Authors "O" and "P" Selections from Stock

[ODRY, Jacques-Charles.] A wood engraving of the clown/pantomimist Odry by Theodore Maurisset. [Paris: n. p., 1839.] 6" x 9"; title added in pencil at foot. $40
A charming wood engraving done after a terracotta caricature portrait by Jean-Pierre Dantan. Odry stands on a crate inscribed "Eau de Riz." Unusual.  

O’HARA, Kane. TOM THUMB; A Burletta, Altered from Henry Fielding... With Designs by George Cruikshank. London: Joseph Thomas, 1837. 12mo; modern cloth; original printed pink wraps bound in; engraved vignette of Thumb standing on a bull’s head to front cover and repeated on the title-page; frontispiece, four full-page plates, and a tailpiece illustrated the text. $50
O’Hara pruned and altered Fielding’s text of 50 years earlier, maintaining the lampooning spirit and pulling airs for his burlesque primarily from the Italian opera. The eight Cruikshank illustrations first appeared in an 1830 edition.

[OMBRES CHINOISES.] A sheet, "Ombres Chinoises. Le Magicien." Metz: Dembour et Gangel, [c. 1870]. 17" x 12 3/4"; mild toning; else near fine; matted. $200
An exceptionally nice lithographed sheet of shadow-theatre figures, "Le Magicien." It holds 15 figures, six of which are articulated or trick figures, and two set figures. The magician and his trick mirror are the central subjects, surrounded by imps, a devil, and transformation figures.

ONGARO, Antonio. DELL 'ALCEO. Favola Pescatoria...Nuova Edizione Dedicata All'Illustrissima Signora Madama Elisabetta Griffith Lady Rich. [London]: Tommaso Edlin, 1737. 12mo; period calf, rubbed; elaborate gilt to compartments; morocco label; engraved frontispiece; engraved head pieces; contents very good. $60
Ongaro's best-known work. This five-act verse drama, first published in 1582, was one of the earliest and most successful imitations of Tasso's Aminta.

[ONOE KIKUGORO IV.] A shinie woodblock print of the onnagata Onoe Kikugoro IV, by Utagawa Toyokuni III, [1860]. 9 1/2" x 14"; color woodblock; decorative pink background at head; not backed; eight minute pinholes to left edge; one neat repair to verso along a portion of right margin, probably to fix some thinning paper; excellent colors and bleedthrough. $200
A shinie (memorial print) displaying the recently deceased onnagata actor Onoe Kikugoro IV (1808-1860). He is depicted in a circular cartouche in the upper right, wearing the purple cap of an onnagata actor and a striped robe. Below is an image of a woman, perhaps his wife, who wears a plain blue robe and kneels before him. The background is a soft pink, with white clouds left in reverse. Over these is the actor's year of death, his death name, his place of burial, and a death poem (probably imagined by the maker of the print). Onoe Kikugoro IV was a pupil of Nakamura Karuku. His features and physique made him an extremely popular player of female roles, particularly the classic middle-age women of the history plays. The shinie (literally "Death Pictures") were a unique genre within Japanese prints, portraying a recently deceased person as a living spirit. They served as both an announcement of the death and a means of eulogizing the subject.

[OPERA COSTUME.] An original ink-and-watercolor design of a singer in costume, titled "Costume de Léocadié dans la piéce de ca nom" and dated 1823 in pencil. 4 1/2" x 7"; very good; in modern mat. $150
An unsigned design which depicts the singer full length in a blue-and-white gown, bows in her hair from which a long veil hangs down her back. In hands clasped down before her, she holds a sprig of flowers. Auber's opera Léocadié was first performed in 1824.

[OSBALDISTON, David.] A juvenile drama portrait of Osbaldiston as Hoffer in Fitzball's Hofer, The Tell of the Tyrol. London: W. G. Webb, [c. 1830]. Lower corners creased; small ink stamp to verso. $35
Osbaldiston stands, legs apart, looking upward, a dagger in his upraised right hand, a drum on the ground behind him.

[OSBALDISTON, David.] A tinseled juvenile drama portrait of "Mr. Osbaldiston as Grindoff." [London: Hodgson, c. 1830.] 7" x 8 3/4"; original trimming down to image; colored by hand; cloth-backed cut aways; cloth hand tinted; tinsel applied; mounted to contemporary light card; backed with same; overall very good. $400
Osbaldiston is shown in the role of Grindoff, the miller turned robber chief, in Pocock's The Miller and His Men. He stands, legs apart, in breastplated costume, a large plumed hat on his head. His arms are thrust out, a dagger in his right hand and a pistol in his left. A hand-colored portrait, including backdrop, with cloth-backed cut aways, elaborate small tinseling, as well as fully tinseled breastplate, dagger, and pistol.

[OSBALDISTON, David.]  A tinseled juvenile drama portrait of Osbaldiston as William Tell. [London]: W. G. Webb, [c. 1840]. Trimmed to image and laid down; hand colored; cloth and tinsel applied; mounted to contemporary card, with additional watercolors to background; in recent beveled wood frame. $400
Osbaldiston stands, legs apart, a crossbow gripped in his right hand and his left arm raised in gesture. His costume is decorated with cloth-backed cut aways, with additional hand tinting and tinsel highlights. Many portions of the portrait are well tinseled.

[OTWAY, Thomas.] A line-engraved portrait of Otway, "in the possession of Gilbert West, Esq." London: n. p., 1785. 7 3/4" x 11 1/4"; gentle creases to corners. $40
This portrait, "engraved for Harrison's Edition of Rapin," depicts the playwright half length. His right elbow sits on a table, the hand supporting his head. An oval image within a decorative rectangular frame.

OTWAY, Thomas. THE ORPHAN; or, The Unhappy Marriage. A Tragedy. London: J. Wenman, 1777. Later brown wraps; text in double columns; engraved frontisportrait, closed tear to top margin. $15
The fine engraved frontisportrait depicts Mr. Lewis in the character of Castalio.

OTWAY, Thomas. PLAYS WRITTEN BY MR. THOMAS OTWAY.... London: for J. and R. Tonson [and others], 1736 [and 1744]. First Edition Thus. 2 vols. Modern half calf, gilt; general title-pages; engraved frontispieces; an excellent set. $150
A collection rather than a collected edition, made up of general title-pages with contents leaves, all but one of the individual plays printed in 1735-36. Venice Preserved is a Strahan edition of 1744.

[PAINE, Ira.] A holograph letter from the agent R. B. Caverley soliciting bookings for the sharpshooter Paine. London: 6 July, 1881. Oblong 8vo letterhead leaf; holograph text both sides; original folds for posting. $100
The “amusement broker” Caverley writes the manager of the Brighton Aquarium to arrange terms of engagement for the “great American shooter... Champion of the World... no better card in England....” Paine went abroad in 1881 and toured Europe for a number of years giving public exhibitions of his skill with the pistol and revolver (and was knighted by the King of Portugal). The Smith and Wesson .38-44 Caliber was designed and largely used by him and Chevalier Paine’s marksmanship was so far in advance of his contemporaries he was popularly supposed to accomplish many of his feats by trickery.

[PALMER, ?.] A tinseled, juvenile drama portrait of "Mr. Palmer as Richard Coeur de Lion". [London]: A. Park, [c. 1860]. 8" x 9"; decorative tinsel and cloth; embrowned; darkened at foot; 1" tear to blank upper margin; background completed in watercolors; under glass in early beveled, dark wood frame, a bit worn; print enclosed in acid-free, clear envelope under glass. $275
Palmer is shown full length, to the left, seated on a horse, in Crusader costume and armor. He holds a battle-ax up in his right hand and a shield in his left hand.

[PALMYRE, (?).] A hand-colored lithograph portrait, "Mme. Levesque... in Rôle de Milady Adermale dans la Remords." Paris: Noel, [c. 1825]. 10 1/2" x 15 1/2"; colored by hand; very light foxing and offsetting. $40
The Ambigu-Comique actress is depicted full length, standing, in a feathered headdress and a gown with a train.

[PANDOLFINI, Francesco.] PARIS-THEATRE. NUMÉRO 200. [Paris]: 1877. Folio; portrait photograph to decorative front cover; text in three columns; two gentle horizontal folds; very minor dusting and wear to edges. $35
This issue of the theatrical periodical (for 15-21 March, 1877) features an article on the Italian baritone. It also contains reviews, theatrical intelligence, and general articles. Tipped to the front, as issued, is a bust-portrait photograph of Pandolfini.

[PANTIN.] A hand-colored construction sheet, "Polichinelle. Pantin." Epinal: Pellerin, [c. 1890]. 11 1/2" x 15 1/4"; mounted to stiff card; hand colored. $60
A hand-colored construction sheet of a Polichinelle jumping jack puppet.

PAOLI, Carlo. DER VOLKOMMENE KARTENKÜNSTLER UND RECHENMEISTER. Eine Sammlung der vorzüglichen und wirkungsvollsten Karten -- und Rechenkunstlücke zur Unterhaltung in geselligen Kreisen.... Neutlingen: Ensslin und Laiblin, n. d. [c. 1918]. 16mo; wraps; chromolithographed pictorial front cover; slight soiling to light-colored edges of covers; contents tight and fresh. $125
A near-fine example of this 64-page booklet of conjuring, card tricks, and puzzles. The chromolithographed cover consists of a red rectangle, lined in black, in a floral surround. Within the rectangle a bemonocled gentleman holds up four European-style aces. §Volkmann & Tummers, p. 131.

PARDON, George Frederick (Editor). TALES FROM THE OPERAS. New York: Carleton, 1864. Original patterned cloth; frontispiece; scattered mild foxing; near fine. $45
Detailed plot narratives of 15 operas by Donizetti, Mozart, Verdi, Bellini, Rossini, Meyerbeer, and Flotow. This American edition is dedicated to Max Maretzek.

PATTI, Adelina. A process-print portrait of Patti, “from a photograph by H. N. King,” [c. 1864 (?)]. 9 1/4” x 12”, plus margins; two short, closed tears to margin; light stain (1/2” x 3 1/2”) to left edge, away from portrait. $50
A three-quarters portrait of the young dramatic soprano, directed and looking to the left and both hands on the back of a chair. This portrait was presented with the “Illustrated News of the World” with a biographical sketch printed to both sides of a large folio leaf (included here).

[PAULINE, Jeanne Levriliere.] A color-tinted lithographed portrait, "Mlle. Pauline. Artiste du Théâtre des Variété. Rôle de Jeanny: Dans Trilby." Paris: E. Noel, [c. 1833]. 10" x 15"; very minor dusting to margins; colors very good. $65
A full-length, colored portrait of the actress in a tartan costume and feathered hat, her hands crossed in front.

PEMBERTON, T. Edgar. ELLEN TERRY AND HER SISTERS. With Twenty-Five Illustrations. London: C. Arthur Pearson, 1902. First Edition. Red cloth; corners bumped; extremities scuffed; frontisportrait and plates; t. e. g. $35
An account of the theatrical careers of the Terry sisters: Ellen, Kate, Marion, and Florence. It also encompasses many sidelights on their acting partners and stage history.

PENDLETON, Ralph (Editor). THE THEATRE OF ROBERT EDMOND JONES. Middletown: Wesleyan University Press, [1958]. First Edition. Oblong 4to; pictorial cloth; plates (some color); worn slipcase. $50
Essays on various aspects of Jones' life and work, by Stark Young, M.H. Furber, Lee Simonson, Jo Mielziner, Donald Oenslager, Kenneth Macgowan, and John Mason Brown, plus 51 plates, and an extensive chronology of his career.

[PETIT THEATRE.] A chromolithographed poster for Le Petit Theatre, Paris, designed by Paul Ralluriau. [Paris]: La Lithographie Nouvelle, [1901]. 31 3/4" x 45"; one central vertical crease; three horizontal creases; very light surface soiling; a bit of creasing to edges; four small mounting marks (two holes and two triangles) to outermost left edge; linen backed and well preserved. $750
A Ralluriau art noveau poster for the reopening of La Petit Theatre (on the Boulevard de Clichy) in October 1901. The theatre's specialties of "ombres, comédies, intermedes" are announced. The poster features the figure of a muse to the center who stands holding masks in her upraised hands. The decorative background design incorporates a representation of an ombres Chinoises show of Napoleon in Egypt and the outlines of audience members. The poster is printed in several colors.

[PFLANZ, Sofia.] A sepia-tone studio portrait of Pflanz by Saul Bransburg, signed, [c. 1913]. 5 1/2" x 8 1/8"; tipped to embossed light-card mount; overall toning; signed to lower mount. $150
A head-and-shoulders portrait of the dancer in profile to the left, her head tilted back and looking upwards. She holds a vase in her upraised hands. Signed to the mount below the photograph.

[PHELPS, Samuel.] A large-paper, proof-sheet juvenile drama portrait of "Mr. Phelps as Brutus, Sadlers Wells Theatre." London: C. Morrish, [c. 1840]. 8 1/2" x 11 1/2", plus extra-wide margins; unassociated stencilling to blank verso; near fine. $150
A fine proof-sheet portrait of Phelps to large paper by an obscure publisher of the juvenile drama. Unusual.

[PHELPS, Samuel.] A gravure portrait of Phelps as Cardinal Wolsey in Henry the Eighth. [New York]: Gebbie, 1888. 6 3/4" x 9 1/2", plus wide margins; sepia tone. $10
A three-quarters length portrait.

[PHILIPPS, Thomas.] A colored aquatint, "Mr. Phillips [sic] in the Character of Young Hartwell in the Opera of Up All Night." London: William Holland, 1809. 10 1/4" x 15 1/4"; original color. $120
A full-length portrait of the dramatic singer, standing, in a naval uniform. He holds a hat down in his gloved right hand and his left is raised in gesture. At the foot are four lines of song text.

[PHILLIPS, Edward.] THE STAGE-MUTINEERS: or, A Play-House to be Lett. A Tragi-Comi-Farcical-Ballad Opera, As is is Acted at the Theatre-Royal in Covent Garden. By a Gentleman late of Trinity-College, Cambridge. London: for Richard Wellington, 1733. First Edition. Disbound; upper forecorner of title-page torn away with loss of two letters; lightly foxed. $400
A very rare ballad opera, dealing with the recent secession of the leading actors at Drury Lane (after a dispute with the new manager John Highmore). The mutinous actors and actresses, led by Pistol (i. e. Theophilus Cibber, the mutiny’s ringleader), “engage in much ranting and fustian verse with a superb display of theatrical jealousy (Gagey).” This satirical piece was the hit of the summer, premiering on 27 July, 1733, and running for eleven straight performances (every night for the remainder of the season).

[PHILLIPS, William.] An engraved portrait of Phillips, after M. Lauron, "Merry Andrew on the Stage," [c. 1755]. 6 1/2" x 9 3/4"; trimmed to within platemark; short tear to lower right corner, away from image. $100
Phillips, in the loose full-body costume of Merry Andrew, stands, playing a viol resting on a trunk. Phillips was active circa 1700. A scarce portrait, not in the Harvard Catalogue.

[PHIPPS, Sir Charles Beaumont.] An autograph letter, signed, from Phipps to Charles Kean. [London]: 23 March, 1854. One side 8vo, with conjugate blank, mourning paper; and original autograph envelope, signed (apparently sent by hand), with wax seal. $125
Phipps was Private Secretary to Prince Albert and Keeper of the Queen's Privy Purse. He writes from Buckingham Palace to Kean informing him "the Queen visits the Princess's tonight - the carriages are ordered at a quarter before nine...," adding that Kean's Richard is "the best piece of tragic acting I have seen in many a year...." The envelope carries a very good seal bearing royal arms and "Privy Purse."

[PIAN, Antonio de.] An original ink-and-gray-wash stage design by the Venetian scenographer Pian, [c. 1825-30]. 9 3/4" x 7"; ink and wash to paper; edges tipped to light card; a few minor fox dots; overall very good. $500
The design shows a series of vaulted stairways leading onto a central square of a middle-European fortress or walled town. It is signed on the verso: "del Pian Nr. 11." The Venetian designer Pian moved to Vienna in about 1808 where he became that city's most important scenographer in the first half of the 19th century. In 1816 he became "Decorateur der K. und K. Oberst Hoftheater Direktion" and royal stage designer five years later. In 1843 he was made a member of the Viennese Academy. His designs are now judged to rely too heavily on classical motifs, he often rendered in a semi-romantic mode and frequently made use of dramatic skies and moonlight effects.

PIAVE, F[rancesco] M. ERNANI. Dramma Lirico....Musica di Guisepe Verdi. Milan: G. Ricordi, n. d. [c. 1889]. Disbound; publisher's advertisements at the end. $12

[THÉÂTRE PIGALLE.] A four-page program for the “Spectacle d’Avant-garde” at the Théâtre Pigalle, Paris, [c. 1900]. Decorative covers and borders. $10

PILON, Frederick. HE WOULD BE A SOLDIER. A Comedy.... The Second Edition. London: for G. G. J. and J. Robinson, 1786. Disbound; light dustsoiling to title-page. $35
Pilon’s final play, first performed at Covent Garden in November 1786.

[PINCOTT, (?).] A partially tinseled portrait of "Miss Pincott as Almeadia, in the Giant of Palestine." London: J.L. Marks, 1839. 8" x 9 3/4"; image hand-colored; tinsel primarily to reversed-out portions. $200
Pincott is depicted in the Adelphi burletta, wearing long capes and veil, a plumed crown upon her head, holding a scepter in her upraised right hand.

[PINCOTT, (?).] A juvenile drama portrait, "Miss Pincott as Almeadia in The Giant of Palestine." London: J. L. Marks, 1839. $40
Pincott is depicted, in the Adelphi burletta, wearing long capes and a veil, a plumed crown upon her head. She holds a sceptre in her right hand.

PIXERÉCOURT, R.C. Guilbert. LA FEMME A DEUX MARIS, Mélo-Drama... et a Spectacle. Paris: [Barba(?)], 1802. Unbound; stitched; untrimmed; title-page dusty. $30
A sentimental play by the master of French melodrama. The plot centers on a pure, innocent woman beset by her worthless first husband, whom she thought dead. It was first produced at the l'Ambigu-Comique on 27 December, 1802.

[PLANCHÉ, James Robinson.] A one-page autograph letter, signed, from Planché to Charles James Mathews. [London]: 26 June, 1841. 8vo leaf, folded; original folds from mailing; very good. $150
The playwright and antiquary writes to inform Mathews he accepts the offered three-season engagement at Covent Garden at “the same terms and... conditions as those of last season.” Mathews and Vestris were then heading up the Covent Garden company and Planché was the latter’s “‘superintendent,’ she looked upon him almost as an alter ago (Appleton).”

[PLAUTUS, Titus Maccius.] LES COMEDIES DE PLAUTE, Nouvellement Traduities en Stile Libre Natural & Naif; Avec des Notes & des Reflexions enjouées, de Critique, d’Antiquité, de Morale & de Politique; par. Monsr. Gueudeville. Leide: Pierre Vander Aa, 1719. 10 vols. 12mo; full contemporary speckled calf; lightest of wear; expertly rebacked; red morocco labels; engraved title-page (with oval vignettes) extra to each volume; general title-pages in red and black; double-page engraved frontispiece to the first volume; engraved frontispiece to each individual play; upper fore-corner of first volume’s front flyleaf; one signature loosening from final volume; a bit of foxing; speckled edges. $1250
A rather attractive set of this critical edition of Plautus translations. Nicolas was, in his youth, a Benedictine monk at Jumieges in Normandy, but was later unfrocked for his anticlerical stance devoting himself to study and writing. With several fine engraved plates.

PLAUTUS, [Titus Maccius]. COMEDIES OF PLAUTUS, Translated Into Familiar Blank Verse.... London: for T. Becket and P. A. DeHondt, 1769-1774. 5 vols. Contemporary half calf and marbled boards; gilt to spines; morocco labels; corners bumped, with fraying to some; spines somewhat dried, with minor flecking; engraved vignettes to two title-pages; contents clean and tight; a very good set. $650
“An esteemed translation accompanied with excellent notes from the best commentators (Lowndes).” The first two volumes contain plays translated by Bonnell Thornton, while three through five were translated by Richard Warner with help from George Colman (including the Life of Plautus from P. Crintus). While the first two volumes are sometimes encountered, the complete set of five is quite scarce.

PLAUTUS, [Titus Maccius]. PLAUTUS’S COMEDIES, Amphitryon, Epidicus, and Rudens, Made English: With Critical Remarks upon each Play. By Laurence Echard. The Second Edition Corrected. London: for Timothy Child and William Taylor, 1716. 12mo; full speckled calf; gilt and blind panels to covers; extremities a little worn; decorative gilt to spine compartments; lacking label; engraved frontispiece; internally very good. $200
The first English translation of Plautus, originally published in 1694. Plautus in English was a long time coming as his comedies were generally considered coarse and stylistically far inferior to those of Terence. Echard dedicated this work to Sir Charles Sedley and produced a substantial preface discussing Roman comedy and substantial literary commentary to each play. There is also a commendatory poem by Nahum Tate.

[PLAY PICTORIAL.] THE PLAY-PICTORIAL. No 58. [London: Stage Pictorial, 1911.] 4to; color pictorial wraps; stapled; minor fraying to edges of wraps; spots of discoloration around staples; numerous half-tone illustrations; printed music. $20
This issue of the London theatrical periodical features Thompson and Courtneige’s comic opera Tom Jones. With 26 illustrations of the cast and production (halftones after photographs) and the music to three of the songs. Tom Jones was portrayed by Hayden-Coffin. 

[PLAY PICTORIAL.] THE PLAY-PICTORIAL. No. 234. [London: Stage Pictorial, 1922.] 4to; wraps; pictorial upper cover; stapled; several halftone illustrations. $20
This issue of the London theatrical periodical is devoted to the Lyceum production of Drinkwater’s Abraham Lincoln, with 19 illustrations of the cast and production (halftones after photographs). Lincoln was portrayed by W. J. Rea.

[PLAYS.] A bound volume containing six English plays. London: for W. Feales [and others], 1734-40. 12mo; early speckled calf; edges of covers rubbed; neatly rebacked, morocco label; three engraved frontispieces; four title-pages in red and black. $120
The plays are: Wycherley’s Love in a Wood, Cibber’s Love in a Riddle, Steele’s The Lying Lover, Philip’s The Distrest Mother, Rowe’s Jane Shore, and Shakespeare’s Othello.

[PLAYS.] A bound collection of six English comedies. London: v.p., 1735-66. 12mo; later half calf and marbled boards; gilt to spine; dark morocco label; five engraved frontispieces (one trimmed at head); four title-pages in red and black; early ink inscriptions to four blank pages. $120
The plays are: Vanbrugh and Cibber’s The Provok’d Husband, Cibber’s Love Makes a Man, Shakespeare’s The Merry Wives of Windsor, Johnson [and Garrick’s] Every Man in His Humour, Steele’s The Tender Husband, and Dryden’s The Tempest.

[PLAYS.] A bound volume of seven plays. Edinburgh: Oliver and Boyd, 1810 [-1812]. 12mo; contemporary half calf and marbled boards; rubbed; engraved frontispiece to each; some foxing. $35
The plays, each with an engraved frontispiece, are The Man of the World, She Stoops to Conquer, The Busy Body, The Country Girl, The Merchant of Venice, The Suspicious Husband, and Othello.

[PLYMOUTH PLAYHOUSE.] A small Rowlandson engraving, "Plymouth Play-house," [c. 1808]. 8" x 5"; edges dust soiled; colored by hand. $30
A view from the mezzanine, during a performance, with a partial view of the stage to the right.

POINSINET, [Antoine-Alexander]. TOM JONES, Comedie Lyrique... Imitée du Roman Anglais de M. Fielding. La Musique par A. D. Philador. Nouvelle Edition. Paris: Ducesne, 1778. Small 8vo; disbound; stab holes to gutter; engraved head and tail pieces; engraved music to one leaf. $70
A popular French adaptation of Fielding's masterpiece, first performed (and printed) in 1765, and often revived. With the music to the air of the vaudeville, "Je Vous Obtiens." According to F. A. Gevaert this opera is the first known instance of the employment of harmonies for strings in orchestral music. §Sonneck, p. 1082. Cross III, pp. 352-3.

[POISSON, Raymond.] A line engraving of Poisson as Crispin, after T. Netscher, by G. Edelink, 1682. 14 1/2" x 18 3/4", plus margins; light foxing, primarily to margins; else very good; dark impression. $750
The excellent comic actor and playwright Poisson took from Scarron's L'Ecolier de Salamanque (1654) the character of the valet Crispin and made it particularly his own, even working it for himself into several of his own comedies. This fine contemporary portrait shows Crispin full length, on a wooded riverbank, wearing skull cap, white ruff, cape coat and funnel-top boots, bowing with a hat in his right hand. Below are eight lines of description.

[POPE, Alexander.] A tinseled, juvenile drama portrait of "Mr. Pope as St. Aldobrand in Bertram." London: W. West, 1816. 7 3/4" x 10 1/4"; hand colored, fairly bright; tinsel applied; colored in silk to cut aways; near fine. $350
A richly tinseled figure and a very early juvenile drama portrait. A full-length portrait of Pope, standing, holding a sword down in his right hand. The blade of the sword rests on the ground. He is costumed in a plumed helmet and armor (to the upper body) with a mask on the breast. The costume also includes a sash and cape. The Count in Maturin's Bertram was one of the best-known roles of the actor (and miniature painter) Pope.

POTTER, George (Editor). THE MONTHLY RECORD OF EMINENT MEN. January 1891. Records and Portraits of Mr. Henry Irving, Earl Cadogan, William Rathbone, Sir William Houldsworth, Mr. Tom Harrop Sidebottom. London: George Potter, 1891. Half maroon calf and pebbled boards; extremities rubbed; gilt to compartments; morocco label; original pink pictorial wraps bound in; plates. $30
The 12-page account of Irving includes a portrait.

[PROBST, Johann B.] An engraving “Pantaloon Discovering the Painting of Harlequin as Cupid” from Probst’s album The Loves of Pantaloon and Harlequin, [c. 1729]. 7” x 5 1/4”; one neatly repaired split to top margin; tipped at head to later stiff leaf. $400
This scene shows a melee of commedia characters. Pantaloon, realizing Harlequin (as Cupid) moves and is not a painted image. Mezetin and Harlequin grasp the edges of a painting’s canvas, throwing it over the shoulders of Pantaloon and Pierrot. Pantaloon attempts to unsheathe his dagger and Pierrot vomits, while Scaramouche calls from the studio window for Mezetin and Harlequin to follow him. The Doctor and the Captain enter the room from the right and are taken aback by the riotous scene before them.

PROD’HOMME, J.-G. L’OPERA (1669-1925). Paris: Delagrave, 1925. Small 4to; original wraps, foxed; vignette illustration to upper cover; institution stamps to upper cover and preliminary leaves; untrimmed; contents very good. $25
Description du Nouvel Opéra — Historique — Salles Occupées par l’Opera — Directions — Répertoire — Principaux Artistes — Bibliographie. With bookplates and stamps of Croix-Rouge Française — Section Prisonniers de Guerre and Bibliothek Stalag VII. 

[PUNCH AND JUDY.] PUNCH AND JUDY. Aunt Mayor's Toy Books. London and New York: G. Routledge & Co., n.d. [c. 1855]. 4to; original pictorial blue wraps, printed in red and black; backstrip a trifle frayed; restitched, with remnants of silk cloth to spine; covers creased at corners; small, early tear to upper blank margin of one leaf; printed one side of leaf only; eight half-page, handcolored illustrations. $400
The story of the puppet play is set out in words of no more than three syllables, each word broken out by syllables for ease of reading. With eight half-page, hand-colored etchings. Each of the unusually fashioned illustrations depicts Punch's mistreatment of his fellow characters--Judy, Baby, Doctor, Beadle, Toby, Clown, and a hirsute Jack Ketch.

[PUNCH AND JUDY.] PUNCH AND JUDY GO TO TOWN. [London: for] Faïrylighte, n. d. [c. 1935]. Original color pictorial wraps; stapled; six color plates; smaller illustrations to text. $30
A pamphlet illustrating Punch and Judy's tour of London, taking in the sights.

[PUPPETRY.] An etched illustration of an itinerant puppet show, “Col far balar da un Omo i buritini....” [Venice: G. Zompini, 1785.] 7 1/4” x 10 1/4”, plus wide margins; colored by hand; a bit of spotting to margins; a bit of surface soiling; in a modern mat. $175
A plate from Le Arti che vanno per Via nella Citta di Venezia, with hand coloring, depicting a puppet performance. The puppet booth is on a raised platform, Pulchinella stalks a victim with his stick, to the side of which stands the showman reading from a scroll.

[PUPPETRY.] A hand-colored engraving, "Il Zampognaro Co'Pupi", by F. Palizzi. [Paris: Bourant, 1853.] 6 1/2" x 10"; hand colored, bright; in light, modern mat. $100
A Neapolitan street performer plays a set of pipes as he operates two stringed jig puppets (Columbine and Harlequin) with one leg.

[PUPPETRY.] A large engraved illustration of a group of fashionable women and children watching a Guignol show in a park, [1880]. 19 1/2" x 14"; margins trimmed close; a few nicks to edges; original central fold with four pairs of stab holes; image clean. $35
A double-page engraved plate from Harper's Bazaar, 6 November, 1880. In the puppet booth Guignol brandishes his stick above the head of a clown or magician puppet. The women and children watching are attired in various outfits to be sewn from instructions in the magazine.

[PUPPETRY.] CHÉS CABOTANS D’AMIENS (HISTORIQUE). [Amiens: Courier Picard, c. 1947.] Thin 8vo; original printed wraps; stapled; some fraying to backstrip; slight toning; illustrated. $15
A 12-page history of the puppet theatres of Amiens, with one halftone plate and seven smaller illustrations to the text.

[PYROTECHNICS.] A half-penny juvenile drama sheet depicting the exterior of a pyrotechnics “rocket manufactory” after an explosion, “Harlequin Guy Fawkes, Trick For Sc. 12.” London: J.K. Green, [c. 1855]. Minor dusting to corners. $35