[EDINBURGH CIRCUS.] A front-page column notice concerning
the sale of horses at the Edinburgh Circus, in a complete issue of the Edinburgh
Evening Courant, 9 April, 1792. Large folio; central horizontal crease;
contemporary holograph notations. $25
The advertisement gives particulars of the sale of circus horses and
contains a notice at the foot concerning riding lessons given at the circus.
[EGERTON, Sarah.] A juvenile drama portrait of Egerton as Helen
MacGregor in Pocock's Rob Roy. [London]: S. Fairburn, 1837. Light
foxing, primarily to margins. $50
The actress stands in stylized Highland costume and breastplate, right
hand resting on a battle-ax and a shield on her upraised left arm.
[EFROS, Avram.] KAMERNY TEATR I EGO CHUDUDOSHNIKI HH. 1914-1934.
[Moscow: All Russian Theatrical Society], 1934. Tall 4to; original dark-red
cloth (with the anniversary device of the theatre stamped on front cover);
decorative color-printed half-title; frontispiece; 195 black-and-white and
color plates (from photographs and works of art); half-page tissue guards
lettered in red; other illustrations to text; very good. $1000
A major survey of the work of Tairov and his Kamerny Theatre (founded
in 1914). A 47-page illustrated essay by Efros is followed by the nearly
200 plates of actors and costume and stage designs. The designs are by Exter,
Vesnin, Kusnetsov, the Shtenberg brothers, Soudekine, Lentulov, Gonchorova,
and others. As such, the designs represent the major trends of contemporary
Russian art: Symbolism, Expressionism, Neo-Primitivism, Cubo-Futurism, and
Constructivism. The plates are divided out by production, each of which
is introduced by a half-page tissue guard giving the title, author, artist,
and date.
[EFROS, Nikolai.] [K.S. STANISLAVSKII.] [Petersburg: Svetozar],
1918. Folio; original pictorial wraps; cover and spine chipped and frayed
at edges; wanting rear cover; upper cover a trifle spotted; plates and decorations;
a profusion of halftone illustrations after photographs, many tipped-on.
$150
The sole edition of Efros' authoritative survey of Stanislavsky, the
man and his art. The text is particularly strong on his early career. Many
of the photographic illustrations (after Sakharov and Orlov) are published
here for the first time. The cover and book decorations are by S. Chekhovin.
[ELÉONORE, (?).] A hand-colored lithograph portrait, "Mlle.
Eléonore, Rôle de Floretta dans le Belveder." Paris: Noel
et Cie, [c. 1825]. 10 1/2" x 15 1/2"; colored by hand; very light
offsetting and spotting; else bright. $40
The Ambigu-Comique actress is shown full length, standing, in Greek costume
and cap; with a mountain range in the background. Pixerecourt's melodrama
was first performed in 1818.
ELLET, [Elizabeth F.] THE CHARACTERS OF SCHILLER. New York: [and] Boston: John Allen [and] Otis Brothers, 1842. Original plain boards, worn and a bit stained; hinges worn; spine ends chipped; paper labels to backstrip; decorative, engraved library bookplate; insignificant library marks to front paste-down and contents leaf; minor foxing to a few leaves. $18
A prefatory essay on the “theory and genius of Schiller” and his early compositions is followed by 23 chapters each of which studies an individual character from the dramas.
[ELLIOT, Charlotte and Harriet.] A broadside playbill for “Three Charades” performed by Lady Charlotte and Lady Harriet Elliot at the Theatre Royal, Admiralty, 14 February, 1840. Three horizontal creases; a hint of dusting; else very good. $45
The pieces were Retribution, William and Susan, and The Wedding Night. The juvenile actresses took the lead roles in each of the plays. A contemporary holograph note to the verso states: “Set up and printed by T. Ashton Croker.”
[ELLISTON, Robert William.] A vignette, stipple-engraved portrait of Elliston. [London: c. 1806.] 3 3/4” x 3 3/4”; very good. $18
A bust portrait, facing and looking to the left.
[ELLISTON, Robert W.] An engraved head-and-shoulders portrait
of Elliston. [London: Cunningham & Mortimer, 1843.] Trimmed to platemark;
mounted to light card. $12
The portrait is from an original drawing by G. H. Harlowe in the possession
of the Garrick Club. Mounted to the reverse is a clipped newspaper notice
of Elliston on a Drury Lane bill, 1805.
[EMERY, John.] An engraved portrait of Emery as Dandie Dinmont
in Terry's Guy Mannering. London: W. McDowall, 1827. 9 1/2"
x 13 1/4", plus margins; light surface soiling. $40
Emery is shown full length in character. He stands, legs apart, a whip
held to his side in his right hand and his left arm before him.
[EQUILIBRISTS.] An engraved plate, "L'incomparable Ravel"
in the "Bon Genre" series. [Paris: c. 1850.] 10" x 8",
plus extensive margins (15 3/4" x 11 3/4" overall); colored by
hand, bright. $175
This hand-colored engraving depicts three equilibrists dancing upon two
parallel ropes. This print was initially issued in 1827 and later reissued.
[ESSLAIR, Ferdinand.] A playbill announcing Esslair as Nathan
in Lessing's Nathan der Weise at Munich's National Theater, 20 March,
1838. Faintest of dusting to foot; decorative border. $45
The widely celebrated Esslair was second in popularity to Ludwig Devrient.
He was a favorite of Tieck's who admired his ability to realize heroic roles
fully and naturally.
ETHEREGE, George. A bound volume containing three comedies by Etherege. London: for Jacob Tonson, 1723. 12mo; contemporary blind-tooled calf; decorative gilt to spine compartments; label eroded; some wear to extremities. $95
The plays are: The Comical Revenge, She Wou’d if She Cou’d, and The Man of Mode. Each is preceded by a frontispiece by DuGurnier.
ÉTIENNE, C. G. and A. MARTAINVILLE. HISTOIRE DU THÉATRE FRANÇAIS, Depuis le commencement de la révolution jusqu'a la réunion generale. Paris: Barba, 1802. First Edition. 4 vols. in 2. Period quarter calf; marbled boards, some wear to upper joints; leather labels; frontisportrait to each volume; eratta leaves; speckled edges. $175
A mine of first-hand material and still an important primary analytical source on both the theatre and drama of the period in France. The authors naturally focus on the theatre's contribution to the Revolution and are critical of any perceived denigration which followed the Terror.
[EVREINOV, Nikolai.] [SAMOE GLAVNOE. Dlya Kogo Komedya
....] [Petersburg: Gosudarstvennoe Izdat], 1921. First Edition. Original
wraps; color-printed decoration to front cover; some wear to edges of covers;
internally very good. $175
The first edition of The Chief Thing, Evreinov's most significant
post-Revolution play. Here he used the device of a company of actors sent
out into "real life" to perform the parts chosen by their director
to expand his pioneering theories of theatricalization. The cover decoration
is by Juri Annenkov.
[EVREINOV, Nikolai.] [TEATRAL NE INVENCHII.] [Moscow: Vremia],
1922. First Edition. Small 8vo; original tan wraps, lightly dusted; woodblock-illustrated
upper cover; upper fore-corner of rear cover excised and repaired; small
name to title-page; a few fore-corners dog eared; some embrowning to text
leaves; tipped-in frontisportrait. $150
Evreinov's Theatrical Invention, a collection of six short diatribes
related to the director's theories of teatralnost (theatricality).
[EXHIBITION.] A playbill for "der Französiche Hercules"
Lebesnier at Stuttgart's Königlicher Redouten-Saal, 4 March, 1826.
Minor creasing and dusting to left corners; a very few light spots; else
very good. $250
This densely worded bill lists numerous feats performed by the French
strongman Lebesnier during the exhibition. Amongst the sundry stunts of
lifting and strength he conveyed heavy weights while walking parallel tightropes;
waltzed while carrying, in his hands and teeth, tables laden with up to
five people; presented himself in poses plastique (representing more
than a dozen statues and tableaux); and, in "Die Standarte des grossens
Friedrichs," holding himself out on the perpendicular from a taunt,
vertical rope.
[EXHIBITION.] A Drury Lane playbill announcing the strongmen Manche and Daras as an interact exhibition, 20 April, 1829. 1” tear at head, affecting one letter of banner; two creases reinforced to verso; first leaf of double bill, with light offsetting. $50
The strongmen are heralded, “for the first time in this country, the extraordinary phenomena of Paris, Le Alcides, M.M. Manche et Daras... displaying their astonishing tours de force as exhibited... before the Court of France.” The bookend performances were Kemble’s Venice Preserved and the premier of Planché’s melodramatic fairy tale Thierna-Na-Oge “(founded on the most popular traditions of the south of Ireland).” The second page of the bill outlined the scenes of the melodrama.
F[AGAN DE LUGNY, Barthelemy] and [Charles-Simon] F[AVART]. LA
SERVANTE JUSTIFIÉE, Opera Comique. Paris: Prault, 1744. Disbound;
very scattered light foxing. $30
A one-act comic opera in prose, vaudevilles, and airs, with music by
de Moulinghem. It was first published in 1743.
FARNIE, H[enry] B. FALKA. (Letterrier and Vanloo). Opera Comique.... Composed by F. Chassaigne. London: Alfred Hays, [c. 1884]. Small 8vo; disbound; marbled edges. $18
The libretto to Farnie’s well-known comic opera, as performed at the Comic Theatre. This early edition contains a short catalogue of musical instruments at the end.
FARQUHAR, George. THE DRAMATICK WORKS. London: B. Lintot [and others], 1736. 2 vols. 12mo; full paneled calf; somewhat worn; decorative gilt to spine compartments; one morocco label, the other lacking; title-pages in red and black; engraved frontispieces; internally very good. $150
Four plays to each volume, each with an engraved frontispiece by VanderGucht after Vanhaecken.
[FAVART, Charles-Simon.] MOULINET PREMIER, Parodie.... Paris:
Prault Fils, 1739. First Edition. Disbound; fore-edge of title-page torn,
affecting a couple letters of imprint; ink stain to two leaves. $30
A parody of Lanoue's Mahomet II (1739).
[FECHTER, Charles.] A photogravure portrait of Fechter as Hamlet. [New York]: Gebbie, 1888. 8 1/2" x 10 1/2", plus wide margins; printed in blue. $12
[FELIX, Rachel.] MARIE STUART. A Tragedy... by M. Pierre Lebrun. The Original French Copy with an English Translation. Prepared Expressly for M. Raphael Felix, Manager of Mlle. Rachel’s French Company in America. New York: Darcie & Corbyn, 1855. Large 8vo; disbound; glue-stain to gutter of title-page; light stain to lower fore-corner of title-page; text in double columns; minor foxing to a few leaves. $16
A souvenir of Rachel’s first American tour.
FIELDING, Henry. THE MISER. A Comedy. London: for the Booksellers, 1740. 12mo; disbound; engraved frontispiece; title in red and black. $25
Apparently extracted from a collection (pagination runs G5-P6) this printing falls between the first and second London editions. The most successful of Fielding’s regular comedies, adapted from Moliere, with an epilogue by Colley Cibber.
FIELDS, [Annie Adams]. ORPHEUS. A Masque. Boston and New York: Houghton Mifflin, 1900. First Edition. Cloth-backed boards; white boards and spine a bit dustsoiled and spotted; lyre motif in gilt to front panel; extremities scuffed; frontispiece in halftone; contents fresh; t.e.g. $50
The second of two plays by the poet, philanthropist, social reformer, and woman of letters.
[FILIPOWICZ, Elisabeth.] A tall broadside bill for Drury Lane featuring the violinist Filipowicz, 17 June, 1834, 7 3/4” x 19”; moderate creasing; 1” torn from upper left corner (just touching one letter of text). $50
“Extraordinary novelty for this night only, for the benefit of Mr. Ransford and Mr. Bedford, on which occasion Madame Filipowicz, the celebrated female violinist, from Poland (pupil of Spohr)... and M. Bogaert from Belgium will appear.” The evening commenced with Speed the Plough (Farren, Dowton, Mathews, and Orger in the cast). Filipowicz played an air with variations by Meyseder and the flautist Bogaert played a fantasia with orchestral accompaniment.
[FISHER, Minnie.] A sepia cabinet photograph of Fisher in Esmeralda.
Gloucester: Wm. Gillard, [1885]. Very good. $16
A full-length portrait of the actress in Gypsy costume, a tambourine
held in her right hand.
FITZGERALD, Percy. HENRY IRVING. A Record of Twenty Years at the
Lyceum. London: Chapman and Hall, 1893. First Edition. Large 8vo; full red
calf, gilt; extremities scuffed; elaborate gilt to compartments; gilt dentelles;
marbled endpapers; frontisportrait; marbled edges; internally fresh. $80
A finely bound example of this sympathetic biography detailing both Irving's
stage career and his private life. §LAR 3087.
[FITZWILLIAM, Edward.] An autograph note, signed, to Drinkwater Meadows, 24 March, [1835 (?)]. 16mo; original horizontal folds. $18
The actor regrets, due to a prior engagement, he must turn down an invitation.
[FLEURY, Abraham Joseph.] An engraving, "Mr. Fleury, rôle
de Frederic dans les 2 Pages," [c. 1789]. 4 1/4" x 3 1/4",
plus substantial margins; margins foxed. $20
A scene in Faur's musical comedy showing Fleury and another actor. Le
Deux Pages premiered at the Theatre Français in March 1789.
[FLORENCE, William.] A sepia cabinet photograph of Irish-American actor Florence. New York: Mora, [c. 1875]. Near fine. $22
A head-and-shoulders portrait. Florence is best known as Bob Brierly in The Ticket-of-Leave Man and George D’Alroy in Caste.
FLORIAN, [Jean-Pierre Claris de]. THÉÂTRE. Quatrieme
Édition. Paris: P. Didot, 1790. Small 12mo; period marbled calf;
gilt to compartments; decorative gilt panels; morocco labels; joints and
ends worn; engraved plates; a hint of foxing; gilt dentelles; a. e. g. $40
A pleasant pocket edition in full marbled calf gilt. In contains five
pieces and is illustrated with four well-executed engraved plates.
[FOOTE, Maria.] A juvenile drama portrait of Foote as Mary Copp in Charles 2nd the Merry Monarch. London: O. Hodgson, 1831. Very minor toning; a very good, dark impression. $45
Foote stands, in a gown with lace apron and headdress, left arm raised and right arm extended.
[FOOTE, Maria.] A Covent Garden playbill for Foote in Centlivre’s The Wonder and Payne’s Ali Pacha, 22 October, 1822. A bit of foxing and creasing; margins trimmed unevenly; mounting traces to verso corners. $30
The company also included Kemble, Cooke, Fawcett, and (Mary) Grimaldi.
FOOTE, Samuel. THE COMMISSARY. A Comedy.... London: for P. Vaillant, 1765. Modern wraps. $40
Based upon Moliere’s Le Bourgeois Gentilhomme and, to a lesser extent, on Dancourt’s La Femme d’Intrique, this comedy took as its primary target the composer-poet, Dr. Arne.
FOOTE, Samuel. THE DRAMATIC WORKS OF SAMUEL FOOTE, ESQ. London: for P. Vaillant [and others], n. d. [c. 1785]. 4 vols. Full period polished calf; spine ends and joints rubbed and nicked; wax drip to one spine; two engraved plates; contents for the most part very good. $200
A general title-page is added to each volume of this collection of 19 comedies, various London publishers and variously dated (1770’s - 80’s).
FOOTE, Samuel. THE DRAMATIC WORKS... To Which is Prefixed A Life of the Author. London: for W. Lowndes and S. Bladon, n. d. [c. 1800]. 2 vols. Demy 8vo; 19th-century blue half morocco, rather rubbed at extremities; marbled boards, scuffed at center; engraved frontispieces; library labels to front pastedowns; small ink stamp to each title-page; engraved figure to one page; brief marginalia to a few leaves. $120
A constructed edition with separate title-pages (individually dated) for each play.
FOOTE, [Samuel]. THE MINOR, A Comedy. London: J. Coote [and others], 1760. Disbound; engraved frontispiece; a hint of offsetting to title-page and frontispiece. $40
One of four editions printed the same year as the first performances of this, Foote’s most famous comedy. With an engraved frontispiece of a scene in the Haymarket production.
[FORBES-ROBERTSON, Johnston.] A sepia photographic portrait of
Forbes-Robertson, mounted to a periodical plate, [c. 1882]. 3 3/4"
x 4 1/2"; mount 5 1/2" x 8 3/4"; a hint of smudging to lower
mount. $15
A bust portrait showing the actor's distinctive profile.
[FORBES-ROBERTSON, Johnston and Gertrude ELLIOT.] An albumen cabinet
photograph of Elliot and Forbes-Robertson in Mice and Men. [London]:
Windsor and Grove, [c. 1902]. Minor rubbing to corners of mount. $20
[FORDE, Catherine Maria.] A juvenile drama portrait, "Miss Ford as Victorine (in My Old Woman)." London: Orlando Hodgson, 1832. Light toning to outer edges; image near fine. $40
[FORREST, Edwin.] A stipple-engraved portrait, "Edwin Forrest,
Tragedian," after J. W. Childe. London: J. Childe, 1836. 10" x
12"; three very short, marginal tears; overall very good. $70
A three-quarters length portrait of the young Forrest, seated, facing
and looking to the front, right arm on the back cushions of a chair and
his left hand in his lap. A well-executed stipple engraving done at the
time of Forrest's first London appearances.
[FORREST, Edwin.] A two-page autograph letter to Prosper Wetmore. Boston: 16 October, 1830. 4to leaf; holograph text to recto and verso; original folds; two small tears to one margin, just touching two letters of text; some embrowning; boldly signed. $300
A very good and lengthy two-page letter from Forrest to his friend Wetmore, the theatre board director and contributing editor to the New York Mirror. In two portions of the letter, Forrest discusses a writer of the New York Evening Post’s utter ignorance of “the present excitement here of Theatre & Church” as well as his performance as Othello the week before. With a fine, bold signature.
[FORREST, Edwin.] A handbill-size playbill announcing Forrest in the title role of Conrad's Jack Cade in Providence, 25 January, 1869. Holograph corrections to date. $25
The cast also featured G. H. Clarke.
[FORREST, Edwin.] A handbill-sized playbill announcing Forrest
in the title role of Conrad's Jack Cade at Robert's Opera House,
Hartford, 2 February, 1869. $25
The company also featured G. H. Clarke.
[FORREST, Edwin.] A handbill-size playbill announcing Forrest
in the title role of Conrad's Jack Cade at the Paterson Opera House,
Providence, 24 February, 1869. A bit of scattered foxing. $25
The cast also featured G. H. Clarke.
[FORREST, Edwin.] A broadside playbill for Forrest in the title role of Bulwer's Richelieu at Mechanic's Hall, Utica, 8 October, [1863 (?)]. Margin trimmed at foot; central horizontal crease. $30
FORSTER, John. THE LIFE AND ADVENTURES OF OLIVER GOLDSMITH. A Biography in Four Books. London: Bradbury & Evans and Chapman & Hall, 1848. Thick 8vo; early half morocco, gilt; trifling shelfwear; engraved illustrations to text; an attractive prize binding; t. e. g. $85
An exhaustive 700 pages, considered a faithful portrayal of Goldsmith’s life and criticism of his work. In an apparently early Australian prize binding, inscribed for presentation at the King’s School, Parramatta, N.S.W., in June 1852.
FOURNEL, V[ictor]. CURIOSITIES THÉATRALES. Anciens et Modernes. Français et Étrangères. Nouvel Edition. Revue, Corrigée et Très-Augmentée. Paris: Garnier, 1878. Original printed wraps; glassine; very good. $60
An assemblage of theatrical fact and lore, containing much on popular antecedents of the circus. The final, 44-page chapter is a good bio-bibliography of acteurs-auters. §Toole-Stott 13257. Ruegg, p. 44 (both 1859 edition).
[THÉÂTRE FRANÇAIS, LONDON.] A prospectus for the Théâtre Français, St. James, 1842. Decorative wraps; loose leaves inserted. $25
The prospectus includes a ground plan of the theatre, a list of the performers engaged for the season of French plays (including Mademoiselles Forgeot and Plessy, and Pauline Déjazet in her first London appearances), the repertoires of the principal performers, and the terms.
[FRANCIS, Philip.] CONSTANTINE: A Tragedy. London: for A. Millar, 1754. Disbound; dampstaining to half-title and preliminary leaves; stab holes to gutters. $45
The Reverend Francis’s tragedy was crushed out because of the craze for pantomimes current in the 1753-4 Covent Garden season — a fact bemoaned by Francis in his dedication to Lord Chesterfield.
[FRANCONI’S CIRCUS.] A steel-engraved plate, “Franconi’s Olympic Circus, Champs Elysées, Paris.” London: [and] Paris: Fisher and H. Mandeville, [c. 1845]. 10 1/2” x 7 1/4”; trimmed to platemark; a few points of foxing, primarily to edge at foot, away from image. $50
An equestrian exhibition in the ring, watched by a crowded house in the rather opulent chandelier-lit Paris circus.
[FREER, John Charles.] A twopence-colored portrait, “Mr. Freer as Buridan [sic] the Captain in the Tower of Nesle.” London: O. Hodgson, 1835. Well colored and bright. $80
Freer, in caped costume and a plumed hat, stands with his arms raised in gesture. Two scenes in Almar’s melodrama serve as a background. Both the figure and scenes are handsomely colored.
[FREER, John Charles.] A halfpenny juvenile drama portrait, "Mr.
Freer as Hassarac." London: M. Skelt, [c. 1860]. Ink stamp to reverse;
very good. $25
A later impression of his equestrian portrait. The actor is depicted
in Eastern costume, on horseback, a scimitar raised in his extended right
hand. His left hand holds the reigns of his mount.
[FREER, John Charles.] A hand-tinted and tinseled juvenile drama
portrait, "Mr. Freer as Prince Rudolph." London: A. Park, [c.
1855]. Right two corners creased. $175
Freer stands, legs apart, holding a lance in his outstretched right hand,
his left arm is held out from his side. A hand-colored portrait, highlighted
with tinseling.
[FRENCH DRAMA.] CHEFS-D'OEUVRE DRAMATIQUES, ou, Recueil
des Meilleures Pieces de Theatre de Corneille, Racine, Crebillon, Voltaire,
Moliere, Regnard, Destouches, Prion, Etc.... Propres a Exercer les Jeunes
Personnes a la Déclamation. Londres: Law and Whittaker, Boosey, and
A. B. Dulau, 1816. 2 vols. Full tree calf, worn; hinges weak; paper labels
to front boards. $45
Fifteen plays altogether are included in this collection.
[FRENCH DRAMA.] RECUEIL DE THEATRE [spine title]. Paris: v. p., 1746-1754. Period full polished mottled calf; rehinged; original gilt-decorated spine retained; soiling to a very few leaves; else very good; marbled endpapers. $250
A bound collection of seven plays or pamphlets related to French drama, plus one poem. These are: Petit’s Le Mirror, Comedie (1747) and Le Bacha de Smirne, Comedie (1748) — with holograph additions to the publisher’s catalogue; Compliment pour l’Ouverture de Theatre Italien au mois d’Avril 1744 (1754); de Merville’s Compliment au Patarterre a la Clôture du Theatre Italien (n. d. ) — with half-title, but no title-page; Poesies d’une Dame de Qualité (1749); Le Temple du Goust (n. d.) — lacking title-page and H4, browned and some leaves stained; Rousseau’s La Rivale Suivante, Comedie (1747); and Voisenon’s La Coquette Fixée, Comedie (1746).