. L. Murray to Macqueen-Pope, the first, 29 October 1950 ‘I trust you were lucky enough to escape hearing the impudent perversion of The Tale of Two Cities on the wireless’; The second 24 June 1951, “Ghosts and Grease-Paint”; Bernard Miles to Macqueen-Pope, 13 April 1951 in relation to the Mermaid Theatre venture, together with typescript copy reply, 16 April 1951; Pekka Salomaa, Finnish Theatre critic, requesting an audience with Macqueen-Pope in relation to Ivor Novello and the British Theatre, 17 August 1951; R. E. Gray, Secretary, Theatre Royal, Drury Lane regarding the executors presentation of Ivor’s snuff box, 22 August 1951; Typescript copy letter to Mary [Ellis], 20 November 1951, encouraging her to take the part of Volumnia in ‘Coriolanus’ at Stratford; J. L. Garbutt, Feature Editor Sunday Express, 16 July 1953, ‘People have pointed out that [Hannen] Swaffer has already raised up Novello’s “ghost” and this doesn’t help’. …’sent to Hutchinsons for proofs of Fortune’s Favourite.’ Edie Holt, 23 January 1956, ‘… I could see dear Julian on that stage eating those grapes his last night, and Dad saying goodnight to him, and our men working all night, to get the Belisha scene ready for Julian next morning at 10a.m., but he never kept it, because God took him to rest, …’; Copy typescript letter from Macqueen-Pope to the Editor of ‘Radio Times’ regarding ‘… a glaring error. He stated that Ivor Novello’s production of Shakespeare’s ‘Henry V’ was produced at His (now Her) Majesty’s Theatre. Tens of thousands of Ivor’s fans must have groaned as they heard it. ‘Henry V’ was produced at Theatre Royal, Drury Lane.’

Approximately 50 letters, two postcards and a telegram to Macqueen-Pope regarding Ivor Novello, all from 1951. With several [68?] carbon copies of Macqueen-Pope's replies and some other correspondence. The letters are from: Howard Barnes; A. Beasley [Dodie]; W. H. Berry; E. A. Briggs; Clem Butson; George Butt, Michele Cains; Rev. Meredith Davies; Stanley C. Dorrill; Gordon Dutson; R. W. Fenn; Frances Foster; Winifred Galpin; R. P. M. Gibbs (Daily Telegraph); L. H. Green; Hugh Hamilton-McGoverne; Carl Hayes; Pearl Hudson; Anne Hyde; Carl Jaffé; Humphrey Joel (four letters); Phyllis Kaye; Keystone Press Agency; Marjorie Killick (two letters with a photographic collage by her in memory of Ivor Novello); Edwina M. King (on behalf of 'Miss Lily Elsie'); Fred Lermitte; David Lewin; Doreen D. Light (eleven-page letter regarding her story about 'Dracula'); J. C. McKenzie, Editor, Sunday Chronicle; R. B. Marriott; Mary [Martin]; Arthur Llewellyn Matthison; Edith Miles; Miss Nodes; Diana Parry; Stanley J. Passmore, Secretary, King George's Pension Fund for Actors and Actresses; Norman G. Phelps; Roger Pitt; J. B. Platnauer; Stella Pope; Philip Ridgeway; John Shand; Clement P. Smallwood, Deputy Editor, Birmingham Mail; M. Scorse; The Stage magazine; Cora S[?]; Ruby [?].

Topics include: Ivor Novello's death; Macqueen-Pope's biography; requests from correspondents for information, photographs and so on; replies to requests for information from Macqueen-Pope.

Carl Hayes writes, on learning of Ivor’s death, that he 'played several intimate scenes with him when he came to the D. W. Griffith Studios in Marmaroneck, Long Island, U.S.A. in the early 1920's. He was the Clergyman in "The White Rose" I think it was called. He was certainly a charming man to work with.'

Hugh Hamilton-McGoverne writes of Ivor Novello: 'He, also, awoke in everyone - even those who did not know him - a desire to comfort him and a feeling that, if they could only know him better, they might be the one that could help him find that happiness for which he yearned. I had known both Ivor and Isabel Jeans since "The Rat" days - and they were the 2 stars of the Theatre, that I worshiped. I have just returned from Czechoslovakia - owing to Communist pressure - there my work was very famous [...] P.S. "May" was very much liked by H. M. The Queen, Maxfield, Clifford Bax, Gielgud, Olivier, the Times, etc. etc. - when you have read the book, let me know how you like it - and if it does not remind you of Ivor'.

Mrs Mary L. Mills, 'of Welsh extract [sic]', knew Madam Clara Novello Davies, and was hoping to 'contact "Ivor" for a private audition for her daughter Pauline, a RADA-trained actress.
Miss G. M. Jenkins of Barry, Glamorgan, gives information regarding '2 large photographs' of an infant Ivor Novello which she is sending (Macqueen-Pope notes that he has returned them). She also writes: 'I knew Ivor as a small boy, & his Mother, & Father. Though I never saw him after he was about 16, [...] I think I may add that as a family we loved Ivor, Madam Clara & Dava her husband.' There is a denunciatory letter of Macqueen-Pope's 'vile book' from 'G. S.' of Richmond, in which the writer declares: '[I] won't dream of buying the book as I feel it's disgusting. What had Ivor done to you, that you should be so bitter & spiteful! To thousands like myself who knew Ivor to be a kind, gentle creature nothing you, nor others like you, can write will ever shake our belief in him [...] loyalty was a strong trait in his character. A thing apparently unknown to you. What a happy world it could be if there were more Ivor Novellos, & less Mc Queen Popes! More love & laughter, less hatred & wars!' Agnes and Rose Morley request admission to Ivor’s memorial service: 'We had known Mr. Novello for 26 years, & we were well known as the "Feathers." ' E. B. Edmondson, sending 'a piece of Manuscript Music signed by Clara Novello, dated Liverpool April 18th. 1854' (not present). Ida Iltner sends a cutting (not present) of a review of 'Ivor: The Story of an Achievement' from the Hackney and Kingsland Gazette. Replying to a letter from C. Murray, Macqueen-Pope states that 'The book was a bit of a job to write and I have been really astonished that it has been so well received.' A compliments slip from Claude L. Westell of the Birmingham Mail is present, eliciting thanks from Macqueen-Pope's for his 'charming review of my book' (the review is not present). Kathleen Westoby sending the condolences of 'the Inner Wheel of Southgate' (Macqueen-Pope that her 'charming letter' has 'helped considerably').
Three letters have a spiritualist slant. One is a six-page letter from D. Mills of London, indicating derangement ('I have always watched over you from a distance [...] She told me that she had been given a message by a medium which was so clearly for me'); another is from Mrs A. Thomas of Llanbedr, Conway, saying that Macqueen-Pope's article on Ivor Novello in the Sunday Reynolds News 'did really cheer me up', and having lost her 'only son & only relation' asks if Macqueen-Pope is a spiritualist, and has had contact with the dead Ivor Novello; another, from Iris Harman, states: 'Life does not finish when one passes from the earth plane - and Mr. Novello will know that'.

Also letters from Grace Reed, J. Blackmore; Mrs L. Brock; Miss P. K. Reeves (making two detailed suggestions regarding Ivor Novello productions and the BBC); postcard from F. Watson; Mrs Gwyther.

A number of letters are from acquaintances of Ivor Novello: Dollie Broadbridge thanks Macqueen-Pope for the book: 'what thrilled me most was coming face to face with myself in the index - I've never been indexed before!' Jessie M. Bertoldi writes regarding Macqueen-Pope's 'forthcoming tussle with the Sunday Express', eliciting a reply (21 November 1951) in which Macqueen-Pope states that he has 'won Round One of the Sunday Express combat but it continues. The book is out and most of the papers have helped themselves liberally and have printed what are really feature articles - which they get for nothing, of course.' F. J. Cary Willoughby (nephew of actor Arthur Chudleigh) writes to tell Macqueen-Pope 'how sorry everyone in Jamaica is over the passing of Ivor Novello. Since he has been out here, he has really become very popular, amongst all the classes, and will be sadly missed especially in "Montego Bay"'. Basil Francis writes (18 November 1951) a long letter from Putney, stating that he is 'preparing a review' of the book: 'As I read, I couldn't help feeling that you were giving a little too much space to the wretched court case and its repercussions [...] My worst fears came true when I saw today's Sunday Chronicle, and I can't think you authorised their treatment of the story. If it is intended to be a book-review (as it purports to be) they have done a pretty unethical thing by jumping the gun [...] The blunt facts are that Ivor was a party to "fiddling" petrol coupons; he tried to square a police officer; and he dropped a good deal in most people's estimation by his unchivalrous treatment of the girl in the case.' Accompanying Francis's letter is a carbon of a letter by Macqueen-Pope giving a long and spirited defence of Ivor Novello ('It was the beginning of his end. It was the planting of the seed which killed him.'). Also: Robert W. Fenn (with reference to 'our project'); Leslie [Bloom] writes regarding 'the Ellen Terry Award', with reference to 'the Club's dinner to Ivor'. In replying to a letter from C. V. H. Vincent, Macqueen-Pope states that the Sunday Chronicle 'pinched a packet of the book and made it into a feature article, free, gratis and for nothing. Something will have to be done about this sort of thing - all too prevalent. "Empire News" and "Reynold's" did the same - a bit hard on "The Sunday Express" who had bought the serial rights for a pretty good sum of money. [...] Ivor did a bit better than Gounod, didn't he? But he was as good a business man as Vincent Novello'.
Also present is a carbon of a letter from Macqueen-Pope to 'Arnold', i.e. Arnold Russell of Reynold's News: 'you have caused trouble and strife with the Sunday Express - who paid me a lot of money for the serial rights'.

Typescript, many with autograph emendations.
4/1) Five drafts of parts of ‘Ivor: The Story of an Achievement' dealing with Ivor Novello's trial and imprisonment, displaying considerable variations from the published text, and comprising: two (3pp and 4pp) of part of the conclusion of Chapter 22, both with ink emendations; one (1p) of part of Chapter 23; two (both 3pp) of the start of Chapter 24 (one with the published title 'Into the Depths', the other, as 'Chapter 24 [sic]' with title 'Ivor Plumbs the Depths'. The two versions of the conclusion of Chapter 22, dealing with the circumstances of the incident for which Ivor Novello was convicted, are accompanied by two items: the first is an autograph memorandum in pencil, unsigned but by Ivor’s solicitor D. M. Sims, giving her opinion on the merits of the two versions (she prefers 'the style of B', but thinks that 'A makes it clearer that the woman was organizing the whole thing & was very far removed from any intimate connection or friendship'); the second is a typed note to Macqueen-Pope from his secretary, stating that Fred Allen has visited on Sims's suggestion. He 'brought along the end of chapter 22, with notes from Miss Sims. He likes B - but she seems to think (see her notes) that you have made the whole thing much clearer in A. She wonders if it would not be possible to combine the actual facts from A in the B version'. (6 items)

4/2) 'Ivor Novello - An Appreciation by [blank]'. Typed, undated (August 1951). 1p. Two drafts of the piece, with a copy. (3 items)

4/3) 'Ivor Novello and Drury Lane by W. Macqueen-Pope'. Typed, undated. 2pp. Two copies, one with one minor pencil emendation, the other with extensive pencil deletions. (2 items)

4/4) 'A Man of the Theatre - But the [sic, for 'they'] all called him Ivor by W. Macqueen-Pope'. 7pp. On pink paper. (1 item)

4/5) 'A Night of Real Theatre'. Typed, undated (but originally attached to a 1946 letter of F. W. Allen's). 6pp. (1 item)

4/6) 'The Novello Legend by W. Macqueen-Pope'. Typed, undated. 12pp. Two copies, one with page of pencil draft, the other with a few pencil emendations. (2 items)

4/7) 'Synopsis of a Story told by Ivor Novello to W. Macqueen-Pope - as being the plot upon which his new musical play was to be based, entitled "Lily of the Valley"'. Typed, undated. 4pp. [Two copies]. (2 items)

4/8) Typed 'Memorial to Ivor Novello'. One-page press release (with copy) by MP ('With W. Macqueen-Pope's Compliments') beginning: 'Tom Arnold announces that after consultation with some of Ivor Novello's intimate friends, he will, with them & in the very near future, stage a Tribute to the memory of Mr Novello at a West End Theatre. [...] It will be a Cavalcade of Novello Music [...] The proceeds will be devoted towards the rebuilding of the Theatre at the Royal Academy of Dramatic Art, which was bombed during the war. [...] the target aimed at is £10000 and no better memorial than the rebuilding of this theatre could be found for Mr Novello.' (2 items)

12/1) Three folio manuscript pages of Ivor Novello's accounts, one headed 'Income and tax 1927-1945', the other two pages a spread giving fees, salary and expenses for 'Dancing Years', 'Perchance to Dream', 'Play Royalties', 'Music Royalties'.

12/2) A typed list of runs of 'Ivor Novello Shows at Theatre Royal, Drury Lane'.

12/3) Manuscript page of notes headed 'K. G. re Constance's share'. Referencing 'Iris' at the Adelphi Theatre with Gladys [Cooper] and Ivor

12/4) A signed typescript letter to Macqueen-Pope from Leslie Elliott, 16 September 1946, regarding 'lyric written by my late Father'.

12/5) Transcripts of two letters to Ivor Novello from Lily Elsie, with manuscript annotations.

12/6) Unattributed typed twelve-line poem (possibly by Macqueen-Pope) on Ivor Novello’s death ('Dead - but not dead, he surely is immortal').

12/7) Pencil note regarding the sending of a copy of 'Ivor: The Story of an Achievement' to Fred Allen's sister.

12/8) Transcript of a note from Ivor Novello to 'Buddha'.

12/9) 'Filing proof' of magazine article by Ivor Novello titled 'I enjoyed my day at Selfridges', 15 February, 1951.

12/10) Three-page magazine article by Charles Hamblett, with photographs, from 'Illustrated', 17 September 1949, titled: 'Novello's Last Rhapsody? This week the West End sees Ivor Novello's latest - and may be last - musical. He says: "Let's face it. I cherish no illusions about my age"' (Hamblett describes Ivor Novello as 'The perennial matinée idol'.)

12/11) Three typescript letters, signed, to Macqueen-Pope from Mary L. Henney, on letterhead of the Bristol Novello Players ('Founded in Coronation Year 1953 in memory of IVOR NOVELLO'). 13 July 1954, including references to 'our deficit', Olive Gilbert ('a dear'), Macqueen-Pope’s friend 'Mrs Davies (formerly Lady Brickwood, I expect you know her as Janet.)', the Ivor Novello Fellowship, the closure of the Empire Theatre, Bristol. 7 May 1956, ‘ have now reduced our loss on G.N. (Glamourous Night) to about £50 [p2 missing]; 4 June 1956, asking Macqueen-Pope to be their President.

12/12) Hand written list of mainly actors and actresses.

12/13) A hand written tribute to Ivor Novello including an account of events the night he died.

[The funeral was at Golders Green Crematorium on 12 March 1951, and the memorial service, conducted by The Daily Telegraph [...] at St Martins-in-the-Fields on 29th March at noon.]

6/1) Christopher Hassall. 'Ivor Novello Memorial Service - Address by: Christopher Hassall'. Typed. 4pp. At one point Hassall writes: 'The Divine Powers which singled him out for especial favours managed to devise a wildly improbable person who was nevertheless real. Consider what they did. No one so good-looking should have been a composer hummed and whistled throughout the English-speaking world, in charm and fertility of invention second only to Sullivan; or if so, he should not as well have been a popular playwright; but if we are obliged to grant this much, then let him not be a romantic actor whose appearances were one of the most assured attractions of his time. In truth, being a very gentle soul, he was strangely democratic for a despot and loved not power but the Theatre which it served.' With Daily Telegraph compliments slip of Patrick Gibbs. (2 items)

6/2) Typed memorial address by W. Macqueen-Pope. 2pp, on pink paper (with one carbon of p.1). Begins: 'The outstanding quality about Ivor Novello was his immense kindliness and his ability to see the other side of the picture. He was not only ready to help but would help without being asked. Often he has said to me "Popie, that play is so good, it has such quality. Can I - can any of us - do anything to help?" Later he writes: 'Between Ivor Novello and myself there was more than a business partnership - there was very close personal friendship. In all my long and wide experience of the Theatre it has never been my good fortune to meet with anyone with whom it was easier or more delightful to work. [...] In all the productions which we did together since 1938 - there was never even an argument.' He concludes: 'Greatness has departed with him - but he leaves a heritage of greatness behind in his melodies. We shall not forget.' (1 item)

6/3) Rev. Ebenezer Gwyn Evans (1898-1958), minister (see Dictionary of Welsh Biography). Typed funeral address (and copy) titled 'A Tribute by Rev. E. Gwyn Evans, B.A., Pastor of the Charing Cross Road Welsh Presbyterian Church, London, W.C.2. 12th March 1951.' 2pp, folio. 'One of his intimate friends described him to me as a Prince of Gaiety. He was essentially a man of joy and it was given to him in supreme degree both to desire and to be able to share his joy with others. We do not forget that there was a time when the British Army marched to the sound of one of his early successes, a song enshrined in the hearts of a whole people'. (2 items)

6/4) Typed press release on 'Funeral of Ivor Novello', together with an earlier draft with manuscript additions. (2 items)

6/5) Two carbons of a description of arrangements for 'Ivor Novello's Funeral', 1p, dealing with 'Those following the hearses to crematorium', 'chief mourners in the reserved seats' ('Other relatives named Davies, from Cardiff, are expected.'), other mourners ('Lord and Lady Cromer have sent a special message to say that only absence from the country prevents their attendance.'), 'Officials and sidesmen', 'accommodation in the chapel'. (2 items)

6/6) Typed list of names, addresses and details of 'Ivor Novello Memorial Service, Sidesmen', addressed by Macqueen-Pope to 'Gibbs' (i.e. Philip Gibbs of the Daily Telegraph). Macqueen-Pope writes: 'I have been in consultation with Mr Fred Allen on this matter and the following have been selected as close associates and friends of Ivor.' (1 item)

6/7) Carbon of letter from Macqueen-Pope to Lyn Harding, 12 March 1951. After complaining that 'Much devolved upon me' at the funeral, he asks Harding to read one of the lessons at the memorial service: 'I know it would have delighted Ivor. [...] I am arranging this service with The Daily Telegraph and they also think you would be the man. Sir Lewis Casson would be the other reader. I hope you can. You were "Glamorous Night" and he had such an admiration for you.' (1 item)

6/8) Carbons of three letters from Macqueen-Pope to Philip Gibbs of the Daily Telegraph. 19, 20 and 28 March 1951. In the second letter he sends 'more names as Sidesmen', sent by Fred Allen, including 'Bill Wright (his valet)'. In a postscript he predicts 'a lot of heart-burning and trouble' if people cannot be 'admitted the side way'. (3 items)

6/9) Typed list of eight 'Suggested Sidesmen' at the funeral, including 'W. Macqueen-Pope' and 'Clement Butson - representing Tom Arnold' - 'rest leading actors.' (1 item)

6/10) Typed 'List of Visitors to Ivor Novello Memorial Service for Reserved Seats.' 1p, in two columns, with pencil additions. With three copies of a typed 'List for Tickets'. (4 items)

6/11) Zena Dare (1887-1975), singer and actress closely associated with Ivor Novello.
Two-page autograph 'list of people who should have tickets for the Memorial Service', with addresses and additions. Signed 'I won't bother you with any more! Zena' and addressed to 'Dear Popey' from 4 Wilton Place (on armorial letterhead of her father-in-law Lord Esher).
With carbons of two letters to 'Zena Dear' from Macqueen-Pope, 7 and 21 March 1951, the first stating that a 'nice man from "The News of the World" will come and see you tomorrow at 11. Give him what you feel about Ivor, what you admired in him and his works - that enthusiasm, that understanding, that kindliness and that feeling of the Theatre. He will then rough it out and I will put the finishing touches - in YOUR style'. The second letter Macqueen-Pope gives advice on attending the service. (3 items)

6/12) Carbon of letter from Macqueen-Pope to 'Mrs. Tom Arnold', beginning: 'My dear Lady, … Tom asked me to let you know the details of poor Ivor's Memorial Service.' He states that there are 'no tickets being issued by the Daily Telegraph, which is organising this service, but 500 seats are being kept for friends and members of the Profession'. 'A large crowd is anticipated' and 'there is every likelihood of a tremendous crush.' (1 item)

6/13) Carbon of note from Macqueen-Pope to Tom Arnold. 12 March 1951. 'Memorial Service 12 noon, 29th March, St Martins-in-the-Fields. St Pauls not available. Service to be relaid to crowds outside as at crematorium.' (1 item)

6/14) Carbons of five letters from Macqueen-Pope to different individuals, all written in March 1951, and all relating to the memorial service, with notes by Macqueen-Pope on another two leaves, and a letter from Edward James, London Editor of the Western Mail, requesting a ticket to funeral, given 'Mr Ivor Novello's close associations with Wales'. (8 items)

Sixteen items relating to the unveiling ceremony of the Ivor Novello Memorial at the Theatre Royal, Drury Lane on 2 May 1952. The memorial was a bust by Clemence Dane, unveiled by Dame Sybil Thorndike with the reading of a poem by Mary Ellis.

7/1-3) R. E. Gray, Secretary, Theatre Royal, Drury Lane. Three signed typescript letters to Macqueen-Pope, with carbon of a reply. In his first letter, 30 May 1951, Gray writes that he will put 'the offer by his Executors of a bust of Ivor Novello, to be set up in Drury Lane' to the theatre's proprietor 'Mr. Littler' when he returns from holiday, adding: 'in the meantime I feel sure that my Directors would wish me to convey their thanks for the offer of this gift to the theatre'. The second letter, 15 June 1951 accepting the offer of the gift of a bust of Ivor Novello. In the third letter, 21 March 1952, Gray writes that he has spoken to Littler regarding the unveiling ceremony, but that Littler 'does not wish to perform the ceremony himself, he suggests that it might be a good idea if this were done by an artiste who was associated with the Novello productions at this Theatre, he did mention Miss Mary Ellis.' The letter ends: 'I quite agree about restricting it to guests only, otherwise we shall be inundated with "waves of hysteria".' With carbon of Macqueen-Pope's reply, in which he states that Ivor Novello's executors 'want Dame Sybil Thorndike, one of Ivor's oldest and staunchest friends, to take part also [...] We shall have to keep it quiet until the ceremony has actually been performed. And even then we shall have to guard the doors.' (5 items)

7/4-6) Typed press release, 'Wit[h] W. Macqueen Pope's Compliments': 'Ivor Novello Memorial at Drury Lane'. Typed draft of invitation to the unveiling ceremony. Typed 'Suggestion for Order of Ceremony at Unveiling of Ivor Novello Memorial'. (3 items)

7/7-9) Typed list of 'Ivor Novello Bust / Invitations', headed by Sir Edward Marsh, and including Gielgud, and Dame Sybil Thorndike, and with 'Mrs Loraine - representing Noel Coward' (with copy). With typed 'Suggested List of Guests for Unveiling of Bust of Ivor Novello. Theatre Royal, Drury Lane, 2 May 1952', with manuscript additions, and together with manuscript list on which it was based. (5 items)

7/10-11) Two drafts (with copies) of 'Press Invitations - Ivor Novello Bust. 2 May 1952.' More than forty journalists (with the names of their newspapers) are included. (4 items)

7/12-16) Carbon copies of letters from Macqueen-Pope.
To 'Webby' regarding the 'inscription on Ivor's bust or the pedestal thereof', which is considered 'sufficient' by Christopher Hassall and Ivor's friends. Letters inviting Sybil Thorndike and Mary Ellis to the ceremony, both dated 24 April 1952. To Ellis he writes: 'The idea is that Sybil unveils it and then you speak your poem and that is all.'
Letter from Macqueen-Pope ('Press Representative / Theatre Royal, Drury Lane') to the Chief Picture News Editor, Daily Graphic, 28 April 1952, giving details of the ceremony. Concludes: 'The bust is the work of Clemence Dane, the famous novelist-artist-dramatist, who was a close personal friend of Mr Novello's. Macqueen-Pope to 'Mr Todman', 25 July 1951, stating that 'it has not yet been possible to fix a spot for Ivor's bust at the Lane owing to the fact that I have been so pressed with outside work, including a big pageant'. (5 items)

5/1-7) D. M. Sims [Dorothea Marie Sims] of solicitors Clayton, Leach and Sims. Four typescript signed letters to Macqueen-Pope on the firm's letterhead, all from 1951, two of them concerning Ivor Novello’s will, the third regarding 'what appeared in the Press about the Auction', the other two concerning the 'blocks of the photographs of Redroofs which appeared in the Auction Particulars'. Together with carbons of three letters to Sims from Macqueen-Pope, in one of which (11 June 1951) he expresses relief that 'the matter of impertinent enquiries arising over the Will' is 'practically closed'. He also asks her for the 'exact wording of the Charges against Ivor in the petrol case', stating that 'great care will have to be exercised' when he writes about it. (7 items]

5/8-12) Two draft of Macqueen-Pope's press release on the will, undated, one titled 'Ivor Novello's Will' and with the address of Macqueen-Pope's office in the Strand at the head, a related letter from Sims, 26 April 1951, and carbons of two letters from Macqueen-Pope to Sims [Clayton, Leach and Sims & Co.], both from June 1951, the first of which begins: 'I am issuing the Ivor Novello Will right away - so look out for storm.' (5 items)

5/13) Five-page typescript headed 'MEMENTOES ALREADY GIVEN', including 'John Gielgud ... Ellen Terry picture', 'Drury Lane (per Mr Pope) ... David Garrick Snuff Box', 'Sir Laurence Olivier ... Star Emblem', 'Michael Redgrave ... Copenhagen Ornament', 'Noel Coward ... Picture', 'Macqueen-Pope ... Martin Harvey Sword'. (1 item)

5/14-15) A signed autograph letters from 'Lyn', i.e. Lyn Harding, to Macqueen-Pope, 8 June 1951, beginning: 'I am disappointed to find that Ivor has left out his relations in the will mentioned this morning. They are simple country folk of the farmer class.' With carbon copy of Macqueen-Pope's reply to Harding, 9 June 1951, he writes: 'I knew that Ivor had left the relations nothing. I handled the will all through. He never had much to do with them in life. It is in many ways a curious will, with some notable omissions, but on the whole I think, a very characteristic one. Not being a beneficiary myself, I can take an unbiassed [sic] view.' (2 items)

Letters and correspondence between Macqueen-Pope and members of Novello'e inner circle containing eulogies and reminiscences of Novello. Other items from Ivor Novello's friends and acquaintances can be found in the other sections of this collection.

2/1) Four typescript copy letters from Macqueen-Pope to Tom Arnold (Actor and Producer), 1951. Offering condolences and arranging meeting relating to the book. (4 items)

2/2) Three autograph letters, 1951, from Gilbert Clark (Costume designer) to Macqueen-Pope complementing him on his book and some personal reminiscences. Typescript copy reply. (4 items)

2/3) Two typescript copy letters from Macqueen-Pope to Constance Collier (Actress) and a signed typescript reply, 1951. (3 items)

2/4) Four typescript and one autograph letters between Lord Cromer (Aristocrat) and Macqueen-Pope, 1951, asking permission to use material in his book on Novello and comments on the history of the theatre. (5 items)

2/5) 'Clemence Dane' [pseudonym of Winifred Ashton] (1888-1965), (Novelist and playwright). Two autograph letters, one signed 'Winifred C. D.' and the other 'Winifred Clemence Dane', one copy reply from Macqueen-Pope. Both on her Tavistock Street letterhead. The first (4pp), undated, praises Macqueen-Pope for 'Ivor: The Story of an Achievement’: 'I have just finished it - it is a real work of friendship & affection & I am sure he would have liked it. I found it painful reading because it was so vividly alive & of the present. But that is its virtue!'
The second letter is headed 'Tuesday', and in it she writes to 'My dear Fred' (i.e. F. W. Allen) that she is 'honoured that the portrait bust should go to the lane [i.e. the Theatre Royal, Drury Lane] - my only hesitation is that it is only Amateur work, & doesn’t do him justice: but I believe he would like to have it there'. (3 items)

2/6) Teresa del Riego (1876-1968), (Composer). Signed reminiscences titled 'A small Tribute'. She describes the 'sense of comradeship from the first, although I was some years older than him' (Ivor Novello being eighteen at the time). Also 'Ivor's visits to me in the early years of my marriage, & how interested he was in a new invention in my possession called "The Musicograph." It claimed to be the sort of typing machine for which many composers yearned; but it never proved of use to either of us. A clever idea, but quite impractical. I believe I was the only purchaser, & it never came into the market, since being an Italian production, it vanished during the First World War.' She praises Ivor’s generosity and appreciation of other songwriters, as well as his 'marvellous memory for all kinds of music, classical or otherwise'. With accompanying autograph signed letter, 27 April 1951. 'Make any use you like of this small "tribute" to our dear friend Ivor Novello. I expect you will be quoting from many of his friends & admirers, to whom his passing meant a great shock, & loss.' In a postscript she apologises for her brother the actor Philip Desborough's delay in writing. (2 items)

2/7) Philip Desborough (1883-1966), (Actor). Signed autograph reminiscences titled 'Ivor Novello in "The Happy Hypocrite" of Max Beerbohm'. With accompanying undated autograph signed letter to Macqueen-Pope beginning: 'My memory is becoming so old - I find it difficult to remember detail regarding "The Happy Hypocrite" - which in your letter to my sister [the violinist and composer Teresa del Riego] you ask me to send you - if any!' He hopes what he sends about 'dear Ivor' is 'not too personal'. Copy reply from Macqueen-Pope. (4 items)

2/8) Lady Juliet Duff (Aristocrat). Three typescript copy letters from Macqueen-Pope and a signed typescript response from Juliet Duff, 1951. Memories of first meeting Ivor Novello and arranging a meeting to discuss her memories. (3 items)

2/9) Two signed autograph letters from Mary Ellis (Actress) to Macqueen-Pope in regarding her relationship with Novello, together with a typescript copy letter referring to the sale of Redroofs, 1951. (3 items)

2/10) Olive Gilbert (Actress). Names and notes on associates of Ivor Novello, n.d. [1951]. (1 item)

2/11) Six autograph letters, from Lyn Harding (Actor) following the death of Novello, including his memories. A typescript copy letter from Macqueen-Pope asking him to read a lesson at the funeral service, together with telegram accepting the offer, 1951. (7 items)

2/12) Christopher Hassall (1912-1963), poet, biographer and Ivor Novello's librettist. Three typescript letters to Macqueen-Pope, six replies and copy letter to Bob, often of intimate reminiscences. He explains that he has had 'several afterthoughts as a result of our original talk', and that this is the reason for 'inflicting another letter upon' Macqueen-Pope, whom he is 'anxious to provide [...] with the fullest evidence of my experience with Ivor'. The 'scraps of memory are disconnected', and Hassall has arranged them in eleven numbered sections. Hassall describes the circumstances of Ivor Novello’s winning entry, with lyrics by Hassall, in 'a competition for a song to be launched with our forces on D. Day'. The song was 'Clear the Road to Glory', which Hassall states 'was published by Chappell, given one performance on the air, then dropped and the whole edition was pulped. In an unguarded moment, thinking the time for anonymity was over, Ivor spoke to a reporter, who quoted the lyric and our names on the front page of the Telegraph. This almost exactly coincided with the publication of Ivor's prison sentence. This was one of our most bitter disappointments.'
Other topics include: Ivor Novello’s extraordinary gentleness of manner in private life'; the items on Ivor Novello's piano; the 'improvements' made to Redroofs after the success of Glamorous Night.
Hassall also includes typed transcripts of four letters to him from Ivor Novello. He also writes that Ivor Novello 'would wear sun-glasses when going to a Cinema, so as not to be recognized [...] I think it's worth mentioning that he was probably the first "star" to be mobbed by his fans - now so common at Premieres - but then, it was everywhere, in the Provinces and almost every night, and because of a stage, not a film, performance. At Newcastle they actually pulled the door off his car, at Leeds once, when I was with him, they pulled the belt off his coat. In those days this sort of thing was a social phenomenon.' (10 items)

2/13) Typescript copy letter from Macqueen-Pope to Barry Jones, (1893-1981), (Stage and Screen Actor), 4th April 1951, acknowledging the undated miscellaneous episodic autograph reminiscences [on Campden Hill Square letterheads]. The first section reads: 'I met "Mam" first - in New York City in the early twenties. Joyce Carey took me to a party given by Madame Novello Davies & there too I met Lilian Braithwaite for the first time. I was to meet Mam many times more but her first remark was typical of the confident affection between mother & son. "Do you know my boy?" & not waiting for a reply she glowed on "isn't he wonderful"…. "When my mother, then about 85, saw Glam. Night - Ivor had heard of it & decorated the box with orchids as he did for "Mam". Orchids could hardly have been wronger than for my mother, but the thought was there!' Carbon of letter from Macqueen-Pope to Jones, 4 April 1951, thanking him for 'the material': 'I have not yet gone through it carefully but it looks just what I want. You are always to be relied upon.' He ends in 'strict confidence', with the news that 'our friend the late Fuhrer of ENSA is in trouble with The Apple Cart'. (2 items)

2/14) Three signed typescript letters from Henry [Harry] Kendall (Actor) and three typescript copy replies from Macqueen-Pope, 1951. (6 items)

2/15) Keneth Kent (1892-1963) (Actor and one of Ivor Novello's oldest friends). Autograph card, signed, agreeing to a meeting at the Caprice, p.m. 3 July 1951. With carbons of two letters from Macqueen-Pope to Kent, in one of which, 9 July 1951, he thanks him for 'some lovely stories of the utmost value and some most illuminating remarks as well'.
A typed memorandum headed 'Keneth Kent', presumably made out by Macqueen-Pope after their meeting. Begins: 'Met Ivor when 16 at Cairn Hydro. Told another boy was coming and reacted badly. Saw Ivor get out of fly with Mam. Liked him.' Includes: 'Ivor’s disbelief in after life' and 'Ivor as girl at Fancy Dress dance at Harrogate, man who kissed him and got his face smacked.' (4 items)

2/16) Suzanne McCrory (Ivor Novello's Cardiff 'schoolmistress'). Three-page autograph reminiscences, titled 'A Little about Ivor Novello'. At end: 'This to be included in "Le Jour expire" The story of a French Aunt… by Anne Hastings'. With three autograph signed letters from her to Macqueen-Pope, 19, 26 and 29 March 1951. In the first, which accompanies the reminiscences, she writes: 'I hope to broadcast something of long ago about him. If it is of any use to you, you can have it. I taught Ivor his first song when he was six at his first school in Cathedral Rd. Cardiff. He brought the house down then you may be sure; he was an adorable little boy [...] I got in touch quite lately as I am writing a story - that of my life - a varied one - spent partly in France, Germany & in Schools here.' Two of MP's replies, in the second of which he writes regarding Ivor Novello's first song: 'I remember the song myself. It was called "Tatters" - and began "Tatters, with his little broom, stands amid the crowd, in the gaslight, in the gloom, where the strife is loud". It had a great vogue and I was guilty of singing it myself - with great effect, as a small boy. Like Ivor, when my voice broke, I could never sing again.' (7 items)

2/17) Two typescript copy letters from Macqueen-Pope and autograph reply from Eddie Marsh (Polymath), accepting an invitation to meet, [1951]. (3 items)

2/18) D. L. Murray (Novelist, Editor of The Times Literary Supplement). Letter of sympathy sent to Macqueen-Pope following Novello’s death, together with a copy of the reply ‘the English musical stage ‘is out’’. Also two signed typescript letters from Murray congratulating Macqueen-Pope on his book, 1951. (5 items)

2/19) Four typescript letters and copy letters between Peter Noble (Biographer) and W. J. Macqueen-Pope, 1951. Both authors of biographical works on Ivor Novello. (4 items)

2/20) Typescript copy letter from Macqueen-Pope together with an autograph reply from G.B. Stern (Novelist) apologising for him changing his mind regarding the sharing of his memories of Novello with him. (2 items)

2/21) Typescript autographed letter from Jean Webster-Brough (Actress) to Macqueen-Pope in response to a request to contribute to his book. In return she requests a contribution from Macqueen-Pope to her own book, 1951. (2 items)

2/22) Typescript copy letter from Macqueen-Pope to G.H. Gay (Warner Bros.) requesting a contribution to his book. Signed typescript reply on Warner Bros. headed paper.

Letters and papers from W. J. Macqueen-Pope (1888-1960), commonly known as "Popie". He was a theatre historian, publicist, biographer and close friend of Ivor Novello (David Ivor Davies, 1893–1951).
Many of these papers were referenced by Macqueen-Pope when writing the Ivor Novello biography 'Ivor: The Story of an Achievement'.
The papers include a small number of original letters from Novello, reminiscences and correspondence from Novello's friends and associates including his librettist Christopher Hassall, business manager Fred Allen, novelist G. B. Stern, actresses Constance Colm, Mary Ellis, Olive Gilbert, Zena Dare, Jean Webster-Brough, actors Lyn Harding, Barry Jones, Henry Kendall, Keneth Kent, Philip Desborough, costume designer Gilbert Clark, aristocratic friends Lord Cromer and Lady Juliet Duff.
The main subjects are writings by Macqueen-Pope relating to Novello (including drafts from the biography); material relating to Novello's will; Macqueen-Pope’s role in organising Ivor Novello’s funeral (including funeral addresses by Hassall, Macqueen-Pope and Rev. E. Gwyn Evans); a memorial service; the placing of his memorial bust (by Clemence Dane) at the Theatre Royal, Drury Lane; Macqueen-Pope's involvement in the BBC memorial radio broadcast; an apparently unsuccessful effort to found an Ivor Novello Fellowship; and letters from Novello fans.
An earlier programme of "I Lived With You”, has been added to the papers.