Guide to the Harry F. Chaplin Collection relating to John Shaw Neilson

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MS 1145

National Library of Australia View Catalogue Record

Collection Summary

Creator
John Shaw Neilson
Title
Harry F. Chaplin Collection relating to John Shaw Neilson
Date Range
1887-1964
Collection Number
MS 1145
Extent
1.56 metres (7 archive boxes + 1 small folio box)
Language of Materials
English
Repository
National Library of Australia

Introduction

Conditions Governing Access

Please refer to the collection's catalogue record (http://nla.gov.au/nla.cat-vn1453996) for the access conditions.

Conditions Governing Use

Copying and publishing of unpublished manuscript material is subject to copyright restrictions. For such material, written permission to publish must be obtained from the copyright holder(s). Copying of unpublished material for research purposes is permissible 50 years after the death of the creator of the material.

Preferred Citation

Items from this collection should be cited as '[Title or description of manuscript item], Harry F. Chaplin Collection relating to John Shaw Neilson, National Library of Australia, MS 1145, [box number and series and/or file number]'.

Item Descriptions

Series 1. John Neilson (1844-1922)

Love's summer in the snow. "Mail Office", Nhill. n.d. (Item 1)

Folder. 4pp. 7 3/4" × 4 1/2". This appears to be a sheet of cream paper pasted down upon a sheet of gray. The marks of jointure are clearly visible. Upon the front, which is gray, the title is printed in gilt: Poem for Recitation. By J.S. Neilson. 'Love's Summer in the Snow'. An incident in the Greely American Arctic Expedition." The front is ornamented: the back is blank.

Tipped into a folder together with 6pp. letter from Shaw Neilson to James Devaney: "...I am sending you a copy of a poem my father got published when we were living at Nhill. You will notice the J.S. Neilson on it, but it is not mine. We were both writing verse at the same time and our names got mixed. That is why I started to use 'Shaw Neilson'." The letter contains many references to A.G. Stephens and their publishing Agreements: he ends, "A.G.S. was a great man and a generous friend".

This letter is written by Neilson's step-sister, Lisette, at his dictation but is signed, in his hand, "J.S. Neilson". The letter is dated 31 December, 1934.

In his Autobiography Shaw Neilson writes: "...In the later part of 1893, the A.N.A. of Melbourne offered prizes for Short Stories, Poems, etc., in connection with the celebrations of that year. My father won a prize of six guineas for a poem on The Pioneers (Set Subject), and I won a prize of two guineas for a poem for Juniors (under 21) on any subject. Dad knew I was competing but he never saw my verse until after it was printed in the paper...I think the best bit of verse he wrote during our stay at Nhill was Love's Summer in the Snow. It seemed to have more charm about it than the others. He had a good ear for rhythm, and he had read much good verse. He wrote one religious piece Easter Tide for the Australasian just before we left Nhill. I think it is a remarkable piece of verse for a man with no education: a man that had to fight so very hard to make a living all his life."

Neilson also mentions that in 1890, while working on a fencing contract, his father worked hard at a ballad. It was not printed. Ward Lock & Co. would have printed it but they were not prepared to pay for it, merely to give Neilson a copy of the book in which it was to appear.

In the A.N.A. Competition the judges were astonished to discover that the winners in both senior and junior sections, were father and son.

The men of the fifties. No imprint. n.d. [Brisbane, . ?], 1938 (Item 2)

Published in an edition of 200 copies.

Folder. 4pp. 7 3/4" × 4 1/2". A poem inspired by events at the Eureka Stockade. Written by John Neilson, father of Shaw Neilson.

Accompanying this are four letters (10pp.) written at Shaw Neilson's dictation by his brother Frank, between June and August, 1938. All are signed "J.S. Neilson". They are to James Devaney, who arranged the layout and publication, and saw the little folder through the press.

Neilson's first letter sends a clipping of the poem from Ballarat Courier, 1905, and he suggests that it be printed in an edition of 50 copies. Neilson was anxious to secure copyright for these verses, and frequent reference to this proposal is made in the letters. He is also concerned with his own poetry, and the poetry of others. In one letter he speaks of Hartley Grattan, the latter having written at length on Australian poetry. "...As the subject is 'Our Greatest Poet' only poets are dealt with. I think it right that McCrae and Daley should not be overlooked. I am rather surprised that Furnley Maurice is left out. His treatment of Gordon is fairer than same of the hostilities put out by modern critics."

All the above tipped into quarter leather album.

The men of the fifties. Another copy (Item 3)

(a) Galley proof of the poem with alterations and corrections in the autograph of James Devaney, together with a letter from the latter to Neilson discussing the subject of copyright.

(b) Photograph of John Neilson and his brother William, sitting side by side. In this photograph John is aged 20, his brother 22 years old, and they are so alike that they could pass for twins. The reverse of the photograph is inscribed: "To J.K. Moir with best wishes from Frank Neilson, 6.12.47".

(c) Typewritten copy of letter sent by Father Patrick Smythe (Ballarat, 13.12.1854) to W.H. Archer, Acting Registrar General at Melbourne. An interesting letter descriptive of events at Eureka. Father Smythe, it will be remembered, was one of the diggers' most powerful allies in the stormy days of '54.

(d) Typewritten copy of letter from Carboni Raffaello to W.H. Archer. (Eureka, 18.10.1854), a very lively letter of 5pp. He signs himself, "Your old affectionate".

(e) Copy of "Mr Rede's Address to His Army after the 'Eureka Massacre'", also copy of the verses of the poem, "The Mounted Butchers". With this are some press clippings of relevance to Eureka.

All tipped into quarter leather album.

The men of the fifties. Hawthorn Press, Melbourne, 1938 (Item 4)

Boards. 8vo. (For private distribution. 100 unnumbered copies printed.) With this copy are two letters (10pp.) from Shaw Neilson to James Devaney (August 1938), written at dictation by Frank Neilson, and signed "J.S. Neilson".

The men of the fifties. Another copy. (Item 5)

Presentation copy: "This book is inscribed with kind regards to Harry F. Chaplin from the poet's son, Frank Neilson, Merbein, 23 August 1958".

Inserted: Autograph letter (2pp.) from Frank Neilson to James Devaney (2 September 1938) which relates to errors in the typescript of the poems. Refers to Shaw Neilson: "He wishes me to write to you about the errors you have noticed in the typescript. He feels very tired in the evenings. The constant work he follows is rather too much for him now. He needs a long spell...John seems to like 'Found in the Forest' well. Father here seems to have gathered up those poor bones respectfully and wrapped them in a mantle of emotion. One time father had a narrow escape from perishing in the little desert when doing a contract of fencing...he and his mates were two days without water...What do you think of 'Damper' - he has cooked it rather well has he not?...John and I have for a long time had the idea in view of printing father's poems. It now seems to be realised."

Also inserted: Letter (2pp.) from Shaw Neilson to J.K. Moir (25 September 1938) written at dictation by Frank Neilson, and signed "J.S. Neilson".

Neilson wished the copies to be numbered, and in another letter to J K. Moir suggested that copies Nos. 1-40 should be his own, Nos. 41-55 Frank Neilson's, and the balance divided between J.K.M. and the publisher. He also wanted the copies to go out "with the Publisher's compliments", and intended signing only the copies for J.K. Moir, James Devaney, and John Gartner.

"The last time" (Item 6)

Autograph letter, 3pp, written by Frank Neilson to James Devaney, dated 10 March 1935. He writes of his mother and sends her portrait. She is shown nursing Shaw Neilson upon her knee. The poet was at that time two years old. "...It was after mother was gone that Dad wrote 'The Last Time'. A.G.S. was always most impressed with this poem." Later in his letter he refers to the latter: "It is pleasing to note that some of the critics write that even if Australia has not yet produced the great poet, it has produced the great critic." Writing to Shaw Neilson, 2 February 1919, A.G.S. says: "...I hope your father is well. You might tell him when you write to him that I think his poem 'The Last Time' is fine; it touches me deeply." (This letter is in the H.F. Chaplin collection.)

In his preface to Heart of Spring, A.G.S. made reference to this poem, and also printed it in full. The poem is also included in The Men of the Fifties. Mrs Elizabeth Neilson's photograph is included, also other photographs, and items of Neilson interest.

All tipped into light board folder.

Series 2. William Neilson (1842-1916)

Two broadsheets: (a) "The Last Rake" 1887; (b) "Australian Song" n.d. (Item 7)

With these are manuscripts of two poems: Old Songs, and Lines on Gordon's Memorial, the latter prompted by the sight of an old photograph of Gordon, which once hung in the Court House at Penola, South Australia, where Gordon competed in hurdle-races. These scripts are in the writing of the poet's son.

William Neilson was born at Glasgow, 7 September 1842. He did not accompany his parents to Australia but arrived later with his uncle and members of the McFarlane family.

Included are six autograph letters from W.S. Neilson to James Devaney, J.K. Moir, and H.F. Chaplin. He records that his father wrote many verses but failed to find a publisher. One set of manuscripts, sent to England, went astray. After this misadventure he assembled another set of his verses and sent them to a school-mistress in the town of Penola. She was transferred to another place, and again they were lost. No copies were kept. At one time William Neilson was Bard to the Mount Gambier Caledonian Society.

All the foregoing tipped into folder, together with photographs and other items of interest.

Series 3. John Show Neilson (1872-1942)

The tales we never hear. Troedel Co., Melbourne n.d. [1893 ?] Broadsheet. 8" × 5" (Item 8)

This poem won the first prize for Junior Poem on any subject at the A.N.A. Literary Competitions, 1893. Entered under the pseudonym "Donovan Blair". According to Frank Neilson, his father's poem, which won the Senior Prize, was entered under the pseudonym "Eucalyptus".

This may be Neilson's first separate publication but according to him it was not his first appearance in print. Writing in his Autobiography: "When my eyes got better I tried to write verses and stories. I got eight lines of rhyme into The Leader". Encouraged by his father he kept on writing stories and sketches but finally reached the conclusion that he could not write prose. "I think the inability to write either decent prose or verse had a good deal to do with my low spirits about this time. I was in my 19 year when the rhyme in The Leader appeared." Frank Neilson has written that his brother's earliest poem was written in 1889: "Lines Written to Baby Neilson - died in 1889". This poem, based upon the usual household warning not to wake the baby, begins "Baby's Asleep". (This note by Frank Neilson is in Southerly, Item 54.)

With this are two autograph letters from Frank Neilson to James Devaney, written at the time when the latter was working on his biography of Shaw Neilson. Frank Neilson was reluctant to allow Devaney free access to the Shaw Neilson Notebooks, and explains that his brother had a poor opinion of the earlier verses and was always disinclined to discuss them. He considers that Devaney attaches too much value to them. Eventually the Notebooks were made available and Devaney made an excellent book from much of their contents which appeared as Unpublished Poems, and from which Frank Neilson received the royalties. In addition to discussion of the Notebooks, Frank Neilson makes references to Tales We Never Hear. The poem was excluded from all Neilson's books.

All the above items tipped into quarter leather folder.

The tales we never hear. Another copy. (Item 9)

Presentation copy inscribed: "To J.K. for Xmas, 1941, Shaw Neilson."

Accompanying this is Neilson's letter sending the item to J.K. Moir: "Dear J.K. I enclose a relic. It is about as bad as most prize poems are...J.S. Neilson". This letter had been written for the poet by Phil Whelan, with whom he was staying at Dee Why.

The letter, however, is signed by Neilson. Inserted also is a typewritten record by Phil Whelan: "Shaw Neilson at Dee Why for Christmas 1941". Neilson spent some time at Dee Why after his return from Queensland.

In folder, together with other items of Neilson interest.

The Bulletin Reciter. Bulletin Newspaper Co. Ltd., Sydney., 1901 (Item 10)

First edition. Original decorated cloth. This contains Marian's Child, reprinted from the issue of the Bulletin, 4 May 1895 - perhaps Shaw Neilson's first appearance in a book.

This grim poem is a recital by a young woman, of the murder and burial by her, of a sister's illegitimate child. It has been excluded from all the published editions of Neilson's poems. The poet makes no reference to these verses in his Autobiography. He writes at length of sending Polly, and Dad, and the Spring Cart to the Bulletin and gives the impression that this set of verses was his first appearance in that paper (December 1896). As Marian's Child had appeared eighteen months before he had either forgotten this fact, or chose to ignore it. Perhaps the latter, for on matters of detail and dates, Neilson's memory was remarkably good and many of his related facts are confirmed by letters and other papers contained in the H.F. Chaplin collection. James Devaney does not make any mention of this poem, either, in his biography of Neilson.

Writing in the Bread and Cheese Memorial Booklet (Melbourne 1942) Mary Gilmore says that this poem was written by Neilson when he was only fourteen years old, also that the poet did not know that his script had been sent to the Bulletin, learning of it only when the poem appeared in the paper. Frank Neilson however, has written that his brother was nearer to twenty-five years old when he wrote the poem, which was inspired by the reading of Adam Bede by George Eliot, and the impression made upon him by the sad experience of Hetty Sorrel in this story.

See Southerly, Item No.55, for annotation by Frank Neilson upon this poem. Other references are to be found in Frank Neilson's letters to James Devaney. See Item No.54.

Old Granny Sullivan. The Bookfellow, Sydney. n.d. (Item 11)

Pamphlet. 6 1/4" × 4 1/2". Text 4pp, in paper covers. Gum tree design on front cover, enclosing portrait of an old lady ("Old Granny Sullivan") with a portrait of Shaw Neilson on back cover, together with the imprint.

Bound in full morocco over the original wrappers preserved as issued. Inserted in this copy are several items, as follows.

(a) Original receipt given by Shaw Neilson to A.G.Stephens for 17/6, being payment for the two poems, Old Granny Sullivan, and Maggie Tulliver.

(b) Original receipt given by Dagmar Ross to A.G. Stephens for 30/-, being payment for the portrait of the old lady on the cover. This drawing appeared as a full page illustration to the poem when it was first printed in The Bookfellow on 17 January 1907.

(c) Original receipt given by Eirene Mort to A.G. Stephens for 25/-, being payment for the drawing of the border of gum trees.

Note: This publication was issued by A.G.S. as No. 2 of Australian Poetry Books, No. 1 being Mary Gilmore's The Tale of Tiddley Winks. Morris Miller gives the date of Granny Sullivan as 1916, and that of Tiddley Winks as 1917, which seems a little puzzling. The urge in A.G.S. to "improve" was always strong. But when he reprinted this poem in pamphlet form he refrained from altering the text and satisfied himself by some minor rearrangements of the punctuation.

Old Granny Sullivan. Another copy. (Item 12)

In full morocco covers. The pamphlet preserved as issued. Accompanying this copy is the specially printed envelope for mailing. Inserted in this copy is dictated letter, signed "J.S. Neilson", written to J.K. Moir, 18 September 1935. "...I am sending you a copy of 'Granny Sullivan'. My step-sister could only find two copies. I think this is the best of the two...The picture of me on the back was taken in 1909." It is autographed "John Shaw Neilson".

Old Granny Sullivan. Another copy (Item 13)

In full morocco covers. The pamphlet preserved as issued. Inserted: Typewritten letter initialled "A.G.S." to the Director of Education, Melbourne, October 1929, granting permission to the Department to reprint Granny Sullivan in any reading book used in the schools. The letter specifies the conditions for reprinting, and is annotated in the usual violet ink by "A.G.S." as proprietor of copyright.

Writing in his Autobiography in 1934, Shaw Neilson says: "...I must admit that sometimes I am rather puzzled why the Victorian Government in it's School Paper should be rather afraid of my verse. That little publication has been running for many years. During that time it has given to the children many good things but it has also put out much Australian verse of little value. Perhaps my verse is not suitable for children".

Old Granny Sullivan. Another copy (Item 14)

A "Specimen" copy, together with the special envelope. In folding leather case, together with typewritten letter from A.G.S. to Shaw Neilson. A business letter, initialled. A postscript in autograph is added. This letter is written upon The Bookfellow letterhead, the ornamental design upon which is by Norman Lindsay. A humorous sketch of bears, birds, wallaby, and possum, in N.L.'s characteristic style. A bright item not generally known to collectors of Lindsay's work.

Included is Christmas Greeting Card for 1941 from the Melbourne Henry Lawson Society, with photo of Neilson and his poem Heart of Spring. Autographed by E.J. Brady.

Heart of spring. The Bookfellow. Sydney, 1919 (Item 15-16)

Limited edition of twenty-five copies, numbered and initialled by A.G.S. Bound in soft blue leather, padded covers, all edges gilt. Each copy containing a stanza in the autograph of Shaw Neilson.

Two copies: (a) No. 15. A presentation copy, inscribed on half-title: "For Lala Fisher and Her Heart of Spring, with every good and perfect wish from A.G. Stephens, 22 November 1919". A stanza from Old Nell Dickerson, signed "Shaw Neilson", and dated 26.9.19, on verso of the half-title. (b) No. 22. A stanza from Green Singer, signed "Shaw Neilson", and dated 26.9.19, on verso of half-title.

Inserted in this copy is autograph letter from A.G.S. to Shaw Neilson: "...Have been pushing around 'Winter Snake' - no answers yet - but the average editor finds the humour too subtle for the space. No news from New York or London yet. I see my London agent returned 'Heart of Spring' in 1920 - could not sell. Not quite enough foreign interest - and not bulky enough - despite merit". Further reference to Mrs Dyer. Concludes: "Keep a-going, A.G.S."

Heart of spring. Variant copy. (Item 17)

Bound in half-green morocco by Rivière. Lacks the numbering note by A.G.S., but contains the autograph stanza by the poet. In this copy the verses are from The Loving Tree, autographed and dated by Shaw Neilson, as in preceding copies.

Inserted is autograph letter from A.G.S. (initialled): "Dear Neilson: The Bookfellow goes again from May 15. Glad of anything you can send. London agent to whom I sent 'Heart of Spring' returns - 'I fear I could not handle'. Too cautious! Now sending to U.S.A. Think better chance there". Dated 3.5.23.

In his Autobiography Neilson records: "...The Superior copies were sent over to Chinkapook to my father's place for signature. I went over there and signed them, and came back to the job at Mittyack".

Heart of spring. Ordinary edition. Blue cloth. (Item 18-22)

Five copies, as follows.

(a) Autographed "Shaw Neilson" on verso of half-title. Inserted: Long autograph letter from A.G. Stephens to Shaw Neilson, 2 October 1919, in which he makes references to Heart of Spring. "...Several reviews have come to hand which I will send later. No worthy ones so far. My 'first of Australian poets' has frightened some people. The book has not caught on, but will move slowly. What you have to do is keep writing and increase the BULK for a second edition. There is not quite enough for the price, 5/-, as far as quantity goes, and the burghers have to be trained up to quality. [I presume the spelling of 'burghers' is correct. H.F.C.] Keep an eye out for notices. I missed Australasian, Age, and Argus. Sydney Telegraph has not noticed yet. I went to the Editor and was told he was reserving it for a special laud. ... Bulletin missed too, I believe there was something there but the staff couldn't find it..."

(b) Tipped into this copy is the original receipt given by Shaw Neilson to A.G. Stephens, 13 December 1906, for 12/6, payment for the poems, The Lover Sings, and It is the Last. Both these poems appear in this book. Also inserted is autograph letter from Havelock Ellis to A.G. Stephens, 2 December 1927. "...Sad that literature is not flourishing in Australia. Too much sunshine. I pine for it here. A fireside is probably needed for literature, and sunshine by promoting sociability, diminishes individuality...I should like to see something of Neilson, whom you speak of with such praise...With cordial greetings, Havelock Ellis."

(c) Tipped into this copy is the original receipt given by Shaw Neilson to A.G. Stephens, 11 September 1906, for 20/-, payment for the poems In the Street, The Land Where I was Born, and O, Heart of Spring. The latter did not appear until 1912, when it was published in The Bookfellow. Inserted also is receipt given by Hugh McCrae to A.G. Stephens for 10/-, payment for a parody upon verses by Hebblethwaite, and Neilson, which appeared in The Bookfellow. With this is autograph note by Hugh McCrae: "...Wanting to believe you. So difficult to agree with the conclusion you make. On my own judgement I'd place Neilson before myself - Kenneth Slessor sometimes, sometimes not. Wishing my merit equal to your appreciation I find it hard to agree". This to unknown correspondent.

(d) Inserted is letter (3pp) written at Neilson's dictation by his brother Frank (26 June 1938) to James Devaney, signed "J.S. Neilson". Comments upon copyrights: "Poetry of any "sort is not worth anything commercially, but one likes to own it". Then long commentary upon Hartley Gratton's article on Australian Literature: "...He does not flatter us does he? I get off well enough because I am amongst the five [poets] who are supposed to matter. I think he scarcely does justice to Victor Daley, and Hugh McCrae. He calls them merely 'decorative'. McCrae's music is splendid, and Daley at times conveys deep emotion. Many writers of whom I have never heard are mentioned...Some poets have escaped him altogether. Brunton Stephens, Hebblethwaite, Mary Gilmore, and Kenneth Slessor have all done work which I think should not be ignored...One thing surprises me. Lawson is mentioned but his value as a story teller and writer of sketches is not stressed...Hartley Grattan is, I think, an American and he is therefore handicapped severely. I suppose he has a fine knowledge of literature outside our land. That may be the reason that in verse he leans towards the scholars..."

(e) Inserted is autograph letter from A.G. Stephens, 29 July 1915, to Neilson, whom he addresses as "Mr Neilson". Letter refers to the agreement for Heart of Spring, the signed copy of which he acknowledges. "...Glad you write cheerfully...I enclose your copy of agreement. I hope to do better than that; anyway, you will get a fair deal. I'm clear about the book if we can get enough to fill it. Will want time and pains on both sides. If you send your rough notes of verse, I will return with suggestions: sometimes two heads are better than one. A.G.S."

Note: In copies "a", "b" and "e" the title upon cover is in Old English face. The other copies carry type similar to "Cheltenham". In all. these copies, also the Limited issues, the page 39 is mounted on a stub.

Ballad and lyrical poems. The ordinary edition. (Item 23-24)

This edition is bound in striped boards similar to the preceding copy. It has paper label on front cover and paper label upon the spine. It is, however, a smaller format, the size approximately 6 3/4" × 4 1/4". Two copies, as follows.

(a) Signed on end paper "Ethel Curlewis" [Ethel Turner] with her bookplate by Adrian Feint, tipped on inside cover. Tipped in is typescript of poem "Shaw Neilson" by Mary Gilmore, which appears at page 51 of Under the Wilgas. She has added an autograph note: "When I first published verse by Shaw Neilson on my page, two other verse writers for the Worker (not Lawson) said how could I publish 'that stuff, it wasn't poetry' and that it's lines were not all the same length. I replied that poetry was not like firewood to be cut at even lengths. Mary Gilmore, 6.6.61."

(b) Tipped in is typescript of the poem "Ride Him Away" which appears at page 108 of the book. Annotation thereon by A.G.S. suggesting an alteration to one line: "This does not run very well". Neilson subsequently altered the line, which originally read: "Yea, I have said but now 'tis Nay", now reads: "When Love has fallen, oh, who would stay?"

Both of these copies are rather soiled but the book is not easily found and must be taken as offered. Note: After this book was published A.G.S. wrote to Neilson: "...Trying to get Kate Baker, Furphy's old backer in Melbourne, to go on with idea of subscription edition; we should be sold out of this one soon. Mrs Dyer guaranteed £100, for which she gets 50 large at 21/- and 50 small at 6/-. Books have been delivered to her in Melbourne and printer's bill will about cut out the cheque. But I have squeezed out 25 more large and 100 more small copies - total 75 large and 250 small. At the cost we can't afford to sell to booksellers at usual discount of one third off price. A.G.S." This letter is not dated.

At the time of her departure for England, Mrs Dyer left all her unsold copies with a Melbourne bookseller, with the strict injunction that no copies were to be sold until her return. This is reported by Kate Baker in a letter, 20 November 1942, to James Devaney. How many there were, and whether or not they were ever sold may not be known. The answer might help to account in some measure for the scarcity of the book.

New poems. The Bookfellow in Sydney., 1927 (Item 25)

Limited edition. Green cloth. Title in gilt on cover. Two lines in the autograph of the poet, from the poem Stony Town, written upon the end paper. Signed "John Shaw Neilson".

Although this copy is numbered by A.G.S. as "No. 9" there is no indication to show the number of copies of which this edition consisted. This is unusual with A.G.S. for although not a collector himself, he knew how to make up "collectors' items" and nobody knew better than he the importance of correctly certifying a limited issue.

Upon pages 10 and 12 are minor corrections to the text, made by A.G.S. in pencil. In this copy the lines of the poem Song Without Wine are printed on the verso of half-title, however, without any title to the poem. The title appears in the list of contents as being at page 2. The list of poems contains twenty-three titles.

Inserted in this copy is typewritten letter from A.G.S. (initialled) to Neilson, dated 11 November 1927. "...Sorry I cannot manage three more cloth books; as explained the edition must be strictly limited to give it value; and there is no escape from the free copies. You must not mind me saying that I stretched a point to give you 15 (now 14, with Miss Baker out), because I hoped to sell the lot to profit, and the profit is wanted to make ends meet. This special edition looks now like costing about £5 extra; against which I get (when it is paid) total sales 10 for £5.5.0. Of course I am pleased for you to have the books, and I hope some of the recipients will help you along, but we cannot squeeze out any more from 25. I suggest giving paper copies; they can bind them themselves if they wish. Your kind thought matters most. I am not keen on the gift to Mannix. I think a cloth copy is over the odds, since you are not of his faith; please yourself. I will send 25 extra paper copies for you to sign; you return and they will be bound when they come back to me. If you feel like it you can write one line of poetry out of the book over your signature - a different one in each book; if too much trouble no matter. Your copy will be No. 1 and mine No. 2; then you get the next 13. Or Mrs Dyer No. 1, if you like; yours 2, mine 3. This is in case you think of any difference you wish to make in the writing. The binding may run along to a fortnight; so, if you are going out to the hay fields better fix up while you are in Melbourne. I may be able to post copies at the end of next week, that is, about 18 or 19. You understand that Mrs Dyer, Mrs Fowler, and Miss Baker do NOT come out of your 14; they are debited against the job."

From the foregoing I infer that the Limited Edition was of 25 copies. These did not arrive in the subscriber's hands until March, 1928. This copy, which was R.H. Croll's, is accompanied by the envelope in which it was posted, dated at Miller's Point, 8 March 1928. The name, "R.H. Croll", has been printed by A.G.S. in ink, upon the end paper.

New poems. Ordinary edition. Gray wrappers (Item 26-29)

Four copies, as follows.

(a) Original wrappers. Autographed by the poet upon his frontispiece portrait "John Shaw Neilson". This copy contains poem Song Without Wine. Inserted is long and pleasant typewritten letter (initialled) from A.G. Stephens to Shaw Neilson, dated 28 June 1924. A.G.S. conveys the impression here that "Polly" was the first poem of Neilson's that he handled while he was with the Bulletin, yet Marion's Child had appeared previously and he also included the latter in the Bulletin Reciter issued in 1901. After Polly there was an interval of five years before Neilson again appeared in the Bulletin pages but it is possible that he had in the meantime submitted material and that it was rejected. There is an entry in the Bulletin "Answers" column for 14 July 1900: "Shaw N. The verse goes well, but allegory isn't in demand". Neilson is also mentioned in the Lone Hand "Answers" column for 1 August 1907: "J.S. Neilson: The Lone Hand pays according to merit. You'll find it's minimum rate good enough".

(b) Full morocco over the original wrappers preserved as issued. This copy contains Song Without Wine. Inserted is a letter from Percival Serle 17 October 1925, to A.G. Stephens, rejecting the latter's proposal that he should publish a booklet for Neilson in Melbourne. Explains that he has not made profit from his last two books, and that Neilson's booklet is unlikely to sell. He also suggests that Neilson would do better to collect sufficient material for a book. On the verso of this letter is autograph note from A.G.S. to Neilson, 21 October 1925. "First blood to the other side. I don't agree...except that I think booklet should look well. 'Spinner' style is too small and mean - not worthwhile. And a better style means cost £25 - not £15. The alternative is to cut out four pages - less for money. When MS comes back I have one more to try. If he fails, you can think over Mrs Dyer. Sorry I haven't the cash at present." Inserted also is typescript of the last four stanzas to Neilson's poem He Sold Himself to the Daisies, with annotations by A.G.S. He refers to the line: "Saw that the daisies saw", as "awkward when said aloud". But Neilson did not choose to alter it, and so, the line remained and was printed in this book at page 28.

(c) Full morocco over original wrappers. Contains Song Without Wine, and also has minor pencilled alterations by A.G.S. upon pages 10 and 12. Presentation copy inscribed: "H.E. Boote from A.G.S. 1.12.27". Inserted: Autograph note from A.G.S. to Boote, thanking him "for kind and competent notice...highly appreciated - especially the kindness". Long typewritten letter, 24 April 1927, from A.G.S. to Neilson. Autograph letter from H.E. Boote to A.G.S. (n.d.): "Sorry to return the enclosed MS. but it is too long for Worker's page. Guinea length is management's limit for a piece of verse". On verso of this is long typewritten note which A.G.S. has sent to Neilson. He comments: "This for 'Lolly Tin' - not many papers left now...I think space was Herald's, and 'Home's' objection - queer birds - as interesting as water fowl. Return 'Dream' not force enough. Average person knows nothing of point. Make point clearer - drive home harder. Wrote Serle offering a booklet without fees or royalties. Any profit to him. Said I was sure he'll give you half, if any. He must spend time and trouble - really no risk. Vic. editors will prefer Melb. imprint - hit you where you live....Better see the friendly folk - clobber or not - stop you brooding. The eyes of little Stephens say go in and face the music". This note is dated 30 April 1927.

(d) Full morocco, over original wrappers. Lacks Song Without Wine, which vanishes from the list of contents, reducing this to list of the titles of only twenty-two poems, At end is an advertisement leaf reprinting press notices of Ballad and Lyrical Poems. Inserted: As in this copy the poem is missing from the text, I have inserted the original typescript of the poem. It has an annotation in the autograph of A.G.S. This script has five stanzas, one of which was omitted by A.G.S. when the poem was printed in the book. He also changed the poem into couplets. Original typescript of The Birds Go By, printed at page 9, in this book. This is apparently an early draft, for the published version differs considerably. On this typescript are several annotations by A.G.S. He has also decorated the script with some rather crude sketches in his usual violet ink. He refers also to a poem of Neilson's which has been returned to him by people whom he describes as "several burghers". Subscription form for New Poems signed by Blamire Young, ordering 3 copies, together with this is another form from Bernard O'Dowd ordering the same number.

Collected poems. Lothian Publishing Co. Pty. Ltd. Melbourne, 1934 (Item 30)

Limited edition. No.39 of 55 copies on large paper. Rod buckram. Each copy signed by the poet. This copy contains stanza from Song be Delicate in the poet's autograph, written on page facing his portrait frontispiece.

Inserted: An autograph note (2pp, unsigned) from A.G.S. to Neilson: "Yours with 'The Eleventh Moon'. I send a typed copy for you to look at again. Is there a slang use of 'wool-gathering' - or is it your own? You see what it implies - not that I mind. Don't get too mystical and cloudy - or not all the time: your dream may go so deep that people awake can't follow. Or suppose you try a quick piece like 'Sheedy' for a change now and then. And after that just write as you feel: it may spoil you to take advice". A.G.S. continues with long commentary upon Fitzgerald and Omar. The poem The Eleventh Moon appears at page 3.

Typewritten letter (4pp, n.d.) to Neilson from Mrs Constance Robertson (daughter of A.G.S.) suggesting a list of poems to be printed in the collected edition, and offering to do the selecting and editing for the volume. She mentions her own, and her father's, admiration for Neilson's poetry, and expresses her wish to see the volume worthy of both of them. Neilson had proposed that James Devaney should write the foreword. In her opinion: "He is a good man in his way, but I do not think a preface from him would carry much weight from a selling point of view. Nor do I think A.G.'s professor [who?] would be much better. Think again, and I'll also offer some suggestions". Finally R.H. Croll wrote the foreword, and selected the contents.

Collected poems. Ordinary edition. 8vo. Blue Cloth. (Item 31-32)

Two copies, as follows.

(a) Presentation inscription on end paper signed "John Shaw Neilson". Inserted is autograph letter from Mrs Louise Dyer to Mrs B.M. Fowler. A pleasant letter written from London with mention of Neilson, Hugh McCrae and Jack Lindsay. Collected Poems and New Poems were dedicated to Mrs Dyer. It had been intended that Ballad and Lyrical Poems were to have been dedicated to her, but in the rush to get this book out prior to her departure for England, it was overlooked. So, both A.G.S. and Neilson made amends for their neglect with the two subsequent volumes. Tipped into this copy is a five page typescript by Mrs B.M. Fowler, giving her reminiscences of meetings with Shaw Neilson.

(b) Tipped on to end paper of this copy is typewritten poem by Mary Gilmore, with her autograph annotation. The poem is Shaw Neilson which appears in Under the Wilgas. She writes: "Among my letters in my collection at the Mitchell Library is one, an early one, in which he says that next to A.G.S., I was the one who first (or most) helped him. Mary Gilmore, 12.2.58". Inserted is letter from Neilson to Devaney about this book. The limited issue of 55 copies sold out almost immediately, but the ordinary issue dragged. His letter is dated 21 March 1937. "...I believe that Lothians have about 620 copies left...I know what a drug verse is." The first issue of the ordinary edition was of 1000 copies: it was later reprinted.

Beauty imposes. Angus Robertson Ltd. Sydney, 1938 (Item 33-37)

Five copies, as follows.

(a) Original gray cloth, with dust-jacket. Autographed upon end paper, "Shaw Neilson". Inserted items, as follows. 1. Script of Beauty Imposes, an early draft of two stanzas only. Signed "Shaw Neilson". When the poem appeared in this book a further stanza was added. 2. Letter to Devaney from Neilson, 2pp, 20 January 1936. With this is the script for a further stanza to the poem, also the final draft in typescript, with annotations in Devaney's autograph. 3. Letter, in autograph, from Neilson to Devaney, 5 May 1936. With this is letter, 3pp, 10 May 1936, in which amongst other matters Neilson explains his reason for wishing Devaney's name associated with the book. Devaney had refused to have his name either upon cover or title-page. Neilson says: "...my only reason for my suggestion was that I thought you were being overlooked."

(b) Full morocco, over the original blue wrappers, preserved as issued. Inscribed on end paper by James Devaney. A dedicatory poem to Shaw Neilson: verse of six lines. Inserted, several items as follows. Original letter from Lothian Publishing Co. Pty. Ltd., to Shaw Neilson, 26 June 1936, refusing the manuscript of Beauty Imposes. This letter has been printed, in part, by James Devaney in Shaw Neilson. With this is letter, 4pp, 28 June 1936, from Neilson to Devaney: "...I enclose the Firm's letter which will explain their refusal...I wrote and told them that if they objected to the three light verses I would withdraw them. I thought it possible that the 'Typist' rhyme might horrify people with business instincts...However it seems that my two ardent "admirers thought only three of the pieces were at all possible...You know my verse better than most men, and although you may see some blemishes you would not agree that these 15 rhymes were so far below the level of my Collected Poems that they would be unworthy of publication". He adds a postscript: "As publishers are shy birds I think it as well to drop the 'Typist' piece till, say, next year". Further letter from Neilson to Devaney, 29 September 1936, following a refusal also from Angus & Robertson Ltd. "...I rather like Angus & Robertson's letter. They do not attempt to belittle the verse, and give us the truth in a kindly way. Publishers no doubt can see much better investments in prose ...I would be very pleased to fall in with any arrangements you can make for the publication of the verse...Do as you like. Preface or no preface, it does not matter to me...I would not expect any profit. We would be lucky if the sales would pay the printers and booksellers..."

(c) Full morocco, over original blue wrappers, preserved as issued. Inserted, several items as follows.Letter from Neilson to Devaney, 2pp, 8 November, 1936. "I did not mind Angus & Robertson's refusal, it was quite gentlemanly and reasonable, but I must confess it hurt me slightly when Lothian said the verse was so poor that it was not worth collecting...I note that you ask if I have anything else I could send. My brain is too tired at present to do anything...I know that you are busy and you have gone to a lot of pains with this verse of mine..." Further letter from Neilson to Devaney, 2pp, 1 February 1937. "...My sister is always so busy at the week end, and I am too tired during the week to dictate anything...I am afraid that journalism is a very hard way of making a living...In some ways it is worse than navvying, it uses up a man's brain ...Don't worry at all about the publication of my book. It really doesn't matter very much at all. As for approaching different literary societies for support I think the idea might be good in any of the cities except Melbourne..." Included is script of The Poor Can Feed the Birds. Signed "J.S. Neilson". This version is of 11 stanzas, the poem in the book contains 10, and is substantially different from this script, which is probably an early version. Tipped in is typescript of Sunday Evening, with annotations by Devaney and Neilson, both in autograph.

(d) Bound in rexine, over original blue wrappers, preserved as issued. Inserted are four short letters from Neilson to J.K. Moir, also typewritten letter from "Rest Harrow", 4 August 1941. He writes: "...I must thank you very much. I have got so used to depending on you for many things: I only wish I could reward you in some way. I'm always thinking of writing autograph verse for you, or doing an epistle in rhyme..." Tipped in are photographs of Shaw Neilson, and the poet's grave in Footscray Cemetery. One shows J.K. Moir standing by the headstone. As many people in Melbourne know, he was responsible for many kindnesses to the old poet.

(e) Quarter-morocco over the original wrappers preserved as issued. Inserted is portion of a calendar upon which Neilson has written a stanza from The Sundowner and also added the inscription: "For J.K. Moir. The Sundowner, Shaw Neilson, Footscray, 8.1.39". Accompanying this is letter from Neilson to Moir: "I am glad to get your letter. On the back of the calendar I have scratched a stanza from 'The Sundowner'. It deals with an old tradition of the mixing of the Johnny Cake. I only saw it done once..." Neilson thought highly of this poem and pressed for its inclusion in Beauty Imposes. Judith Wright has also included the poem in her selection of verses for the little booklet published in 1963, mentioned hereafter. In this collection is a royalty statement sent by the publishers to Neilson, 31 December 1938, together with their cheque for £12. 8. 6, being amount due to him upon 142 copies sold. The royalty was at the rate of two-fifths of the selling price, which was 4/6. The edition consisted of 512 copies.

Note: Most of the letters inserted in the above-mentioned copies have been hand-written by the poet's sister Annie McKimm (to whom the book is dedicated), his step-sister Lisette, and his brother Frank. They are all signed by the poet.

Australian poets: Shaw Neilson. Angus Robertson Ltd. Sydney., 1963 (Item 38)

Quarter-morocco over the original wrappers as issued. This little volume contains 61 poems, selected by Judith Wright, who has also supplied an introduction, and notes on the poems, taken from James Devaney's biography of Shaw Neilson.

Inserted: Shaw Neilson's original signed manuscript of To the Loved One in her Absence, a poem of three stanzas. A.G. Stephens, writing to Neilson, 17 November 1919, says: "'To the Loved One in her Absence' will have to wait. It needs three or four more stanzas to finish, perhaps the mood will come some day". (This letter is in the H.F. Chaplin collection.) The poem in its final version is printed in this volume at page 45, under the title Love in Absence. Neilson's original version is printed below. His script lacked punctuation and it is as follows.

The tim'rous scent of babyhood

Doth dimly follow thee

And thou art like a new born song

In a sheltering melody

And thou are gone and light is gone

I fiercely wish thee near

The day like a long sickness is

And I count the moon a year

Tho' thou art gone but a little way

I am in deep alarm

I say Oh God her dear body

If it should come to harm

The Bread and Cheese Book. Melbourne, 1939 (Item 39)

A Selection of Verses Edited by P.I. O'Leary. It contains Shaw Neilson's poem The Prince has been into the Lane.

Full morocco over the original wrappers preserved. Inscribed: "To Harry Chaplin from the Knight Grand Cheese, 'J.K.' 8.11.45".

Inserted, several items as follows. Autograph note from Shaw Neilson to J.K. Moir: "To J.K.M. Thanks for Allan's poem. Good wishes from Shaw Neilson, Xmas '38". Letter from Neilson to Devaney, hand written by Frank Neilson and signed "J.S. Neilson". "...I had a bit of verse in the Bread and Cheese Anthology which came out lately. I sent this to them last September. I meant to send it to you for your opinion but they were in a great hurry to get it, as they expected to have their magazine out in November. Allan and Ted Harrington have written some fine verse for it, and I think the foreword by Pat O'Leary is excellent..." He also refers to his book Beauty Imposes. "I think there should be some chance of selling the rest of them about Xmas time, if all the world is not at war before then." An autograph letter from 'Jim Grahame' (signed Jim Gordon) to Rod Quinn; a short friendly letter making references to Bohemia. Both these poets are also represented in this little volume.

The colophon states that only 100 copies of this book were printed.

Greetings to the men of the C.R.B. No imprint. (Item 40)

A Christmas Card, 5 1/2" × 4 1/4", enclosed in light card cover, lettered as above. The greeting itself is a poem of two stanzas, printed in colour, on a two page insert. The poem is addressed: "Xmas Greetings, 1940, To the Men of the Roads, from C.R.B. Staff and Employees." Neilson's name is printed at the foot of the poem. This copy is autographed, "Shaw Neilson, 23.11.41". CRB refers to the Country Roads Board. The card is preserved in folder, together with letters from Neilson to J.K. Moir, and James Devaney.

Lines written in memory of Adam Lindsay Gordon (Item 41)

This poem by Shaw Neilson was published by his brother Frank Neilson as a small folder. It bears no imprint but appeared at Melbourne in 1943. It is in three states.

(a) Heavy cream paper. One sheet folded once to make folder of 4pp. Size 7" × 4". Lettered on cover: "Lines Written in Memory of Adam Lindsay Gordon by Shaw Neilson, 15 June 1938". This is enclosed by thin red line bordering the cover. The poem is printed inside; it is of six stanzas.

(b) Same format as above, with identical text, but lacking the red line bordering the cover.

(c) Later issue. Smaller format. Heavy cream paper as in preceding copies but folded to 7" × 4". Lettered on cover: "In Remembrance 'Having gone, my friends, where we all must go' Adam Lindsay Gordon". Printed on lower right hand corner of cover is: "Card designed by Frank Neilson". The lines printed on the covers of the preceding copies are repeated on the verso of this cover, together with "Inscribed with kind regards to J.K. Moir" printed below. The whole of the inside contents are surrounded by a triple line border in red.

The quotation is taken from Gordon's poem, 'Gone'. These three copies are preserved in quarter leather folder, together with three autograph letters from. Frank Neilson to J.K. Moir. Written during March 1943, they relate to the printing of these folders. In one he writes: "...Yes, I am getting 50 more copies". These would be issue "c". He also mentions in one letter that some copies had been printed without Shaw Neilson's name, and that he had to return them to the printer for correction. Any collector possessing one of these copies might describe it as a "uniquity".

Lines written in memory of Adam Lindsay Gordon. Additional copies. (Item 42)

(a) Copy conforming to "b". Presentation copy inscribed: "To James Devaney with good wishes from F. Neilson, 28.2.43".

(b) Copy conforming to "c".

With these copies: Letter from Shaw Neilson, 2pp, 26 August 1934, to James Devaney. In reference to Gordon he writes: "He certainly did imitate Englishmen of his time, but when one considers the country he lived in, the life he led, there should be some generosity. He had a good ear for music. He left us much we should praise".

There is also a letter from Neilson to J.K. Moir, 12 January 1936: "...I was never at Dingley Dell. I don't know exactly where it is. I have always been a great admirer of Gordon, although many of my best friends are inclined to rate him rather low. I think Gordon will be remembered when many others of our writers are forgotten". Both of these letters written at dictation but signed "J.S. Neilson".

Preserved in quarter leather folder, together with original pen drawing by Hugh McCrae of Gordon's home, "Dingley Dell". With this is a printed note by J.K. Moir with comment upon Gordon, upon whom he was an authority. Included also is a photograph of Frank Neilson inscribed "Myself when young".

Unpublished poems of Shaw Neilson. Edited by James Devaney (Item 43)

Red boards. Imitation leather spine. Angus & Robertson Ltd. Sydney. 1947

Five copies. Inscribed on end paper: "Dear Harry Chaplin, This little book was done because I thought there was a strong chance that the notebooks would continue to be mutilated, and perhaps scattered and lost. They are already in a terrible state... I finally got Frank to sell them to the Mitchell Library where they now are. I have corrected a punctuation error on page 9. The book fell flat. This is not Neilson's day. James Devaney."

Inserted are the following letters. Autograph letter from James Devaney to Frank Neilson, 18 August 1948: "...I'm interested to hear if the Mitchell will take the notebooks. You are right to leave them absolutely intact. There's nothing private in them to the extent of warranting any destruction. Only, the Mitchell will have to offer a reasonable price. The notebooks are more valuable than they look. I'd buy them myself like a shot if I had the money and present them to the Mitchell or the Oxley. Above all, don't separate them, or dispose of them in lots. Their value is to have the whole of them together. Remember, the present flair for Modernist poetry is a vogue that will pass, and there will be a return to real poetry and J.S.N. He was a genius in his way, and talent, cleverness, smartness (of the modernists) is something far less...If nothing happens let me know, and I'll try and get the Literary Societies to get together and acquire the notebooks. Always sincerely yours, Jim Devaney." Letter from Angus & Robertson Ltd., 22 June 1946 to James Devaney: "We have accepted for publication the MS of Mr Shaw Neilson's Unpublished Verses which you submitted to us, and will pay royalty to Mr Frank Neilson as requested. This is a very nice gesture on your part..." Signed by W.G. Cousins for the company. Autograph letter from Frank Neilson to Devaney, 13 July 1946: "...I am grateful to know of your generous provision re the royalties from Jock's new book of poems...I had a note from Mr Cousins of A & R advising me of your kind stipulation...it is really very satisfactory to think that the book will not be on such a slight profit as Collected Poems." This letter is of 3 pp with much of Neilson interest.

Unpublished poems of Shaw Neilson. Another copy. Autographed by James Devaney upon title page. (Item 44)

Inserted are the following items. Autograph letter, 2pp, from Mary Gilmore, 15 November 1924, to J. Le Gay Brereton. "...I went to Melbourne this winter; only saw half the people I wished to see and should have seen. J. Shaw Neilson came specially from his brother's place near Mildura to see me. Such a simple, unaffected, thinking mind! He knew all sorts of political, historical and national facts that I had forgotten, or did not know at all. It seems so incongruous. Here am I the political body, and there is he, the poet, and the poet not only knows poetry and his poets, but what I ought to know as well." She then goes on to write at length about Paraguay.

Typescript of Mary Gilmore's poem, "The Spade", with annotation in autograph: "This I wrote on Shaw Neilson, but have forgotten in which of my books it is. Mary Gilmore, Kings Cross, 31.8.1962." The poem appears in Under the Wilgas.

Autograph letter from Mary Gilmore to James Devaney, 9 May 1937, with short reference to Shaw Neilson. "...Thank you for your congratulations to me. As there are only 40 Dames (King George V closed the Order at 40) there is some significance in the honour. Also one of the 40 has to die before another can be chosen. I was given the vacancy Clara Butt left. As I had in 1916, refused to allow my name to go in, I never expected to be asked again, that being the rule."

Unpublished poems of Shaw Neilson. Another copy. (Item 45)

Inserted: Autograph letter from Shaw Neilson to his brother Frank, 12 February 1922, from Yallourn. 4pp. "...It would be nice to see you and get away from the constant beer talk...I notice that Hebblethwaite is dead. He was a beautiful character and wrote beautifully in splendid English. His generation was too stupid to appreciate him. I think his best quatrains are almost as good as anything in our language. I would like to see Murdoch's review of Alma Venus. O'Dowd is, I suppose, going back. His work as a draughtsman has been against him as a writer. We should all be proud of O'Dowd. He is so far above the crowd, but so tolerant and kindly all through. His Socialism is merely his fierce hatred of injustice."

Script of poem The Happy Thief printed at page 19 of this book, copied by Lisette Neilson, but signed "Shaw Neilson".

Unpublished poems of Shaw Neilson. Another copy. (Item 46)

Inserted: Letter from Shaw Neilson to James Devaney, hand-written by Lisette Neilson, but signed "J.S. Neilson", 3pp, 31 March 1935. One extract: "I enclose a copy of a bit of light verse about a Mountain Duck. I don't think it was ever offered to A.G., and I am sure that it was never offered to anyone else". The script of the poem, the full title of which is "The Bullfrog to the Mountain Duck", has been copied out by Lisette Neilson and signed "Shaw Neilson". The poem may not have been published.

Unpublished poems of Shaw Neilson. Another copy. (Item 47)

Inserted: Script of Nine Moons in a Song. Written out by Lisette Neilson but signed "J.S. Neilson", with a postscript thereon, "Do you think the title too clumsy? Perhaps 'The Nine Moons' or 'Nine Moons' would be better. J.S.N." This note is to James Devaney who does not mention this poem in his writings.

Accompanying this script is short letter from Neilson to James Devaney sending good wishes, probably for Christmas, as the letter is dated 23 December 1936.

Last poems of Shaw Neilson (Item 48)

Typescripts made by James Devaney. Altogether typescripts of nine poems, some of which are uncompleted. They are accompanied by letters from James Devaney to H.F. Chaplin. One extract: "Here are most of the poems dictated by Shaw Neilson to me, during his visit to us in Queensland, less than a year before he died, and which you have so often asked about. I never intended to publish them because they were done when he was old, and ill, and therefore they do not belong to his real work. But you are right in saying that 'any Neilson stuff is of interest' and so I pass them on to you as promised".

Included with them are typescripts of two poems: The Good Men Made the Wine, and Saint Dorothy, which were begun while Neilson was staying with James Devaney but not completed. Later, when the poet was on a visit to Frank Francis, at Nundah, he took them up again, and carried them to completion in versions completely different from the earlier drafts. Through the kindness of Frank Francis who sent me the scripts, I am able to include them.

John Shaw Neilson: a memorial. Melbourne, 1942 (Item 49-50)

A Bread and Cheese Club publication. Foreword by J.K. Moir. Biographical note by R.H. Croll. This is a collection of tributes to Neilson from his many friends and admirers. Two copies, as follows.

(a) Original wrappers. E.J. Brady's own copy, on the end paper of which he has written a long annotation, relating to his meeting with the poet at the Country Roads Board office. He suggested to the poet that this appointment should not preclude him from writing some more verse, but Neilson replied: "I do not seem to want to. I'm afraid I have exhausted myself - no more inspiration". Of Neilson Brady writes: "His output is relatively small but entirely precious". Inserted in this copy is the script of poem Golden Fugitive: To a Departing Smoker Parrot, printed on page 24 of Beauty Imposes. The script has been written by Lisette Neilson but is signed "Shaw Neilson". This book contains poem The Smoker Parrot, printed on page 18. A third poem to the parrot is also published in Unpublished Verses upon page 32. This bird had much attraction for Neilson.

(b) Full morocco over original wrappers preserved. Inserted are autograph letters from Frank Neilson, R.H. Croll and two dictated letters from the poet to J.K. Moir, signed "J.S. Neilson". In one of the letters to Moir, Neilson writes: "I must take this opportunity of thanking you for your many acts of kindness towards me during the last few years. I understand that I will be alright for my job for another year. All good wishes for Xmas and New Year". This dated 20 December 1939.

Shaw Neilson by James Devaney. Angus Robertson Ltd. Sydney, 1944 (Item 51-53)

Three copies.

(a) Long annotation upon end paper by author to H.F. Chaplin. A long complaint about the production of this book. He mentions the many unauthorised alterations to his script and the errors, so many in fact that he refused to check proofs and wished that the book be not published. The book finally appeared but Devaney writes: "...There are literally dozens of small alterations not one of which I agree with..."

Inserted: Short autograph note from Neilson to Devaney, written from Caloundra in 1941. "Thanks! Am doing well. J.S.N." Letters from Commonwealth Literary Fund to Devaney on subject of Fellowship for the writing of this book, which was granted. There is also an autograph letter from Vance Palmer to Devaney, 3 September 1946, very critical of the conduct of the Political Committee of the C.L.F. He describes the setup as "tragically farcical". This book was dedicated by the author to Mrs Annie McKimm, sister of Shaw Neilson.

(b) Inserted in this copy is autograph letter from Mrs E. Neilson (Neilson's step-mother) 28 December 1942. She writes to Devaney describing Neilson's kindness. "I am sorry I cannot tell you something more, only I would like to tell you he was a wonderful friend to me and my girls after his father died. The girls were very fond of him and miss him greatly. The world is poorer by his passing."

(c) Inserted is autograph letter from the Matron of "Epworth" Hospital to James Devaney, 2 December 1942. She describes Neilson's physical condition during his last illness and speaks of him as "a very nice, quiet, gentle patient".

Inserted also are two autograph letters from Kate Baker to James Devaney, written in January and February of 1948. There are many references to Neilson, one of which says: "...I have been re-reading your Shaw Neilson story. What a hard life he had, and yet it did not embitter him - 'You have no quarrel with life, Mr Neilson?' 'No', he replied, 'Life is, and that is all there is to it'. A good philosophy in a nutshell." She mentions certain Neilson ceremonies and the Wallace Anderson bust, and portrait by Ted Turner.

Southerly: "Shaw Neilson" Number. Edited by R.G. Howarth, 1956 (Item 54)

Inscribed by Frank Neilson to H.F. Chaplin. Tipped onto frontispiece portrait is typed stanza from Love's Coming, autographed "John Shaw Neilson".

This copy has been specially annotated by Frank Neilson for H.F.C. He has added typewritten slips lightly tipped onto relevant passages correcting certain inaccuracies and misconceptions on the part of contributors. His notes include many useful commentaries and there is much new information for students and research workers.

Inserted: Neilson's original manuscript of Mandrels All, printed at page 16. This is accompanied by photograph of drawing made by Frank Neilson to illustrate the poem. Neilson's poor opinion of his fellow workers is similar to that of Henry Lawson, who told his friend J. Le Gay Brereton, "Believe me Jack, the Australian worker is a brute". Script of Summer Girl, one of Neilson's early Bulletin appearances, December 1908, copied out by Lisette Neilson and signed "Shaw Neilson", together with Norman Lindsay's illustration, clipped from the paper. Autograph letters from Frank Neilson to H.F. Chaplin, with references to this magazine, and much of Neilson family interest, together with copies of letters from H.F.C. to Frank Neilson. Photographs and other items of Neilson association are included.

Bound in quarter-morocco.

Southerly: "Shaw Neilson" Number. Another copy. (Item 55)

Inserted is autograph letter 6pp, from Frank Neilson to J.K. Moir. Dated 11 June 1956, shortly after the appearance of the magazine; the writer is highly critical of much of the contents. He dislikes the editing but concedes R.G. Howarth's article "the best copy in the lot" and describes H.J. Oliver's writing as "old womanish". He regrets that more use was not made of material which he supplied: photographs of family interest, specimens of prose writing, unpublished manuscripts, etc. and is disappointed that the poem Florence Case did not appear. This he describes as "a delightful little gem". The "Sadie" extract is referred to; the entry in the old notebooks is "a mare's nest". Writes: "There was no such person known by me or any member of the family. John often tried writing such things as "Sadie", "Marion's Child" and weird things about death and funerals. He admired Poe's horror stories and de Maupassant's terror tales, so he practised some grotesque poems himself. There was no such person as 'Marion's Child' or sister.....it was only John's imagination." He notes that one of his own drawings to illustrate When Are the Angels Nearest was not used, although the drawing had been sent to the block-makers.

Tipped in is original photograph of Frank Neilson, autographed and inscribed to J.K. Moir.

In quarter-morocco, over original wrappers.

Series 4. Settings to music of poems by Shaw Neilson

The green singer (Item 56)

Quietly as rosebuds ("Love's Coming"); The meeting of sighs; Break of day.

Each copy bears the imprint: Editions de L'oiseau Lyre chez Louise B.M. Dyer 112, Rue de Grenelle Paris VII. Annotation printed upon each copy: "Copyright by Louise B.M. Dyer 1934."

Music by Margaret Sutherland, of Melbourne. Bound up in quarter leather over the original wrappers. Each copy is inscribed upon the cover: "To Mr J.K. Moir from Louise B.M. Dyer".

Inserted are three letters from Shaw Neilson to J.K. Moir, written at dictation, signed "J.S. Neilson". These letters make a number of references to the songs. Also included are copies of letters written by Shaw Neilson to the composer. Extracts:- "I am delighted to know that you are having some of my songs done at your recital. I am sorry that I will not be able to attend. I am so old and tired and I have to go to bed early every evening so as to get up on time to go to work next day...I am really conscious that you are doing me an honour. J.S. Neilson." 22.3.38 "I was listening on a very bad wireless set last night but I found much beauty in all the airs. I like 'The Orange Tree' and I think the two next best were 'In the Dim Countries' and 'For a Child'. It is a long time since I wrote some of these rhymes. I have forgotten the lines and the verses seem like foreigners to me. I am afraid there is a good deal of vagueness about some of them. I know that the critics used to complain about it." 30.3.38

Five Songs. Oxford University Press, London., 1948 (Item 57)

Settings by Margaret Sutherland of the following poems: For a child; When kisses are as strawberries; May; Song be delicate; In the dim countries.

Original yellow wrappers. Inscribed upon cover by the composer to H.F. Chaplin. The orange tree Lady Northcote Trust Fund, Melbourne. 1954. Setting for voice, clarinet, and piano, by Margaret Sutherland. Original gray wrappers. Inscribed upon title by the composer to H.F. Chaplin.

Both the above items bound together in quarter leather folder together with autograph letters from the composer to H.F. Chaplin. These refer to the compositions and their publication.

Inserted also are three letters from Shaw Neilson to J.K. Moir in which the poet mentions the setting to music of various poems. The letters contain much of personal interest. One letter: "Most people of course don't know that I get the Literary Pension and I don't broadcast it because some folks might not think I need it. I can assure you that without it I would have been very much up against it during the depression years...I really should have saved money but the calls upon me have been many...I mention these things to you so that you may clearly understand that it is necessary for me to hang on to my job as long as I can..."

Five songs. Settings by Frank C. Francis of the following poems: (Item 58)

The petticoat plays; Green singer; Irish welcome; As far as my heart; Old violin.

The original scores of the above songs in the composer's autograph. Inscribed: "These five songs, composed by me to Shaw Neilson's poems, in the writer's presence in 1941, are presented to Harry F. Chaplin as collector's pieces with my compliments. The second verse of 'Old Violin' was written by me at Neilson's request. His comment: 'Its better than mine!' Frank C. Francis, 27.6.62.

Bound up in folder together with letters from the composer to H.F. Chaplin. In one he writes: "They [the songs] are simply composed, of course, but they seemed to please Neilson and it was fun trying to fit tunes suitable to the spirit of the words. When I told him a second verse for 'Old Violin' would be necessary, he said he had lost the mood, and was quite sure I could write one myself, which I did, with many misgivings. However, he seemed to be satisfied with it, remarking, 'Its better than mine!' so I felt that he had, to some extent, caught the mood."

Included also is interesting letter from James Devaney to H.F. Chaplin. Other items of interest are also included.

Shaw Neilson's Light verse (Item 59)

A small selection of the poet's lighter verses, along with a number of his limericks. These have been copied by James Devaney into a small exercise book.

Among the poems is To Susette, a pleasant little set of verses, believed to have been written by the poet to Florence Case (later Mrs Spencer) at the time she was in the Post Office at Sea Lake. Other versions on the same theme exist: one is sub-titled, To a Letter Carrier, another Saucy Susette.

Tipped in with the above are some typed extracts from letters by Frank Neilson to James Devaney in which the lines are described as "flapper-worship stuff". Neilson writing to James Devaney, 10 August 1935, says that these verses were written in 1911.

The book is bound in quarter-leather, together with other items of interest.

Shaw Neilson's Notebook (Item 60)

One of the poet's many work books. An ordinary exercise book in which the poet has written out many early drafts of his poems: others have been written in for him at his dictation. The poems include, Paint Me a Petticoat Green, All the World's a Lolly Shop, Play Hour, Leaving the Nest, Pretty Gleaner, Maggie Tulliver, together with some humorous verse. There are also prose writings. Some verses are set out in skeleton formation with only the first and last words to each line, and groups of similarly sounding words. Perhaps the poet's method of working out his verses.

The book came to me in dilapidated state, nevertheless I instructed the binders to preserve the broken covers. This they neglected to do and so the book has been robbed of much of the original character, although the contents remain undisturbed. The book as it is, is an interesting and important association item.

Most of Neilson's notebooks are now in the Mitchell Library. The Trustees acquired them from Frank Neilson after they had been rejected by the National Library, Canberra, to which they had been offered in 1946.

The book has been attractively bound in quarter blue leather, with the following insertions.

(a) Letter from Commonwealth Literary Fund to James Devaney, 19 June 1946, commenting upon the rejection of the notebooks by the National Librarian (Mr Kenneth Binns). The books were considered to be of insufficient value to warrant purchase, especially as the price set upon them was believed to be too high. It was at the suggestion of Devaney that the books were offered: he had just concluded a detailed examination of their contents and had extracted therefrom the material for his Unpublished Poems.

(b) Autograph letters (2) from Kate Baker to Devaney. Written November and December 1942 (8pp) they are solely of Neilson interest. K.B. comments upon Devaney's difficulty in getting access to the notebooks and Frank Neilson's reluctance to co-operate. She writes: "One would think that J.S.N.'s brother would be only too glad to give you all the information he could. What a strange attitude!" There are references to A.G.S. and The Bookfellow. One item of interest is a character analysis of Shaw Neilson by some system of numerology. The poet emerges from all this cabalistic mumbo-jumbo with distinction - as it should be.

(c) Other letters, and items of Neilson interest.

Shaw Neilson's autobiography (Item 61)

This is written in the form of a series of letters to James Devaney. The first two letters are missing; they were amongst other letters and papers stolen whilst Devaney was working on his biography of Neilson. Fortunately, the contents had been noted for inclusion, and the only loss suffered was to rob the series of complete continuity. Neilson's story begins with his arrival at Nhill in June 1889 and continues to 1934.

The gist of Neilson's story is contained in Devaney's book. He has included everything of major importance. He could have elaborated upon some of Neilson's experiences but the war-time restrictions imposed upon publishing made some curtailment necessary. A number of unpublished passages have been selected and added as annotations to certain items listed in this catalogue, where they have interest and relevance.

The letters have been hand-written at dictation by Annie McKimm, and Lisette Neilson, but are signed "J.S. Neilson". As written prose the book reads well. Neilson's style is clear and direct. There are in all 287 pages.

The letters have been bound in green quarter-morocco together with letters from James Devaney to H.F. Chaplin. A number of photographs of Neilson and members of his family, have been included.

A Neilson Miscellany (Item 62)

A full morocco folder containing several items, as follows.

(a) Receipt given by Neilson to A.G. Stephens, dated 6 July 1906. This is for 15/- received as payment for the two poems, The Pretty Gleaner and The Hour is Lost. The butt of the receipt gives Neilson's address as 'Tyrrell Downs, Sea Lake, Vic.'

(b) Autograph letter from Henry Boote, editor of The Worker, 15 December 1926, to A.G. Stephens. Boote offers to print a short sketch of Neilson and his work of "not more than 500 words". Also is prepared to print a short piece of verse about once a month.

(c) Autograph letter from Neilson, 23 December 1927, to Henry Boote, thanking the editor for kind words, says also: "...It has been a great help to me to get some verses printed in The Worker. He goes on to speak of his age and the prospects for some further rhyming, if encouraged. Signed "Shaw Neilson". Full autograph letters by Neilson are seldom at large.

(d) Letter written at Neilson's dictation by his sister, Annie, and signed "J.S. Neilson". This is not dated. To Roderic Quinn, with references to many Sydney literary people, also to Mary Gilmore, "a wonderful old lady". Also: "Very, very, often when I look at the sundown I think of your 'Camp Within the West'."

(e) Dictated letter to E.J. Brady, 22 March 1936, written by Lisette Neilson and signed "J.S. Neilson". He sends a short biographical sketch and says: "In the sketch I have left out my education. It is so very slight. I have left out the names of my first two books. They sound pompous in a slight sketch." Neilson refuses to give his opinions in a booklet Brady is preparing: "I have been able to read very little. I have but a poor knowledge of Australian literature and scarcely any knowledge of English literature or the literature of other countries."

(f) Dictated letter to J.K. Moir, signed "J.S. Neilson", n.d. Pleasant references to the poetry in the Bread and Cheese Anthology.

(g) Autograph poem by Hugh McCrae: Upon a Day. "Written to Shaw Neilson soon after his translation."

Inscribed by McCrae to H.F. Chaplin: "For Harry from Hugh, October, 1950".

(h) Dictated letter from Neilson to Editor of Australian Poetry, 1941, declining the honour of being included in the anthology.

(i) Copy of the Broadsheet, "Tales we never hear".

Series 5. Shaw Neilson to James Devaney

Letters chosen because of their relevance to certain of Neilson's poems. They are indicative of the friendly and literary bond which existed between them and they reveal also, the extent to which Neilson was dependent upon Devaney for advice and help in the recasting and perfecting of many of his verses. Although the letters tend to focus interest upon the title poems, the contents of the letters are often much diversified and Neilson brings in many items of personal interest. There is, at times, discussion of the business aspects of some of Neilson's books. They could have been bound up in bulk with other of Neilson's letters but I prefer to include them in this manner as I think it makes relevant material more readily accessible.

Each item is bound up in quarter leather. Included in the folders are other items including typescripts, photographs, news clippings, etc.

Keeping so thin (Item 63)

Nine letters (20pp) written at dictation between October 1938 and January 1939. The poem is introduced: "...I feel ashamed worrying you about these things. I am enclosing Keeping So Thin. I have in mind some of the rather poor country where I was raised". Then after a long description of the background to the poem: "I have not done much rhyming for about two years now, and I don't feel very confident - I would like to have your opinion". Both men worked hard to perfect the poem, Devaney making many suggestions, Neilson wrote: "I think that you are right in the main about the alterations. I sometimes had this experience with A.G.S. He often, very truthfully, pointed out that my alterations were not very happy".

With these is an early version of the poem; this together with some typescripts by Devaney with annotations and emendations, indicate the extent of the revision before the poem appeared in print. It did appear in the Melbourne Herald, where it was described as "a vivid picture of the drought country", which of course it is not. Neilson was most annoyed.

Song for a honeymoon (Item 64)

This poem is mentioned by James Devaney in his book, Shaw Neilson, 1944, on pages 18, 140 and 142. Neilson in his Autobiography wrote: "This piece was finished sometime before Christmas and A.G. got it into Art in Australia [February 1932]. The editors sent me a cheque for two guineas but they wished me to send back the ordinary receipt which gave them the copyright. Previous to this A.G. had asked me not to give the copyright to them. I scarcely knew what to do but sent them back the two guineas cheque and asked them to send me a guinea merely for the right to publish. This they did, accordingly, but A.G. seemed displeased about the whole matter. He admitted after, in a letter, that he was vexed with me for doing this. I think he thought that the right to publish was worth two guineas".

This folder contains a series of photo-copies of Neilson's manuscripts in the Mitchell Library. Also included are copies of A.G.'s typescripts, with his emendations and suggestions clearly shown. Copy of letter from Neilson to A.G.S. is included, also some typewritten notes by the critic upon Neilson as a poet. These copies provide a graphic demonstration of the collaboration between poet and critic upon this particular poem. The progress of the poem can be traced from first draft to the final typescript, which with a few variations was printed in Art in Australia. It is of interest to note that after all the work put in on the poem to bring it to finality, it was the subject of further alteration when it appeared in Collected Poems. One line was completely re-written and the sequence of five of the stanzas was changed.

Inserted is letter from Neilson to Devaney, 27 January 1935, written at dictation by Lisette Neilson. One extract: "We wrote to each other a good deal over Song for a Honeymoon. I owe A.G. a great lot over this piece. At first it was very slow and I had to cut out a good many verses on his advice. I don't suppose there are more than two or three lines of his in it, but the value of his advice made the piece. At times when he was in New Zealand and when I was kicking about after the War, we did not correspond regularly and he might take the liberty of putting in a word or a phrase but generally speaking he gave me the opportunity to alter everything.

With this is autograph letter from Frank Neilson to H.F. Chaplin with references to this poem, together with copy in full of A.G.'s letter to Neilson, reproduced by James Devaney (in part) in his book. Other items of interest are included.

The sundowner (Item 65)

While Beauty Imposes was in preparation, Shaw Neilson wrote to James Devaney, 12 July 1936: "I daresay that a good many of my friends would object to The Sundowner and The Pirate being in with serious stuff but perhaps people in other States which are not so puritan as Victoria, may pardon these isolated attempts at humour." Devaney endeavoured to dissuade Neilson from including the verses but the poet was insistent, and so they went in.

Of the poem itself, Neilson wrote, 27 January 1936: "...It was the best piece of light verse I had written up to that time...At times I have shown some of my light verse to friends. Some of them seem disinclined to express an opinion. Generally speaking, I think they disapprove of it...I have the reputation of being rather a tearful poet and perhaps it is best to stick to it". In another letter, he writes: "...I was attempting to parody Arthur Adams's London Streets. He used a great many of the out of the way adjectives, which sometimes didn't fit in very well. I was also trying to ridicule the hero worship of swagmen which Lawson was making rather popular".

This folder contains two scripts by Neilson, one inscribed by him, "original version", the other as "revised version", signed "Shaw Neilson". Five letters (18pp) are also included. They are concerned with this poem, also with others. He refers to Beauty Imposes: "You have been at great pains with the manuscript and A.G. himself could not have worked harder to get things ship-shape. To me the arrangement of the verses seems excellent...It was really a big task for you to undertake when you were so busy with other work".

Included in this folder is original pencil drawing by Fred Leist of Henry Lawson, depicted in full walking kit, and with the full complement of pots, pans and blanket, all ready to "swag it" on the "horror stretch". Other items of interest, photographs, news clippings, etc., also included.

The englishman's defence (Item 66)

This folder contains Neilson's first version of the verses later published as The Ballad of Remembrance. They have been written out by Lisette Neilson at his dictation. In his Autobiography Neilson writes: "...Bob [Croll] did not like the title so I changed it". Had Croll seen this version he would have probably liked it still less, for the poem as printed is much milder in tone. It differs considerably; it contains 25 stanzas as against 23 in the original draft.

Neilson wrote to James Devaney, 4 September 1933: "...I am enclosing a piece of manuscript that I spoke of. It opens too suddenly. I could easily write a few other stanzas to slow it off a bit. The idea has been worked on a good deal of course. When I was in N.S.W. I learned that men were actually flogged at Bathurst Gaol, 60 years ago..." This letter is included.

Ted Harrington's version of the origin of the poem does not agree, as he writes:

"Neilson's father was working on a clearing job with a mate, a quiet, sober man. One day the limb of a tree fell on him and gashed his back terribly. Neilson tore off his shirt to bathe and dress the wounds. He saw that the man's back was all scarred by the weals of the cat-o-nine-tails. Afterwards he told Neilson's father the whole story. It seems he was a convict and had been assigned to a squatter in early days. One day his master gave him a letter to take to a magistrate twenty miles away. He walked the twenty miles, delivered the letter, and the magistrate immediately ordered that he should receive fifty lashes. When he had received the lashes he was ordered to return to the squatter, which he did. He had never disobeyed an order. The squatter had never complained of his conduct in any way. Such was the convict "System". That is the origin of The Ballad of Remembrance. No wonder that Neilson had a great hatred of the old convict system which he repeated to me many times." [This letter is in with No. 70.]

Included with this item (No.66) is an 8 page letter from Shaw Neilson to James Devaney, 13 January 1935, written by Lisette Neilson and signed "J.S. Neilson", in which he comments upon this poem, also The Whistling Jack and The Soldier is Home: "Pieces although very mild and harmless, do rub some people the wrong way". The letter also contains references to A.G.S. and their financial arrangements in respect to publication of Neilson's poems.

Work in progress (Item 67)

The contents of this folder are letters mainly concerned with the selection of verses for Beauty Imposes. Although this was a relatively slight volume there was a lengthy correspondence.

These letters by Neilson have been chosen to show Neilson's method of collaboration with his friend, and they do much to dispose of the fiction that the poet's lines came to him easily, or as one critic put it, "out of the sky". As a matter of fact his verse-making was a very laborious process.

Many of the poems contained in this book are under discussion in these letters, which together with notes, total forty pages. The progress was slow. Writing to Devaney, 3 September 1935, Neilson says: "...If I can get a quarter of them finished by next Easter we should have enough to make up a book I think." Because of his inability to see sufficiently clearly to write his own work, he was dependent upon outside assistance and at this time was lucky if he could secure the help of his step-sister Lisette, for an odd half-hour or so on Sundays.

Neilson wished Devaney's name associated with the book. He wanted the words "Edited by James Devaney" upon the title page and the cover. Devaney declined to permit this: whilst promoting Neilson he always effaced himself.

The folder contains a number of Devaney's typescripts of the poems at varying stages of development, with many of his annotations.

Shaw Neilson to James Devaney: A series of letters 1934-1941. 148pp (Item 68)

An intimate correspondence of biographical and literary significance, covering the whole period of their friendship. Emphasis is, of course, upon the poet's own work, but there are many items of personal and family interest, mention of everyday topics, and the work of other writers. The letters reveal Neilson's dependence upon his friend for criticism and counsel. He often expresses his gratitude to Devaney for the furtherance of his interests and on occasion for financial assistance. Although Devaney drew heavily upon these letters for his biography of Neilson, much remains unpublished which will be valuable for the further assessment of Neilson's life and poetry.

All the letters are at Neilson's dictation, signed by him "J.S. Neilson". Although it was customary with Neilson to deplore his lack of education and his inability to write prose, these deficiencies are not apparent. He dictates fluently and gives his facts with clarity. Frank Neilson, Lisette Neilson, and Annie McKimm have all contributed their share of the writing, which although at times is not in conformity with the strictly academic calligraphy, is always perfectly legible. In fact, at times, Lisette writes an excellent script.

The letters are tipped into half-morocco album.

Series 6. Other Correspondence

Shaw Neilson to J.K. Moir (Item 69)

A series of letters, 1935-1941. 35pp. The late J.K. Moir was a sincere friend to Neilson, helping him in many ways. It was Moir who secured the increase in the poet's literary pension, making it up to £2 weekly. He also financed the publication of the Memorial issued in 1942 by the Bread and Cheese Club. It was through Moir's persistence that the Memorial was erected over Neilson's grave at Footscray in 1943.

Some of the letters are merely friendly notes, others are about the books Beauty Imposes and The Men of the Fifties. In one letter Neilson mentions that some letters of his to A.G. Stephens were being offered for sale and says:. "I didn't think any letters of mine would be worth selling". Referring to one of his photographs, reproduced with the caption "Great Australian Poet", he wrote: "My friends mean well but this is rather overdoing it".

All the letters are at dictation, signed "J.S. Neilson". Tipped into quarter leather folder, together with other items of Neilson association.

Note: I purchased these letters, together with other items, in 1957. I doubt whether Moir would have sold them to me other than at that particular time. He was in process of handing over his splendid collection to the Latrobe Library, and the rather matter of fact attitude to his donation had not pleased him. When I suggested to him that his Neilson material would be better appreciated in my own collection, he said: "Perhaps you're right". Because of their sentimental attachment Moir retained a few Neilson items but not many. It was unusual for Moir to sell - he always preferred to give but about this time I think he had some premonitions and he allowed me to purchase some other material, including some Lawsonia. H.F.C.

Shaw Neilson to Edward Harrington (Item 70)

A small collection of association interest.

(a) Six letters from Neilson to Harrington. One thanking his friend for the offer to read aloud to him and arranging the time and place. Other of the letters are concerned with Neilson's desire that Harrington should seek a literary pension.

(b) Two letters from Neilson to J.K. Moir on the subject of Harrington's pension, urging Moir to sponsor the proposal.

(c) Manuscript (13pp) by Harrington, relating to recollections of meetings with Neilson and their conversations. Mentions in brief that Neilson could have been published in England and that Mrs Dyer would have been willing to promote this but there were difficulties about the copyrights. Neilson remarked: "Ted, never sell your copyright!" There are many references to Mrs Dyer and her kindness to Neilson in ways not generally known. There is a long commentary upon Neilson's poem Ballad of Remembrance, or Englishman's Defence.

(d) Manuscript of Harrington's poem "Ballad of Discontent".

(e) Letters from various correspondents to Harrington: Will Lawson, W.E. FitzHenry and Mrs M. O'Flynn: Hours Spent with Shaw Neilson. There are also letters from Harrington to H.F. Chaplin included.

Tipped into quarter-leather album.

The publication of collected poems, 1934 (Item 71)

Correspondence between Shaw Neilson, Mrs Constance Robertson, and The Lothian Publishing Company Pty. Ltd. of Melbourne.

In May 1933 The Lothian Company wrote to Shaw Neilson offering to publish a collected edition of his poems. The poet referred the company to Mrs Constance Robertson. They wrote to Mrs Robertson, stating that they had been informed by Neilson that the copyright "of the whole of his poetical works" was held by the late A.G. Stephens. Negotiations for the publication of the book began upon this basis.

The letters record the discussions in part. All are written to Mrs Robertson. There are 11 letters (46pp) from Neilson, and 13 letters (17pp) from the Company. Some copies of Mrs Robertson's replies are also included.

Neilson's side of the correspondence was mainly about copyrights and the poems to be selected for inclusion in the book. He was most anxious to ensure that only verse approved by himself would appear in the book and that his light verse be excluded. The 10% royalty upon the book was to be divided equally between Mrs Robertson and himself.

Despite the poor sales of Neilson's previous books, he insisted upon, and obtained a clause in the agreement increasing the royalty, after the sale of 5,000 copies, to 15%, and a provision that if sales exceeded 10,000 then two-thirds of this royalty was to be paid to him and one-third to Mrs Robertson. The publishers did not share his optimism, for in agreeing to the clause they wrote to Mrs Robertson that they would be more than pleased if the sales reached even half of the first figure. They were correct, of course. A limited de luxe edition of 55 signed copies (large paper) sold out almost immediately: the ordinary edition of 1,000 copies sold very slowly.

All the letters are tipped into half-leather album, together with other relevant material.

Shaw Neilson: A quarter bound leather folder of association and interest. (Item 72)

(a) Autograph letter from Neilson to Mrs Bernard O'Dowd. In pencil. 5pp, 8vo. Dated 28 May 1914. After acknowledging an invitation to visit, Neilson continues: "Of course I can, like thousands of others, claim to know Mr O'Dowd through his works, but I am pleased to know that he takes an interest in my verses. I am afraid that when he "sees me he will find a remarkably stupid person. I have been all my life in the scrub and have done little reading of any sort...it is a comforting idea when one thinks that all our bush ballads, our imperfect lyrics and rude bush songs, go to make something in the end." His letter ends with eulogy of Mary Gilmore, Neilson describing her prose as "in a class of its own".

(b) Dictated letter, signed "Shaw Neilson", 4pp, 4to., December 1934. To a young woman who had sent the poet a Christmas gift, asking him also to comment upon some verses she had written. Neilson thanks her for the gift and offers friendly criticism and advice. He includes a specimen of a ballad upon which he has stressed the syllables. Concludes: "I will be pleased to read any you may send me; but rhyme is a difficult thing to express your thoughts in. You will probably find it hard to get your meaning expressed clearly in lines of correct length".

(c) Autograph letter from Kate Baker to James Devaney, 6pp, 4to. Dated 20 November 1942. She transcribes copies of letters received by her from A.G. Stephens relating to Neilson's Ballad and Lyrical Poems. She also mentions the misunderstanding between A.G.S. and Mrs Louise B.M. Dyer about Dr W.G. Whittaker, and the sending by Mrs Dyer of her remaining copies to the care of a bookseller in Bourke Street, Melbourne. She records that had these books been available she could have sold many copies. A.G.S. had also written to Mrs Dyer offering to sell on her behalf any copies of the book which she had on hand, crediting the proceeds to her bank account in Melbourne. His letter ended: "The demand for copies here justifies me in saying that the edition will soon be exhausted and that there is no commercial reason why you should suffer one penny of loss in connection with your friendly guarantee".

(d) Correspondence with Maggs Brothers Ltd., London, concerning instructions by H.F.C. respecting certain Neilson papers offered for sale at auction by Sotheby's Ltd., London, March 1953. A list of the items is included: they wore acquired by the National Library, Canberra. They formed portion of a collection of Australiana sold by an Australian art critic living in London. He told me in 1956 that he was much surprised at the high prices realised.

(e) Shaw Neilson Memorial. Record of correspondence relating to a proposal by the Nhill Historical Society in 1961, to establish a Fund for the erection of a Memorial to Shaw Neilson, near Nhill, Victoria. This includes letter from Mr L.J. Blake to H.F.C., 2 August 1961, together with copy of H.F.C.'s reply, 5 August 1961. Also copy of letter from H.F.C. to Mr J. Lynch (Editor of Bohemia, the Journal of the Bread and Cheese Club, Melbourne), 27 June 1963. Accompanying the correspondence is copy of the booklet Shaw Neilson in the Wimmera, prepared by Mr L.J. Blake for sale in aid of the Fund.

(f) Shaw Neilson's Grave Record of correspondence between H.F.C. and Mr J. Lynch, regarding the offer by H.F.C. to pay for the renovation of the grave of Shaw Neilson at Footscray Cemetery. Included also is receipt from stonemason to H.F.C., acknowledging payment, accompanied by copy of Bohemia, December 1963, making comment thereon.

Shaw Neilson: Items of interest (Item 73)

In quarter leather folder. Amongst them, the following items.

(a) Dictated script of poem "The Hour is Lost", signed "Shaw Neilson". The script is dated June 27, 1906. This must be one of the earliest poems sold to A.G.S. for it was purchased by the latter on July 6, 1906, together with "The Pretty Gleaner". As noted elsewhere A.G.S. paid Neilson 15/- for the two poems.

(b) Dictated script of poem "The Lover Sings", signed "Shaw Neilson". Dated November 2, 1906.

(c) Dictated script of poem "In the Street", signed "Shaw Neilson". This script is not dated. Upon each of the above scripts Neilson has added a note requesting that if they be not used they are to be returned to his address at Tyrrell Downs, via Sea Lake.

(d) Long typewritten letter from A.G.S. to Neilson, 7 July 1926. "...I take back my word to produce, and say instead, rest your body a bit, ease your brain, divert your thoughts, enrich your blood, warm your bones, and wait until the spirit moves you. No use trying to flog an unwilling head...get back to friends for the winter...a small house in a Melbourne suburb...You ought to earn three or four pounds a week at jobbing gardening, with easy days of it. Looks like a quarry is taking too much out of you...You should spend a week in Sydney...Come along, your fame is expanding; a lot of people wish to be friendly...Speech to the little one is confused and incoherent: I see what you are trying to do, but general reader will not...You seem to be bothered with religion - is it necessary? A.G.S." In December 1926 Neilson visited Sydney and he and A.G.S. met for the first and only time.

(e) Typescript by A.G.S. of Neilson's poem "The Good Season" with a number of corrections by A.G.S. thereon.

(f) Short typewritten letter from A.G.S. to Neilson, 11 March 1924, writing that he has received a book from Robert Bridges [Poet Laureate] also a letter intended for Neilson. He intends sending the letter, together with a photograph, to the Australasian hoping that Neilson will get some publicity.

(g) Autograph letter from Mrs Lily McFarlane Miller, 13 February 1943, to James Devaney. She comments upon Shaw Neilson's unfailing courtesy and kindness. Also writes of her father, David McFarlane, and her sister, Mrs E.J. Neilson, and other members of the Neilson family. She sends transcript of portion of a poem by Shaw Neilson's sister, Margaret Stuart Neilson, who died in 1903. The poem is about the death of Queen Victoria.

A.G. Stephens and Shaw Neilson: A miscellany (Item 74)

A varied collection. In two large albums. Amongst them, the following items.

(a) Series of 40 letters from A.G.S. to Neilson. In autograph and typescript. Many notes and memoranda. The letters record, in part, some aspects of the friendly and business association between the pair.

(b) Typescripts of Neilson's poems, prepared by A.G.S., together with many of his corrections and annotations thereon. One, "He Sold Himself to the Daisies", a complete script of the poem, shows A.G.S. as his best as editor, and is indicative of the thorough way he worked, at times, upon Neilson's verses.

(c) The Whittaker correspondence, noted earlier, together with copy of the agreement finally signed between the parties. Accompanying this is the original Codicil to the agreement, signed by both Whittaker, and Neilson, duly witnessed and stamped.

(d) Typescript of long article by A.G.S. "Poetry and Shaw Neilson." Autograph note at end: "Dear Neilson, I am offering this for publication in The Age. I know you will shrink and curl up but it is a choice between publicity and privation. Don't think it is an appeal to charity: the community owes you a living upon your practical merits. Let me start a movement to get it. May fizzle out - but everything helps to make you more secure and those depending on you. A.G.S. 30.11.23."

(e) The original draft agreement prepared by A.G.S. for Green Days and Cherries (published later as Heart of Spring) with his corrections and annotations in autograph thereon. With this are typewritten copies of the final agreements (as executed, signed, witnessed, and dated) for Ballad and Lyrical Poems, and New Poems.

(f) Autograph letter from Percival Serle to James Devaney, 3pp, fcp., 15 January 1945. Serle relates his unsuccessful attempt to publish an edition of Neilson's poems in Melbourne in 1927. The printer was engaged on setting the type when A.G.S. cancelled the agreement and requested return of the script. "...I protested without avail...I think that Neilson would have done better with me...I feel that I should have it on record somewhere..." Original correspondence between A.G.S. and Serle is also included. The poems referred to by Serle were later published in the book New Poems.

(g) Dictated letter from Neilson to A.G.S., 5pp, 4to., 16 June 1931. Neilson mentions his poem "Scorpion" which he hopes to improve, but which he also believes to be unsaleable. He writes: "...Gilbert Wallace is a man with a fair sense of humour but I think one may safely say that the parsons run Melbourne and the Education Department." Neilson continues at great length about his copyrights and the proposal for a collected edition of his poems.

(h) Correspondence between A.G.S. and M.P. Hansen, Director of Education, Melbourne, October 1929. The latter requests permission to include certain of Shaw Neilson's poems in a series of Reading Books for use in the schools. His letter concludes: "Inasmuch as the books are designed to satisfy a national need and the Government proposes to issue them at cost price to the pupils, it is hoped that we can rely on your generosity to forego any financial claims for copyright." This suggestion from a Victorian Government Department! Copy of A.G.'s letter acceding to the request is included. Where does poor Neilson come in?

(i) Letters from various correspondents to A.G.S., all relevant to Shaw Neilson. Press clippings, circulars, photographs, etc.

Note: After the death of A.G. Stephens in 1933, a Committee was formed to produce a Memorial Volume: it was to be a tribute to the critic by Australian writers and literary societies. Subscriptions were invited. Included in this Miscellany is letter from the Treasurer of the Fund, dated 27 October 1937, announcing that the response was disappointing and that the project is to be abandoned and all subscriptions returned to the donors. This letter is to Henry Boote, enclosing a cheque for the amount of his donation.

Frank Neilson to James Devaney. Autograph Letters. 62pp. (Item 75)

These letters, written between 1935-1948, complement James Devaney's biography of Shaw Neilson, for although portion of their contents was included in the book, much which has biographical value, remains unpublished.

Frank Neilson was an aspirant for literary recognition. Some of his poetry was published. He was not successful with his essays and short stories. A novel he wrote was rejected by a Sydney publisher, after which he wrote to Devaney: "They returned it with one or two belittling remarks. I think the style of it (which ridicules editors and critics) offended their reader...No fault was found with the technique I rejoice to say. It is all ready...for a printer, if such can be found." On a further effort: "...I am trying to write a play to fill in my spare time. I find the time drag, being idle, and I have always been used to a hard working life."

James Devaney allocated the royalties from his Neilson bigraphy to Frank Neilson, who wrote to him: "I hardly know how to comment upon your generous stipulation that all the royalties from the book go to me...You have had quite an enormous job in gathering, composing, and typing all this work. I never expected any money for the information I supplied to you."

Of the late J.K. Moir, O.B.E. he wrote: "If ever I am grateful to anyone it is to J.K. Moir, our very valued friend, who secured the extra pension for John."

These letters are tipped into album, together with: Frank Neilson to J.K. Moir. Autograph letters, 1938-1952. 18pp. In one letter Frank Neilson explains his reluctance to allow James Devaney full access to his brother's Notebooks, for which purpose Devaney had made a special trip from Brisbane to Melbourne. Later, however, difficulties were resolved and Devaney was able to complete his task. There are references to Shaw Neilson's pension. In a letter to J.K. Moir, 14 May 1939, Shaw Neilson had written: "I hear that Jimmy Scullin [The Hon. J.T. Scullin, Prime Minister of the Commonwealth] and some others are making a move to improve literary pensions. Since the debate on the allowance to Mrs Lyons [widow of the former Prime Minister] pensioners are becoming rather dissatisfied with their doles." When Neilson's case was introduced to Scullin, he replied that he had not read any of Neilson's poetry but would like to do so. Mrs B.M. Fowler has written that a great round-up of the bookshops followed but none of Neilson's books could be found. Eventually Mrs Louise B.M. Dyer loaned one of her own copies. Some letters refer to the Memorial to Shaw Neilson and the ceremonies attendant upon its unveiling at the Footscray Cemetery. Frank Neilson wished J.K. Moir to perform the ceremony, but he declined in favour of Sir John Latham. Bernard O'Dowd delivered an oration. The unveiling took place on 24 October 1943 and for the occasion the Bread and Cheese Club issued a special printed invitation featuring a portrait of the poet.

Frank Neilson to H.F. Chaplin. Correspondence, etc. Tipped into album. (Item 76)

Collection of letters in autograph and typescript, accompanied by copies of H.F.C.'s replies. Included are some typescripts of unpublished work by Shaw Neilson. References by Frank Neilson to his own literary efforts, together with typescripts of his essays and reproductions of his illustrations. Some items listed as follows.

Typescripts - Shaw Neilson - Poems: "The Window to the Heavens"; "Tom McCann"; "The Cat and the Fiddle"; "The Funeral"; "Bush Ballad" (A poem of 11 stanzas, the first six of which are by Shaw Neilson, the remainder by John Neilson, his father.)

Typescripts - Shaw Neilson - Story: "Sally's Selection" (A variant version from that printed in Southerly, 1956.) Perhaps revised by Frank Neilson.

Typescripts - John Neilson - Poems: "Stuart's Dream"; "The Lady with the Lamp"

Typescripts - John Neilson - Story: "The Bank of New Holland". A bushranging tale.

The letters contain much by Frank Neilson on personal and family matters, and are of general Neilsonian interest.

Francis McFarlane Neilson [he was always known as "Frank" and so signed his letters] was killed in an accident at Merbein, Victoria, 15 July 1961. At the time of his death he was in possession of certain of Shaw Neilson's papers. The custodian of the papers, Mr John McKimm, has not yet made any decision as to their disposition.

In the same album as the above is: James Devaney to H.F. Chaplin. Correspondence, etc. Letters written between 1953-1963, together with copies of H.F.C.'s replies. Although the contents are principally about matters related to Shaw Neilson, the letters have general and literary interest also. Devaney's personal notes upon his friendship with Shaw Neilson are authoritative and valuable.


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