Edward Tennyson Reed (1860–1933) – autograph note with original caricature, dated 1 April 1923. A humorous “April Fool” piece in Reed’s characteristic dry style, promising to send his autograph only “on receipt of a cheque for one thousand guineas”. Signed “E. T. Reed” and accompanied by a quick profile caricature in his familiar single‑line manner.

Black ink on cream paper; later pencil annotation at left margin identifying Reed. The hand, signature form, and caricature style are consistent with authenticated examples from his Punch period. A neat example of Reed’s wit and his habit of embellishing notes with rapid marginal sketches.

Text: “On receipt of a cheque for one thousand guineas I will send you my autograph. Yours Truly (so to speak) E. T. Reed” Dated: “April 1st 1923”.

A charming, self‑contained Reed autograph item, combining signature, humour, and caricature — ideal for Punch collectors and those interested in early 20th‑century British cartooning.

PROVENANCE:

One of c.2,500+ items once from the collection or dealer stock of Winifred A Myers (Autographs) Ltd, St Martins Lane, London, evidenced by the quantity of Myers pre-printed envelopes and paper folders and the general ‘presentation’ of the items, many having Myers identification notes in pencil. 

Winifred Alice Myers (1909 – 1985) served as ABA (Antiquarian Booksellers Assoc) president, 1950-1952. See the ABA website for an extended article on Myers. Myers left her business, in 1985, to Ruth Shepherd, who traded from home until 2004.  

Edward Tennyson Reed (1860 – 1933) was a British cartoonist best known for his long association with Punch, where his sharply observed parliamentary caricatures and quick, economical profile sketches made him one of the magazine’s defining visual voices. Trained at the Westminster School of Art, he developed a distinctive single‑line style that captured personality with minimal strokes, and his work became a familiar part of late‑Victorian and Edwardian political culture. Reed later contributed travel pieces, illustrated books, and humorous notes and sketches—often laced with dry, self‑mocking wit, as in his April Fool autograph pieces—remaining active until declining eyesight curtailed his output in the 1920s.