Book and Magazine Collector No. 221 - August 2001
With Fine copies of Elinor M. Brent-Dyer's 'Chalet School' stories (1925-70) now regularly breaking the £100 barrier, and fierce internet bidding for even her 'Chalet School' paperbacks, fans are turning to her articles, short-stories and ephemera to complete their collections. The excitement is catching, since new items - a fascinating article, a long-hidden poem - have appeared in the last couple of years. And even now, more than a century after Brent-Dyer's birth, there's still a good possibility of undiscovered material turning up and shedding new light on the creator of the longest and liveliest girls' school story series of the twentieth century.
As recently as 1998, the children's book specialist Sarah Key turned up an item which changed the way we look at the inception of Brent-Dyer's 'Chalet School' stories. Buried in an old school magazine, The Moretonia, and dated 1924, lay an autobiographical article by Brent-Dyer, then teaching English and history at Moreton House School in Dunstable, called 'An Adventure in the Tyrol'. It was already known that Brent-Dyer had been issued with a passport on 4th July 1922, but, until now, there had been no formal documentation which confirmed 1922 as the date of her visit to the Trol which inspired the creation of the 'Chalet School' series.
Not only did 'An Adventure in the Tyrol' confirm this, it also evoked the experience of "a very adventurous girl" (Brent-Dyer) and her first frightening nights in an inn called the Alte Post, on the Brenner Pass Road above Innsbruck - a dramatic experience she was to transpose and modify into a comic episode in The School at the Chalet (1925), featuring the symbolically-named Frau Berlin ("'I will mit English pig-dogs not eat!" she announced in thunderous tones").
So it was that Brent-Dyer and her friend found themselves in a tragi-comic nightmare, "seated in a droschke, travelling slowly up a wonderfully beautiful road" with their driver "refreshing himself at every Bierhaus we encountered" and demanding, on arrival, almost four times his quoted price. As the girls went to their room, "peasants drinking wine and beer nudged each other and winked". Then, around midnight, someone tried their door.
The second night was worse. Suddenly they heard the coachman's voice downstairs. "Were the English ladies still there?" - "Were they wealthy?" - "Would it be worthwhile robbing them?" Luckily, the daughter-in-law of the house protested: "They have trusted us; we must protect them." Then came the immortal reply: "You need not fear. I would never harm a good Catholic." Years before she converted to Catholicism, Brent-Dyer had been wearing a crucifix!
There is only one known copy of the relevant issue of The Moretonia (No 28, June 1924). Conservatively valued at £150-200, it might achieve as much a £500 at auction because of its biographical interest.
Another one-off is the Southern Cross Annual for Children, Volume Two, discovered in 2001 by the Melbourne collector, Georgie Paulson. Published by Cole and printed in England, it contains "Tables", Brent-Dyer's only known published poem:
- I've read my table through
I wish I could go out to play
- And two times one are two.
The bees are humming just outside
And on the heather moor
The butterflied flit to and fro:
- But two times two are four.
My little bunny waits for me
And all my yellow chicks:
I'm sure they don't like being along
- Well two times three are six.
And oh, it's hard that boys must learn
The tables that they hate.
When everything is gay outside;
- And two times four are eight."
Great poetry? No, but it has a childlike simplicity that cried out for a Mabel Lucie Attwell illustration. Undated, but probably published during the 1920s, the annual might now fetch around £50, and perhaps substantially more.
Brent-Dyer's short story, 'Jack's Revenge', is the earliest example of her work for which we have a published text. In 1906, "at twelve, I sent a short story caled 'Jack's Revenge' to Sunday, a children's magazine which we took in. It was accepted and paid for - ten shillngs" (McClelland: Behind the Chalet School, p27). Whether the story was actually published in the periodical, whose full title was Sunday and Everyday Reading for the Young, remains unclear. But it certainly appeared under the name 'May Dyer' in a volume with the spine title Sunday, issued by Wells, Gardner, Darton & Co in 1914, when Brent-Dyer was twenty.
This book, now fetching around £50 in Very Good condition, seems to be an annual rather than a weekly publication because, although the pages are numbered, they are undated. There are two known variant front covers. One shows a picture of a sailor boy holding a blue and white flag. The other has a green vine design with gilt letters. Eight years may seem a long, although not unknown, time between acceptance and publication, or even between weekly publication and reprint in volume form: but it is not impossible. Certainly, the internal evidence suggests that 'Jack's Revenge', accomplished as it is, was the work of a gifted twelve-year-old.
The Big Book for Girls (1925; left) included Brent-Dyer's
short story, 'The Lady in the Yellow Gown'.
Amid the heavily improving tone of Sunday, with its Bible quizzes, tales of Empire Day and four-colour plates of scenes from the life of St Peter, 'Jack's Revenge' stands out. It takes familiar formulae and makes them fresh. The story itself, which is told in the first person by Rose, is just over a page long and concerns a girl called Rose, her brother Jack and their pets. Jack's fox terrier puppy attacks and kills Rose's rabbit. Rose turns on her brother in blind fury: "You did it on purpose . . . I hate you, and I will never, never, NEVER fogive you."
Rose then collapses in a fever, intensified by the memory of her words to her brother. But he has the moral victory over her by using the money he has saved up for a model yacht to buy Rose two new rabbits. "This, then, was his revenge for the cruel words I had flung at him." Rose recovers and buys Jack his yacht herself, but the moral victory remains his.
'Jack's Revenge', with its dysfunctional family lurking, unmentioned, somewhere in the background, is unmistrakably by the same Brent-Dyer who would later write the 'Chalet School' stories, with their many superb episodes of life-threatening illness and danger. It is clear, direct and, in its simple way, deeply moving. But it is distanced, as is often the case with the work of young writers, by being set in the past ("It all happened years ago when I was a girl").
Again, the story rings sudden, unexpected changes, with almost filmic cutting, as a young child might be expected to do - although the 'Chalet' stories are full of these. Maybe the key to the twelve-year-old Brent-Dyer is the title itself, 'Jack's Revenge': attention grabbing, but largely unrealted to the story's theme. Jack's 'revenge' is neithe physical nor moral. In fact, Jack has more of a more victory. Neither is the 'revenge', such as it is, the climax of the story. And neither, come to that, is the character of Jack at the centre of the tale. It isn't Jack who matters, as we read, it is the writer, Rose, his sister, who is at the centre of our feelings, hopes and fears, as she rebukes herself for being so irresponsible, much as Brent-Dyer's 'Chalet School' heroine, Joey Bettany, would later do with her sister, Madge.
Another thing suggests a young writer. There are far too many confusingly names characters - Rose (called Rosemary by her father), Jack, little brother Theodore, Tiny the rabbit, Tommy the terrier, Mother, Doctor, two more rabbits, and an almost absent father ("The next morning I sent for him before breakfast . . ."). But the narrative skill is extraordinarily accomplished. Brent-Dyer, as ever, sticks to her story: she doesn't mess about with time, events succeed each other like gun-fire, at almost dizzying speed. And she never deserts her main themes: love, responsibility and forgiveness. The underlying moral is indeed Christian, but despire the occassional biblical phrase ("In very truth", "In my heart was a great love"), it is implied rather than stated.
Stories of the Circus, Book 4 (left) included Brent-Dyer's
short story, 'Carlotta to the Rescue' (right).
Breathless is the only word that sums up the story. But the vivid description of the rabbit's death ("His poor little legs were quite stiff"), and Rose's resistance to recognising the fact, demand another word: unsentimental. Excepting the curious case of the Robin, a character in the 'Chalet School' stories who should have died young and unfortunately didn't, nothing Brent-Dyer ever wrote was sentimental. This is what separates her from her great rivals, Angela Brazil and Elsie Oxenham, and from the Victorian writers from whose child-deaths she borrowed so much. Brent-Dyer writes about near-deaths, near-dangers and escapes from death. She writes not about death but about life.
It is hard to believe that Brent-Dyer published no short stories between 'Jack's Revenge' (1914) and 'The Lady in the Yellow Gown' (1925). Still, in the absence of any new discovery, we have to accept that the latter was only her second published story.
'Carlotta to the Rescue' was also published in Come
to the Circus (above) and The Circus Book (right).
These now sell for as much as £35 each.
It appeared first in The Big Book for Girls (1924) under the name Elinor G. Brent-Dyer (which unless she was still dithering between 'Gladys' and 'Mary' for her middle name, is presumably a mistake) and was subsequently reprinted in a slimmed-down version of The Big Book for Girls caled The Golden Story Book for Girls (1931). Most known copies of The Big ook for Girls state 'Reprinted 1925', although one edition, owned by a private collector, is inscribed 'Xmas 1925' and carried at the end of the book, the words 'Printed in 1925 by R. Clay & Suns Ltd, Bungay, Suffolk'.
The stoy itself is an historical schlocker in which a typical Brent-Dyer teenage heroine saves a Van Dyck picture of her ancestory, the Lady in the Yellow Gown, from burglars. Strongly Cavalier and Royalist as ever, Brent-Dyer rejects the Roundheads in the shape of a dismissed servant and his miserable upper-class accomplice. Like Charles II, Brent-Dyer was a Catholic convert. The story has a strong scent of Captain Marryat's The Children of the New Forest (1847), which she must have known, and in which area the historical part of her story takes place. Marryat' longer novel, in which the children help the family against the Roundheads, is, like Brent-Dyer's story, jam-packed with life, humour and stirring narrative.
The Novemeber 1935 issue of The Girl's Own Paper (left) contains the story, 'The Robins Make Good'.
Just to confuse you, 'The Lady in the Yellow Gown' starts like a traditional ghost story but moves swiftly into the defeat of the grown-up baddies by the teenage goodies. On the dramatic statement, "It was not a boy's voice at all! It was a man's" the story hinges. The long preparation to reach this point is almost too much for Brent-Dyer. She has no real taste for ghosts, ghouls and the other side. Sge is basically a practical person and this is a practical story in which she shows her usual preference for right thinking and right behaviour. James the robber is a former servant "turned off for stealing". His accomplice is "wanted by the police".
At first, too, the names are confusing. It takes time to disentangle all the children and their two cousins, Catherine (Kitty) and Hermione (Hermy). There are wonderful touches worthy of Henty: the burglar alarm which can only be activated by moving the poison chalice which the Lady in the Yellow Gown took in case torture made her reveal King Charles' secret hiding place. Not to mentioned the Van Dyck portrait of the Lady: "worth thousands".
The final confrontation where Hermy, hair in "frost powder" like a fairy in a Chalet School panto, overcomes the burglars by simply appearing silently in the moonlight is a corker. "Just one look" at the ghostly figure is enough for them. And Hermy is rewarded by the final accolade: despite the taint of having been "born in Canada", she is truly the scion of an ancient Royalist family. "You are a true Devrelle."
My Favourite Story contains Brent-Dyer's 'Rescue in the Snows', plus stories by Enid Blyton and Angela Brazil.
The whole delightful story is enhanced by Grace Lodge's three illustrations. The first is a remarkably imaginative take on the Lady stepping out from the great frame that confines her. The second shows the teenage Hermy, looking like a Dresden shepherdess. The third and final picture uses cross-hatching to evoke an atmosphere of total gloom illuminate only by the petrified whey-faces of the burglars, with Hermy's ladylike figure: strong, slim, courageous in the moonlight.
Brent-Dyer's circus story, 'Carlotta to the Rescue' - a tale of feminine courage, animal magic and wild political incorrectness - remains her most successful short story. It was first published in the early 1930s in a magazine called Stories of the Circus: Book 4, together with one by Geoffrey Prout called 'The Lure of the Tan'. The paper cover gives top billing to Brent-Dyer's story. The four internal illustrations - stylised woodcuts - are probably not by the magazine's featured artist, Wyndham Payne. The colour cover shows a picture of a clown and circus tent. Expect to pay around £50 for this ephemeral item, which is now extremely scarce.
Both stories also appeared in The Children's Circus Book which exists in two variant editions. One ([c1934]) has a full-colour pictorial front cover, entitled 'The Circus Book' and showing a clown a the entrance to the circus tent. The other ([c1937]) has plain buff decorated boards with the same line-drawing of a clown on the spine. Both books credit Wyndham Payne and Eileen Mayo for the illustrations, so we may assume Mayo illustrated Brent-Dyer's story.
When it was next reprinted, in Come to the Circus ([c1938]), 'Carlotta to the Rescue' had become the lead story and sepia photographs had been added, as well as a colour dustjacked by the artist Haworth. The book retailed at 9s 6d and an additional picture had been added.
The story itself is simple. With characteristic flair and imagination, it tells the story of the teenage Carlotta, Brent-Dyer's favourite kind of heroine. Carlotta's mother was a trick rider; her father, when demobbed after the First World War, finds work as a lion-tamed in Bonsoi's Wonderful Circus. He is the hero: an ex-Army Englishman of the best breed. The relationship is pushed to a climax of self-sacrifice which Carlotta rescues her father from a raging tiger let loose by the evil obin. She is, of course, a natural tiger-tamer.
Oh, the power of heredity! It establishes Carlotta as a heroine and Tobin ("His mother was a Corsican") as a villain who never forgets an injury. Villains are rare in Brent-Dyer and never successful. Here, however, she really succeeds with one. She is careful not to describe him. He is established in simple sparing words: "Suddenly from the back of the tent there arose a peculiar, cackling laugh, high pitched and upleasant. The great cats knew that laugh, they knew what it meant - some torment to come." A simple laugh in the dark creates a whole character. He is eventually dismissed, not for being nasty, but for being drunk.
As ever, Brent-Dyer sublimates the father/daughter relationship in her characteristic vision of the sexes: a world of women who love and work instinctively, the sheer courage of individual women, acting independently. As ever, the heroine is extremely young. As ever, men make the decisions, women are courageous. Nothing in her story is adult, but everything is very human. and there is still the strange feeling - probably true - that she never knew many men. The writing is sometimes so clever it hurts, and she - unlike her artist, Eileen Mayo, who turns a black dog white - can see everything, not only in black-and-white, but also in colour.
Brent-Dyer is at her imaginative best in the stunning description of the act Carlotta choreographs with her dogs, kept chained up, rather incorrecly, in the caravan they somehow share with Carlotta and her father. What a squash! Brent-Dyer, we know, loved dogs, wrote memorably of them in They Both Liked Dogs and Kennlmaid Nan, and reportedly bred Alsatians during her years in South Shields. Here the dogs have the usual exotic Brent-Dyer names, including a brave one called Dietrich, who helps her mistress control the tigers and lives to find a happy retirement in a cottage by the sea with Carlotta and her father. Brent-Dyer loved all things foreign: the names, the places, the wildly Scottish Bonosi, even the Japanese dancers who join the troupe.
The ending is a triumph of understatement - "The police were doomed to disappointment" - and the father and daughter live alone and happy in their cottage by the sea. 'Carlotta to the Rescue' simply leaves you wondering whathappens next.
In an ocean of '30s political incorrectness about captive animals, Brent-Dyer makes one splendid reference to animal protection: "We'd have had the Cruelty to Animals people down on us - and quite right too!" More generally, she adopts the old idea of the country gentry - we known how to treat animals, wicked townees don't - which survives today in the members of the Union of Country Sports who defend fox-hunting.
In 'Carlotta to the Rescue', Brent-Dyer sees the final victory for good over bad, life over death, not in the "heated to red-hot" irons, always ready to subdue a wild animal, but in Carlotta's clear blue eyes. The yellow, coward's eyes of the tiger will always be defeated by the power of the clear blue eyes - the same clear blue eyes with which the Chalet School's headmistress, Miss Annersley, would quell 400 seething schoolgirls.
"Company meeting was over for the week and the Guides had been dismissed". The opening of Brent-Dyer's 1935 short story, 'The Robin's Make Good', which appeared first in The Girls Own Paper for November 1935 and was later collected in the 57th Girl's Own Annual, is magnificently Brent-Dyerish. By this time, Brent-Dyer had perfected her mature style. The breathless, almost lapidary writing, the instinctively brilliant nomenclature, the thrilling sense of right and wrong are as faultless as in the contemporary New House at the Chalet School.
This tale of a Guide patrol who form a human chain to achieve a courageous sea rescue might come from any 'Chalet' story. "Br-r-r! Doesn't it look cruel?" gasps heroine Lois Ainslie as she contemplates the waves that leave little Georgie White clinging to a rock in the sea below.
Carefully controlled, the style is now fully achieved, every word is skilfully crafted and even the characteristic precision food-breaks are there: "'It's half-past twelve and we have dinner at one,' said Janet." Then comes the sudden scream and the little boy - shown Mabel Lucie Attwell style in Lilian Buchannan's evocative illustrations - clinging to the tall pinnacle of rock.
The subject-matter is characteristically dramatic and the style well-suited. On the face of it a story of daring, brave rescue, 'The Robins Make Good' is also about training and courage, instinct and selflessness. If the snappy style is way ahead of its time, the morality is very much of its period. The rescue is the usuaal Brent-Dyer human chain. Luckily, and symbolically, the Guides' scarves "are made of stout material", unlike little Georgie's jumper, which gives way under the strain.
Today, after such a traumatic rescue, led by Lois, everyone - the aprents, Georgie, even the Guides - would be counselled. Here, Lois suffers so much "her legs gave under her". Help is at hand however. Not in the form of the doctors who populate the Chalet School stories, but in the brisk shae of the District Commissioner and her car.
The Guides' reward is a "special parade with the Vicar and the Mayor and other civic dignitaries present". On that great occasion, the individual, not the team triumphs: "Guide Lois Ainslie was awarded the Silver Cross for saving life at great risk to herself."
"You are worthy of our Sisterhood, every one of you!" exclaims the County Commissioner, making the girls sound like a group of nuns, as she pins the "coveted honour" on Lois's jumper, whick, unlike little Georgie's, does not give way. A copy of the November 1935 Girl's Own Paper containing 'The Robin's Make Good' sold recently at a provincial book fair fr £50. The annual fetches a similar sum.
If you discount the abridged versions of Brent-Dyer's Fardingales and Elizabeth the Gallant which appeared in the Sceptre Annual for Girls and The Second Coronet Book for Girls in the mid-50s, 'Rescue in the Snows', a warm take on a Welsh hill-farming community where girls are leaders, was Brent-Dyer's last published short story. Included in Thames' My Favourite Story, Brent-Dyer's story takes third place after tales by Blyton and Brazil. The date is usually given as early 1950s, but my copy, in a dustjacket that repeats the colour cover illustration, is inscribed "Christmas 1949". The annual fetched £15-£20 in Very Good condition with the dustjacket, and £10-£15 without.
Whatever the date of publication, 'Rescue in the Snows' is very much a product of Brent-Dyer's Hereford years. Set in the bleak winter landscape of the border country, it features a hill-farmer and his family holed up in a ten-foot snow drift. "Sheep are only silly beasts": silly enough, in fact, to fall down a cleft where death is only a step away. "If it's like ths here, what will it be like in the gulch?" Seven ewes are found immediately, but "the main flock, over three hundred, must be at the mountain end of the gulch". Chalet-style food includes a "great dish of Welsh cakes". Both heroines, slender Gwen and her bulkier cousin Cerewen, are "strong as mountain ponies".
The story of the girls' rescue of the sheep is the work of an assured and experienced writier. It is both an unusual attempt at direct description of farm life and an attempt to be Welsh. Welshily Welsh dialogue keeps you hooked throughout, and the moral is the characteristic Brent-Dyer one: hard work justifies everything and brings its own reward.
The overriding idea now, post-war, is that women can do "men's work" just as well as men. "You'll never get through," exclaims feisty Gwen to patronising Ivor. ignificantly, it is the wonderfully gnarled helper, Thomas Thomas ("a long, thin individual"), who provides the real assistance, not the moralising Ivor.
The action is speedy as ever ("With an exclamation, he sprang up the stairs to the landing window"). The artist P.B. Hickling provides superb illustrations and interest in and care for the animals is paramount. The running commentary on the sheep is quite brilliant. Brent-Dyer prefers girls who are natural leaders and volunteers, of course, but she also prefers girls who work together. These girls, including Cerenwen, with her unpronounceable name, are cousins, so keep their endeadvours within the family.
There's a warm, fuzzy feeling for this kind, hard-working group of people close to nature that recalls Richard Llewellyn's How Green Was My Valley (1939), which Brent-Dyer must have known. And, as ever, there are some wonderful words and phrases. "Followed by the terrified but faithful mother" the "famished ewes were given a few handfuls of hay to keep them going". There's the wonderfully Welsh "There's a night it is". And where else in children's literature would you find the following line: "Mr and Mrs Evans vanished into the kitchen to discuss the sheep"?
More Brent-Dyer short stories - some Chalet School-based, some not - were collected in the three Chalet Books for Girls (1947-9). These heavily collected must-haves now fetch £70-80 each. Their contents were recycled again in 1970 in two annuals called My Treasure Hour Bumped annual and My Treasure Hour Playtime Annual, both of which are now scarce. Expect to pay around £30 each.
Ephemera addicts are now hunting down the many items connected with Brent-Dyer's original Chalet Club. Enid Blyton's children's clubs were largely fund-raisers for her personal charities (she relied on fan mail for marketing purposes). Brent-Dyer's 'Chalet Club' - launched in May 1959 - was altogether more sophisticated. Masterminded by Chambers, it used competitions, quizzes, prizes and direct questions from Brent-Dyer to discover just what her readers wanted next. Starting with 33 members and ending with 4,000, it remains a unique example of market research in the field of children's fiction.
The twenty Chalet Club Newsletters now fetch around £400 as a complete set and about £20 singly. The initial joining leaflet ("The Chalet Club Invites You..."_ is easier to find at around £10-£15. The 'Certificate of Membership' carried Brent-Dyer's signature which raises the price to £50. The Club badge was a single silver pin surmounted by an edelweiss and the acronym 'CC'. Because of its fragility, this is now the scarcest of all chilren's club badges and sells for up to £100.
Chambers sold the original artwork by Nina K. Brisley for the early 'Chalet School' books some thirty years ago, and only a couple of example have surfaced since. Hwever, the publicity blitz accompanying the publication of The Chalet School Reunion, the fiftieth book in the series, produced some more accessible material. At this occasion, celebrated by an 'At Home' at the National Book League on 8th November 1963, both Brent-Dyer and her long-serving illustrator, Dorothy Brook, were present to sign books. Any surving copy of The Chalet Scool Reunion signed by both, and complete with yellow band and idnetification booklet, would now fetch a premium price. Even the invitation signed and dated by Brent-Dyer raises £50 today.
Dorothy Brook's original cover painting was presented to Brent-Dyer by her publishers. Copies were made available to Chalet Club members, and these are now rare. The 1967 launch of the 'Chalet School' Armada paperbacks also produced flyers and posters. In 1994, two 'Chalet School' audio tapes, voiced and abridged by Morag Hood, were issued to celebrate the centenary of Brent-Dyer's birth.
Completists will also kill for the copy of Chambers's Journal for December 1931. Who featured on the special colour cover? Not the name of any of the contributers, of whom the only one remembered today is Frank Smythe, the mountain writer and photographer, but two girls in Twenties dress, one perched on a fence reading a letter, the other with a jet-black bob. Such was the contemporary selling power of the 'Chalet School' heroines, Madge and Joey Bettany.
The front cover reproduces Nina K. Brisley's colour illustration for the cover of The School at the Chalet, while the inside back cover contains a very early black-and-white portrait of Brent-Dyer, circa 1925, showing her veritable rabbit teeth, disproportionate nose and bushy eyebrows.
There is none of the kind lighting, subtle arrangement and helpful hat of the later portrait by Vivian's Studio (1954). Here, Brent-Dyer's mouth is slightly open, her shining hair is neatly parted on the left, just covering her ears. Her head is not face-on but turned slightly to the left. She wears a low-collared blouse with a knotted tie. An advertisement for all her books, up to and including the new volume for 1931, The Chalet School and Jo, accompanies the portrait, together with the series blurb and an appreciative quote. And it is she, not any of the distinguished contributers to that Christmas number, who has moved into the twenty-first century as a living writer.
THE MORETONIA No 28, June 1924 (magazine; contains EBD's 'An Adventure in the Tyrol')|
THE SOUTHERN CROSS ANNUAL FOR CHILDREN, Volume Two (contains EBD's poem, 'Tables') (Cole, [c1920])
SUNDAY AND EVERDAY READING FOR THE YOUNG (contains EBD's 'Jack's Revenge') (Wells Gardner Darton, 1914)
THE BIG BOOK FOR GIRLS (contains EBD's 'The Lady in the Yellow Gown') (Humphrey Milford/OUP, 1925)
THE GOLDEN STORY BOOK FOR GIRLS (contains EBD's The Lady in the Yellow Gown') (Humphrey Milford/OUP, 1931)
STORIES OF THE CIRCUS, BOOK 4 (magazine; contains EBD's 'Carlotta to the Rescue') (Richard Clay, [c1931])
THE CHILDREN'S CIRCUS BOOK (contains EBD's 'Carlotta to the Rescue') (Associated Newspapers, [c1934])
COME TO THE CIRCUS (contains EBD's 'Carlotta to the Rescue') (P.R. Gawthorn, [c1938])
GIRL'S OWN PAPER November 1935 (magazine; contains EBD's 'The Robins Make Good')
GIRL'S OWN ANNUAL, VOLUME 57 (contains EBD's 'The Robins Make Good') (Girl's Own, no date)
THE SECOND CORONET BOOK FOR GIRLS (contains EBD's 'Cavalier Maid') (Sampson Low, no date)
SCEPTRE GIRLS' STORY ANNUAL (contains EBD's 'House of Secrets') (Purnell, no date)
MY FAVOURITE STORY (contains EBD's 'Rescue in the Snows') (Thames, [c1950])
MY TREASURE HOUR BUMPER ANNUAL (contains EBD's 'The Chalet School Mystery') (Murray's Sales & Service Co, 1970)
MY TREASURE HOUR PLAYTIME ANNUAL (contains EBD's 'Tom Plays the Game') (Murray's Sales & Service Co, 1970)
CHAMBERS'S JOURNAL, December 1931 (contains front cover picture of 'The School at the Chalet' and portrait of EBD)
'THE CHALET CLUB INVITES YOU...' (leaflet) ([c1958])
CHALET CLUB NEWSLETTERS (Chambers 1959-69)
CHALET CLUB CERTIFICATE OF MEMBERSHIP (signed by EBD)
each £15-£20/the set £350-£450