Sylvia Plath Manuscripts at Bonhams

Bonhams London on New Bond Street held "The Roy Davids Collection. Part III. Poetry: Poetical Manuscripts and Portraits of Poets. Second Session (L-Y)" today (see video with commentary). In the auction were four lots of Plath material and Plath-related material. I've been tracking the lots since the auction started and the space between updates and hitting refresh felt interminable. Here are the results:

Lot 332: MODERN POETS: ELIOT, AUDEN, HUGHES, SPENDER and MACNEICE: PORTRAITS OF T.S. ELIOT, W.H. AUDEN, TED HUGHES, STEPHEN SPENDER AND LOUIS MCNEICE TOGETHER BY MARK GERSON (b. 1921), vintage photograph, silver print, showing the 'Faber Poets' on the stairs at Faber and Faber, 24 Russell Square, signed in pencil on the mount by Gerson and with his stamp on the verso, framed and glazed, size of image 7 ½ x 9 ½ inches (19 x 24 cm), overall size 16 x 17 inches (41 x 43.5 cm), Faber's, 23 June 1960. Estimate: £3,000 - 3,500; US$ 4,700 - 5,400; €3,600 - 4,100. This lot did not sell.

Lot 372: PLATH, SYLVIA (1932-1963)] and TED HUGHES (1930-1998): THE COMPLETE WORKING PAPERS FOR THE FIRST VERSION OF TED HUGHES'S ESSAY ABOUT SYLVIA PLATH'S POEM, 'THE EVOLUTION OF SHEEP IN FOG,' 1988. Estimate: £4,500 - 5,000; US$ 7,000 - 7,800; €5,300 - 5,900. This lot sold for £9,999; US$ 15,525; €11,845.

Lot 373: THE COMPLETE WORKING PAPERS FOR HER KEY POEM 'SHEEP IN FOG': c. 75 lines in her handwriting, comprising autograph and typescript drafts and a typed completed version (15 lines), all but the first two separately dated and most of the typescripts with her name and address typed by her in the top right-hand corner, with extensive autograph deletions and revisions preserving numerous reconsidered readings; on three of the versos are typescripts, two with autograph revisions [from 'A Poem for Three Voices'], the other from a short story (character: Alison), the drafts for 'Sheep in Fog': 7 pages, large quarto, 23 Fitzroy Road, London NW1, 2 December 1962 and 'Revised 28 January 1963'. Estimate: £30,000 - 35,000; US$ 47,000 - 54,000; €36,000 - 41,000. This lot sold for £37,249; US$ 57,834; €44,124.

Lot 374: PLATH, SYLIVA (1932-1963) and TED HUGHES (1930-1998): AUTOGRAPH REVISED POETICAL DRAFTS BY EACH OF THEM ON THE SAME SHEET OF PAPER, ALSO WITH A TYPED POEM BY SYLVIA PLATH, [1961]. This lot contains a verse from Plath's poem "I am vertical" on the recto; and the verso features lines from a poem in Hughes' hand called "Endless". Estimate: £6,000 - 8,000; US$ 9,300 - 12,000; €7,100 - 9,500. This lot sold for £18,749; US$ 29,111; €22,210.

All links accessed on 8 May 2013.

Famous Quotes of Sylvia Plath

Sylvia Plath inspires us all in various and wonderful ways. She is in many respects a form of comfort to us, which is something that Esther Greenwood expresses in The Bell Jar , about a bath: "There must be quite a few things a hot bath won't cure, but I don't know many of them. Whenever I'm sad I'm going to die, or so nervous I can't sleep, or in love with somebody I won't be seeing for a week, I slump down just so far and then I say: 'I'll go take a hot bath.'" We read and remember Sylvia Plath for many reasons, many of them deeply personal and private. But we commemorate her, too, in very public ways, as Anna of the long-standing Tumblr Loving Sylvia Plath , has been tracking, in the form of tattoos. (Anna's on Instagram with it too, as SylviaPlathInk .) The above bath quote is among Sylvia Plath's most famous. It often appears here and there and it is stripped of its context. But I think most people will know it is from her nove...

Some final photographs of Sylvia Plath

Susan O'Neill-Roe took a series of photographs of Sylvia Plath and her children from October to late November (or maybe early December) 1962 while she was a day nanny/mother's help at Court Green. From nearby Belstone , it was a short drive to North Tawton and the aid she provided enabled Plath to complete the masterful October and November poems and also to make day or overnight trips to London for poetry business and other business. Some of O'Neill-Roe's photographs are well-known. However, a cache of photographs formed a part of the papers of failed biographer Harriet Rosenstein. They were sold separately from the rest of her papers that went to Emory. I was fortunate enough to see low resolution scans of them a while back so please note these are being posted today as mere reference quality images. There are two series here. The first of the children with Plath dressed in red and black. (This should be referred to in the future, please, as Plath's Stendhal-c...

Sylvia Plath and McLean Hospital

In August when I was in the final preparations for the tour of Sylvia Plath The Bell Jar sites, I found that I had long been mistaken about a couple of things. This is my coming clean. It was my intention in this blog post to discuss just McLean, but I found myself deeply immersed in other aspects of Plath's recovery. The other thing I was mistaken about will be discussed in a separate blog post. I suppose I need to state from the outset that I am drawing conclusions from Plath's actual experiences from what she wrote in The Bell Jar and vice versa, taking information from the novel that is presently unconfirmed or murky and applying it to Plath's biography. There is enough in The Bell Jar , I think, based on real life to make these decisions. At the same time, I like to think that I know enough to distinguish where things are authentic and where details were clearly made up, slightly fudged, or out of chronological order. McLean Hospital was Plath's third and last...

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