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wards, p. 73). “Her enthusiasm for Gone with the Wind grew everyday as she voraciously read through the 1,000 pages” (Capua, p. 36). This is one of a handful of copies long-rumoured to have been inscribed by Leigh to her fellow cast members on the opening night of one of her earliest West End appearances. Although suc- cessive biographers have referred to them, no copy before this has emerged to prove the story true. We can trace no other such copy, either in libraries or in commerce. The recipient of this copy, Anthony Ireland, was hastily cast in the part of Hugh Greatorex, “commandeered from rehearsals of As You Like It ”, the day before the opening night, as a last-minute replacement for the actor Anthony Bruce, who had been taken ill with appendicitis ( Variety , 7 February 1937, p. 4). The play was short-lived, running 5–20 February, and “Vivien’s role was the only dimensional and theatrical one in the play. Need overbalanced judgment, for it is doubtful that she would have accepted the part in view of her lack of belief in the play’s merits if she thought there was another choice” (Edwards, p. 73). By now Leigh had decided that she was perfect for the role of Scarlett O’Hara in Selznick’s planned film version of the novel. Just two nights before she inscribed this copy, producer David Selznick noted in a cable to his New York production executive, “I have no enthusiasm for Vivien Leigh” (Spicer, p. 166). Her agent John Glid- don relayed the bad news, but Leigh nevertheless remained utterly convinced that the role would be hers. Caroline Lejeune, film critic of the Observer , vividly recalled a conversation in mid-1937 about the casting of Gone with the Wind , in which it was suggested that Olivier could play Rhett Butler—Leigh drew herself up, and foretold: “Lar- ry won’t play Rhett Butler, but I shall play Scarlett O’Hara. Wait and see” (Spicer, p. 166). On 10 December 1938 Leigh walked onto the set the night the burning of Atlanta scene was filmed, and she finally met David Selznick. On 13 January 1939—after a two-and-a-half year world- wide search for his Scarlett O’Hara, and less than two weeks before shooting with the major actors began—Selznick announced to the press that the role was hers. It is interesting that her handwriting here is very neat and con- trolled. It is a significant contrast to her later handwriting, which,
though still legible, became much more scrawling. Fortunately her handwriting at this early date can be confirmed by comparison with her contemporary appointment diaries, now held in the V&A. Capua, Michelangelo, Vivien Leigh: A Biography , McFarland, 2015; Edwards, Anne, Vivien Leigh, Simon and Schuster, 1977; Holden, Anthony, Laurence Olivier , Athe- neum, 1988; Spicer, Christopher J., Clark Gable: Biography, Filmography ; Variety , New York, Wednesday 17 February 1937. £12,500 [115333] 93 LENNOX, Charlotte. Shakespear Illustrated. London: A. Millar, 1753–4 3 volumes, duodecimo (162 × 98 mm). All in contemporary calf, but not uni- form, the first two with red morocco lettering and numbering pieces, the last with label and the volume number direct, the first two flower tools to the compartments, edges stained red, marbled endpapers, the third with double rules bracketing the bands, and a double fillet panel to the boards, edges sprinkled red. The first two volumes are quite heavily rubbed, particu- larly at the extremities, chipping head and tails of the spines, light browning throughout, a single worm-track through the head-margin of volume I, text unaffected; the third volume less rubbed, label renewed, pale browning, light dampstaining to bottom margin of first three gatherings, contempo- rary ownership inscription of John Francis Howell to the front pastedown, overall very good. first editions. Bluestocking Charlotte Lennox’s (1730–1804) Shakespear Illustrated “was a pioneering attempt to identify and trans- late his sources, ‘with critical remarks’” ( ODNB ). Samuel Johnson, a great admirer of Lennox who placed her on equal footing with Frances Burney, Elizabeth Carter, and Hannah More in his panthe- on of woman writers, and who contributed the 10-page dedication of the present work, “playfully suggested that she try her hand at Milton ‘when Shakespeare is demolish’d’” (ibid.). Decidedly uncommon. Courtney, p. 38; ESTC T138281; ESTC T139076. £1,250 [123325]
All items are fully described and photographed at peterharrington.co.uk
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