Catalogue 98

Merchandise is offered subject to prior sale. Unsuccessful orders are recorded by us in case other copies become available.

Item Descriptions: All books are 8vo; in original bindings; in very good condition unless stated otherwise.
Bookplates and minor inscriptions are not generally noted -- major faults are.

Returns: Items may be returned -- provided we are notified and they are dispatched within one week of receipt.

Payment: Shipping and insurance charges are additional and will be added to invoice total.
Massachusetts residents will be billed appropriate sales tax.
Pro-forma invoices may be issued at our discretion. Institutions may receive deferred billing.
For your convenience, payment may be made in either U.S. dollars or British pounds.
We also accept VISA, Mastercard, and American Express (and on occasion Paypal)

 

1. [ACROBATS AND EQUILIBRISTS.] A playbill for the Drury Lane Christmas pantomime Harlequin, Jack of All Trades, 6 January, 1826. A trifle dusted and creased at head and foot. $60
One scene of the pantomime incorporated “gymnastic exercises by the first professors,” Il Diavolo Antonio on the corde volante, the Valenti’s (Venetian equilibrists), the Roberts’s (French jugglers), and the posture master Pack. Preceding the pantomime was the first performance of Brayley’s Wool-Gathering with Liston and Paton.

 

2. [ACTOR’S FUND.] A large silk broadside bill for the Testimonial Benefit to the Actor’s Fund of America at Albany’s Leland Opera House, 19 January, 1888. 9” x 23 1/2”; champagne-colored silk; printed in dark blue; gentle horizontal creases; very good. $85
The program featured Dion Boucicault in the name role of Kerry and his wife Louise Thorndyke as Blanche in the same, Agnes Booth in Old Love Letters, and a recitation by Alexander Salvini.

 

3. ADAM, J.R. “A WORD” WITH BUNN, After Burns’s “Address to the Devil.” By... the Cremorne Poet. London: W Brittain, n. d. [1847]. 12mo; unbound, as issued; nearly fine. $120
A reply in verse to Bunn’s A Word With Punch [itself a reply to the “chaff and criticism showered on the poet Bunn by Punch... (Lowe)”] in which Adam “took up the cudgels unasked in Punch’s behalf (Spielmann, The History of Punch).” This burlesque of Burn’s poem incorporates references to Jenny Lind. We also include an illustrated folio leaf; “Testimonial to A. Bunn, Esq.,” a satire extracted from a contemporary periodical. Scarce. §LAR 2531.

 

4. [ANCONA, Mario.] A one-page autograph letter, signed, from Ancona to G. Martini. New York: 3 March, 1907. 4to leaf, folded; letterhead to first page; original central horizontal fold. $65
The Italian bel canto master writes the secretary of the Verdi Society, inquiring about membership and enclosing photographs. He was engaged at the time at Hammerstein’s Manhattan Opera Company.

 

5. ANDREWS, Miles Peter. THE MYSTERIES OF THE CASTLE; A Dramatic Tale.... Dublin: for P. Wogan [and others], 1795. 12mo; modern wraps; some fraying to head of title-page; a few leaves foxed or stained; speckled edges. $30
The first Dublin printing of Andrews’s melodrama, perhaps a piracy. The music to the play was selected and composed by William Shield. A typical Gothic horror play, the theatrical counterpart to Radcliffe’s Mysteries of Udolpho.

 

6. [ANONYMOUS.] The sheet music to “The Chieftain, A Favorite Ballad.” New York: Dubois & Stodart, [1823]. Large 4to; removed; two pages of engraved text and music; minor offsetting. $30
A Scots song, words by T. Campbell, with accompaniment for harp and piano. §Wolfe 1797A.

 

7. [ANONYMOUS.] CHERRY AND FAIR STAR; or, The Children of Cyprus. A Grand Asiatic Melodramatic Romance.... London: Thomas Hailes Lacy, n. d. [c. 1872]. Original printed pink wraps, worn at backstrip and corners; contents very good. $15
This two-act pantomime was first produced for the Easter holidays at Covent Garden in 1822 (with Grimaldi as Topack).

 

8. [ANONYMOUS.] LIONS: Living and Dead: or, Personal Recollections of the Great and Gifted. Second Edition. London: W. Tweedie, 1854. 12mo; original patterned green cloth; cloth torn at spine ends; corners bumped and rubbed; lithographed frontispiece and extra title-page; a few leaves crudely opened; a trifle shaken. $18
A series of “sketchy recollections of distinguished people... several [of which] appeared in American periodicals.” Amongst these are ones of Hazlitt, the Cushman sisters, Albert Smith, Paganini, and Jenny Lind.

 

9. [ANONYMOUS.] POOR COVENT GARDEN!, or, A Scene Rehearsed; An Occasional Prelude, Intended for the Opening of the New Theatre Royal, Covent Garden, This Season. London: T. Wilkins, 1792. First Edition. Disbound; stitching holes to gutters. $175
A satirical piece, in the form of a short play, decrying the changes made in the theatre which had been almost rebuilt during the off-season of 1792. One result of this had been to eliminate the shilling gallery. Scarce, listed as “not seen” by Lowe. §LAR 1178.

 

10. [ANONYMOUS.] THE RECITER’S ALBUM, or Actor’s Utility Book; Being A Collection of Recitations, Droll & Quaint Stories, Funny Tales, Selections from Popular Acting Dramas, and Many Entirely New Broad Burlesque Parodies. To Be Had in No Other Work. Collected and Arranged by A Gentleman of the Theatres Royal. Embellished with Thirty-five Humorous Wood Engravings.... London: H. A. Arliss, 1832. 12mo; original cloth-backed drab boards; covers rubbed and darkened; original paper label to spine, rubbed; some upper edges crudely opened; engraved frontisportrait; 18 engraved plates bound in before the text, unopened; engraved vignette illustrations to text; oddly paginated, but evidently complete; merest hint of foxing and offsetting. $150
The index lists more than 150 pieces. The 35 illustrations, “designed and engraved by the First Masters,” consist of 18 full-page plates at the start and 17 vignettes accompanying various pages of the text. The frontisportrait is of Samuel Vale (may offer a clue to the editorship). Scarce. No copy in the BL catalogue. Not in LAR.

 

11. [ANONYMOUS.] RECUEIL DES PLUS JOLIS JEUX DE SOCIÉTE, dans l’Equel on Trouve les Gravures d’un Grand Nombre d’Énigmes Chinoises, et l’Explicationde ce Nouveau Jeu. Paris: Audot, 1818. Small 8vo; early decorative-paper over boards; paper worn to backstrip; leather spine label, lettered in gilt; engraved frontispiece; engraved figures to eleven plates at the end; publisher’s catalogue bound in; untrimmed. $250
A selection of more than 100 games, home amusements, charades, forfeits, puzzles, and the like. The frontispiece shows four different coaster rides. The plates hold figures for Chinese puzzles. §Ruegg, p. 79.

 

12. [ANONYMOUS.] LE SOLDAT DE CYTHÈRE, ou Jean de Bon Coeur au Camp de Saint-Omer; Ses Amours avec Sophie Catinet et Suzan de Bel Air; Chansons Joyeuses et Sentimentales. Paris: [for the author], 1827. Small 8vo; original printed brick-red wrappers; stitched; 1” tear to fore-edge of rear wrapper; backstrip perished; light dampstaining and thumbing to fore-edges; completely untrimmed. $50
A 72-page songster in original, unsophisticated state. It contains more than two dozen chansons to popular airs and “Ma Déclaration d’Amour a Sophie Catinet.”

 

13. ARNOLD, [Samuel]. THE SURRENDER OF CALAIS.... written by George Colman.... London: Preston & Son, n. d. [c. 1792]. Oblong 4to; disbound; slight creasing and dusting to engraved title-page; engraved music throughout, with accompanying text. $100
The engraved vocal score, lyrics, and accompaniment to Colman’s historical drama as performed at the Haymarket. The music was by Arnold.

 

14. ARNOLD, Samuel James. MAN AND WIFE; or, More Secrets than One: A Comedy. London: for Richard Phillips, 1809. Disbound; light foxing, dusting, and offsetting to some leaves; publisher’s catalogue at the end. $20
First performed at Drury Lane in January 1809 with a cast including Jordan, Matthews, and Elliston.

 

15. [AUBER, Daniel F.-E.] A playbill for Auber’s opera Der Schnee at Stuttgart’s Königlisches Hof-Theater, 10 March, 1830. Near fine. $20
The opera (La Neige) was given in German, the translation by Castelli.

 

16. [BALLET.] A two-page autograph letter, signed, from Antoine Joly (?) to Emanuel Guello (?). Marseilles: 30 January, [c. 1790]. Folio leaf, folded; original folds for posting; residue and tear from wax seal to (blank) portions of integral page. $225
An intriguing letter, in Italian, from one ballet impresario (or talent scout of sorts) to another in Genoa, c. 1790. It begins: “Ho veduta la Ballerina, mia piace la di Lei Agilita, lavora equalmente d’una gamba che di l’altra, bella sesta, buone braccia... e ha assai anima per sostenere il Fantomino.” He then recounts the dancer’s demands for salary and expenses and how he has persuaded “il primo Ballerino la Chapelle” to come for the same price and on the same terms. The remainder of the letter is taken up with reports on other dancers and the author’s aspirations for their engagement (“l’abilita del la Chapelle e’ da far Furore, come la di lui grazia fisica edil, corpo fatto col tornio. Prendilo a qualunque costa....”). Worthy of further research.

 

17. [BANVARD, John.] DESCRIPTION OF BANVARD’S PANORAMA OF THE MISSISSIPPI & MISSOURI RIVERS. Extensively known as the “Three-Mile Painting.” Exhibiting a View of Country Over 3000 Miles in Length, Extending From the Mouth of the Yellow Stone to the City of New Orleans. Being by Far the Largest Picture Ever Executed by Man. London: W. J. Golbourn, 1849. Modern protective wrappers; original printed pale-green wrappers bound in; original covers soiled; chip to lower fore-corner of upper original wrapper and short tears to fore-edge (repaired to verso) of same; title-page defective; light dustsoiling. $100
A booklet to accompany Banvard’s moving panorama shown at the Egyptian Hall, Piccadilly in 1849. It consisted of 52 scenes, the painter working in conjunction with a speaker who provided commentary on the views from a podium as they passed, spicing them up with anecdotes, legends, and facts. Inaugurated (in an abbreviated form) in Louisville three years earlier, the canvas toured Boston and New York before being exported to London.

 

18. [BARNUM, Phineas T.] A monogrammed calling card, “P.T. Barnum Bridgeport, Conn.” [c. 1870]. 3 5/8” x 2 1/8”; ivory stock; embossed and gilt decorative monogram to upper left; engraved name and place; very good. $400

 

19. BARNUM, Phineas T. FUNNY STORIES. London: Routledge, 1890. First Edition. Original red cloth, lettered and decorated in gilt and black; corners bumped and rubbed; some fraying and abrading to spine edges; covers slightly marked and bubbled; frontispiece removed; contents clean. $100
A compilation of anecdotes, “intended primarily, as Barnum acknowledges in the preface, to retrieve material deleted from earlier editions of his autobiography. For this reason it has largely been ignored by biographers. But in fact many of these stories are new or throw new light on old subjects (on the late Tom Thumb’s character, e.g.) and, coming as they do within a few months of the author’s death in 1891, represent the final written expression of his thoughts on these topics. The work also includes Barnum’s own lengthy description of his visit with his circus in London during the winter of 1889-90 [and] an account his wife Nancy, mistakenly perhaps, reports having been written for inclusion in the autobiography... (Saxon).” With useful indices preceding the text. §Toole-Stott 1304.

 

20. [BARNUM AND BAILEY CIRCUS.] THE BARNUM AND BAILEY GREATEST SHOW ON EARTH SONGSTER. [Buffalo: The Courier Co., c. 1894.] Small 8vo; original chromolithographed pictorial wrappers; stapled; some dusting and creasing to covers; 1/4” chip to fore-corner of upper cover; one gentle vertical crease; moderate toning to text. $85
A compilation of 29 songs. The cover depicts various clown acts and has small bust portraits of the circus proprietors. The back cover shows “50 performing horses in a single act.”

 

21. [BARNUM’S MUSEUM AND MENAGERIE.] ILLUSTRATED HISTORY OF WILD ANIMALS AND OTHER CURIOSITIES Contained in P.T. Barnum’s Great Traveling World’s Fair, Museum, Menagerie, Polytechnic Institute, and International Zoological Garden. Compiled from the Best Authorities. New York: Wynkoop and Hallenbeck, 1874. Original color-decorated and pictorial yellow wrappers; some creasing and short tears to wrapper edges; two small scorch marks to foot; ends of backstrip frayed; engraved frontispiece; 40 engraved vignette illustrations to text; contents fairly well preserved. $250
A 72-page guide to the numerous attractions of Barnum’s show, more than half of which consists of descriptions of 33 individual types of animals. There are also accounts of the museum curiosities, including Faber’s Euphonia, the French Giant, Admiral Dot, the Living Fiji Cannibals, Live Digger and Modec Indians, the “What Is It?,” and various automaton figures. Profusely illustrated with engraved vignettes . The rear cover incorporates a crowded scene under the two-ring tent.

 

22. BEAUNOIR, [Alexandre-Louis]. LE SCULPTEUR, ou, La Femme Comme il y en a Peu; Comédie.... London: Baylis, 1799. Disbound; near fine. $15
A London printing of Madame Beaunoir’s two-act comedy. Perhaps extracted from a Le Texier collection.

 

23. [BERNARD, Léonce.] A one-page autograph letter, signed, from Bernard. [Paris]: n. d. [c. 1890]. 4to leaf; lined stationery; original folds; two very light stains to left margin, well away from text; very good signature. $65
A lively autograph letter from the famed forté tenor of the Second Empire.

 

24. [BERNHARDT, Sarah.] A cabinet photograph of Bernhardt as Jacasse in Zamacoïs’s Les Bouffons. Paris: Henri Manuel, [c. 1907]. Stiff card mount; dark border to front; decorative photographer’s imprint to reverse; nearly fine. $50
A full-length image of Bernhardt, in profile, in the costume of the hunchback jester.

 

25. [BERNHARDT, Sarah.] PHAEDRA. A Tragedy... by Racine. New York: F. Rullman, n. d. [c. 1906]. Original printed wraps; text in double columns; contents near fine. $15
The dual-language text to the tragedy as represented during Bernhardt’s “farewell American tour” of 1905-06.

 

26. BISHOP, H[enry] R. (Arranger). The sheet music to “Common Sense and Genius.” New York: E. Riley, [c. 1823]. Large 4to; removed; three pages of engraved text and music; mild foxing and finger soiling. $25
The words and music to Sir Henry Rowley Bishop’s arrangement of “a popular French air from Moore’s National Melodies.” §Wolfe 592.

 

27. [BLANCHARD, William.] A stipple-engraved sepia-printed portrait of Blanchard as Ralph in Bickerstaffe’s The Maid of the Mill. London: J. Bell, 1792. 8” x 11 1/2”, plus full margins; evidence of mounting to corners of verso; very good. $70
A full-length portrait of Blanchard, printed in sepia, after a painting by DeWilde (the background painted by John Inigo Richards who created the original scenery for The Maid of the Mill).

 

28. [BOOTH, Edwin.] A Princess’s Theatre program for Booth in Lytton’s Richelieu, [1881]. 8vo leaf; blue light-card stock; lithographed decorative covers; printed in dark blue; some light wear, foxing, and fading. $35
A four-page program for the London theatre. Booth played the name role in the tragedy.

 

29. [BORDAS, N.] A three-page autograph letter, signed, from Bordas to a M. Nannon. Toulouse: 21 March, 1848. 4to; original folds; bold signature. $75
Bordas was a leading tenor at the Opéra-Italienne, Paris and the Teatro del Circo, Madrid in the 1840’s. Here he writes a fascinating letter to the Paris costumer Nannon, in part concerning expenses and engagements.

 

30. [BORUWLASKI, Joseph.] A miniature engraved portrait of Boruwlaski by S. Smeeton, [c. 1782 (?)]. 2 1/8” x 25/8”; oval image; window mounting to a leaf of light card. $225
A full-length oval portrait of the Polish dwarf. He is shown full length, standing, with feet crossed, in formal wig and frock coat. His left hand holds a book downwards, the elbow above rests on the edge of a table. His right hand is tucked into his waistcoat. The legend surmounting the portrait reads: “Mysterious Nature who thy works Shall Scan. Behold in size a Child, in Sense a Man.” This is the same quote used on the frontisportrait of his autobiography of 1788, but in this representation he appears to be a slightly younger man, so this may well be from the time of his first subscription concerts in London a few years earlier.

 

31. [BOUCICAULT, Nina.] A photographic portrait postcard of Boucicault. [London]: Rotary, [c. 1905]. Upper corners scuffed; image very good. $10
A head-and-shoulders portrait of the actress best known for creating the role of Peter Pan in Barrie’s play (1904).

 

32. BRAHAM, [John]. The sheet music to “Is there a Heart that never Lov’d.” New York: W. Dubois, [1817]. Large 4to; removed; two pages of engraved music and text; light foxing. $30
The words and music to a ballad composed and sung by Braham. §Wolfe 1124A.

 

33. [BRAHAM, John and Elizabeth FERON.] A Drury Lane playbill announcing Braham and Feron in Dibdin’s The Cabinet, 19 January, 1828. Very good. $25
Also on the bill was the Christmas pantomime Harlequin & Cock Robin.

 

34. [BROOKE, Frances.] ROSINA: or, Love in a Cottage, A Comic Opera.... Philadelphia: Henry Taylor, 1791. 12mo; disbound; moderate foxing and toning; a few early pencil marks to text. $65
Brooke’s opera (music by William Shield) was first performed in America by the Old American Company in March 1786. The names of performers have been added in pencil by a contemporary reader, the same hand has also marked out some of the airs.

 

35. [BRUNSWICK THEATRE.] A handbill, “Dreadful Accident at the Brunswick Theatre, Nearly 100 Persons Killed.” [London: T. Birt, 1828.] 6” x 8 3/4”; trimmed very close, excising imprint; laid down to an early backing leaf; two small tears to left edge, one affecting letters of three words (reinstated in ink by an early hand). $125
A handbill issued on the day of the theatrical catastrophe. “This morning at twelve o’clock the roof of this new theatre fell in.... It is present calculated that not less than 100 individuals have been killed... Not more than forty persons have as yet been discovered. The public anxiety is intense.” Fortunately, the number of casualties was greatly exaggerated, in fact only 15 died and a similar number injured. §LAR 1121.

 

36. [BRUNSWICK THEATRE.] A stipple-engraved print, “View of the Ruins of the Brunswick Theatre,” by I. M. Huggins. London: W. Stanbridge, [1828]. 11 3/4” x 9 1/4”; trimmed to within platemark; moderate foxing and thumbsoiling to edges. $75
Dedicated to “Edward Hardwick Esq. & the Revd. G.C. Smith for their humane exertions in rescuing the sufferers.” The print shows the devastation after the disaster in which 15 people were killed during rehearsals at the newly opened Royal Brunswick Theatre. After only two performances the roof fell, burying most everyone present in the rubble.

 

37. BYRON, Henry J. THE MAID AND THE MAGPIE; or, The Fatal Spoon! A Burlesque Burletta.... London: Thomas Hailes Lacy, n. d. [c. 1860]. 12mo; disbound. $30
A burlesque of Rossini’s La Gazza Ladra, first performed at the Strand Theatre in October 1858. The cast list includes Wilton, Ternan, and Clarke.

 

38. [CAPOUL, J. Victor.] An autograph note, signed. N. p.: [c. 1885 (?)]. 4to leaf, folded; original creases for mailing. $40
A brief letter, with a very good signature, from the romantic tenor deemed by many contemporaries “the ideal Faust.” With a later portrait of Capoul as Faust.

 

39. [CARDINALI, Antonio.] An illustrated program for Cardinali’s Teatro Meccanico, Piacenza. [Venice: Rizzi, c. 1850.] Original printed purple wrappers; title and decorations to upper cover; minor creasing to fore-edge of upper cover; content leaves loose (never bound); three wood-engraved illustrations; a fairly well preserved, unsophisticated example. $250
A twelve-page program for Cardinali’s “teatro meccanico ossia esposizione artistica, scientifica mondiale.” The presentation incorporated moving and dissolving views, “l’automa volteggiatore,” mechanical representations of a ship lost at sea and a naval battle, an orrery (or astronomical projections), what would seem to be lantern presentations of the seven wonders of the world and humorous scenes, the “Kromatropi, ossia I Colori dell Iride,” and a demonstration of electrical phenomena.

 

40. [CHEVALIER, Albert.] A photographic postcard, inscribed and signed, [c. 1900]. Borders shaved down to edge of image; adhesion marks to a portion of the foot. $20
The Coster Laureate is seated, arms crossed over the back of a chair. With a dark, full signature.

 

41. CHIPMAN, Bert J. HEY RUBE. Edited by Harry B. Chipman. [Hollywood: Holywood Print Shop], 1933. Green cloth; stamped in gilt to upper cover; frontispiece and plates; very good. $60
“Chipman was an old circus trouper and tells in his book many of his experiences with circuses in the days when ‘Hey Rube!’ was often heard on the tober. (Toole-Stott).” It includes routes and staff rosters of major circuses (1900-1915), a glossary of lot terms, and numerous illustrations (mostly portraits). Signed by the author to the front free endpaper. §Toole-Stott 838.

 

42. [CIRCUS.] A large illustration, “Un Dompteur Blessé par un Lion,” to the front of Le Petit Journal, Supplément Illustré, 18 November, 1900. Large folio; illustrated self wraps; covers printed in color; mild toning, primarily to edges; one color plate. $30
The color illustration (10 1/2” x 11 3/4”) shows the ghastly scene of a male lion tamer being mauled by a lion as a female lion tamer fires a pistol into the air at the back of the cage.

 

43. [CIRCUS AND FAIRGROUNDS.] A catchpenny print, “Al Wat Hot Kermistooneel....” [Hertogenbosch: Lutkie & Cranenburg, c. 1855.] 12 1/4” x 15 1/4”; thin stock; eight woodcut scenes (arranged in four rows of two); titles beneath each woodcut; hand colored in red, blue, and yellow; one central horizontal crease; minor wear to outer margins; overall very good. $200
The scenes include three from Franconi’s circus (the learned horse Fenix, the trained elephant Baba, and the lion tamer Martin), the ape Jacko serving at table, a trained bear, fairground scenes of a mule telling time, performing dogs, and a “fearless” rabbit firing a pistol. A re-impression of a print first produced by the Rotterdam firm Wijhoven-Hendriksen some 10-20 years earlier. Naïvely charming.

 

44. [COLMAN, George.] THE DEUCE IS IN HIM. A Farce.... The Second Edition. London: for T. Becket [and others], 1764. Disbound; moderate dampstaining to foot and gutter throughout. $25
First published in 1763, “Colman’s best... petites piece.., The Deuce is in Him, exposes morbid jealousy as a French refinement (Bevis).”

 

45. [CONJURING.] An etched and engraved print, “Der Daschenspieler.” [Augsburg: Engelbrecht (?), 1720.] 7 1/2” x 11 1/2”, plus full margins; publisher’s watercolor heightened with gold, bright; minor foxing, for the most part to margins; closed tear to upper margin (near left corner) with early repair to verso; image very good;
in a modern mat. $2700
A handsome early 18th-century print of a conjuror in performance, inscribed at the head: “Mehr Blendings Dünst, als wahre Künst.” It depicts the performer behind an open-air table, tossing a small ball above his head, his youthful assistant (holding up a padlock) by his side. From the conjuror’s belt hangs his “bag of tricks.” Laid out on the table are a wand, cups of various sizes, eggs, coins, dice and playing cards. In the background to the left may be seen a fire-eater dressed as Punchinello exhibiting on a platform before a small audience. At the foot are engraved eight lines of verse (including the phrase “hocus pocus’). With excellent original hand coloring, heightened in gold, still bright.

 

46. [COOKE, George Frederick.] A column notice for Cooke as Iago at the Boston Theatre, 3 February, 1812, in a complete issue of the Columbian Centinel, Boston, 1 February, 1812. Large folio; some dusting and creasing; fraying to points of edges. $20
Cooke’s last week of performing in Boston prior to a Philadelphia engagement.

 

47. [COOKE, Thomas P.] A juvenile drama portrait, “Mr. T. P. Cooke as Sir Rowland in King Arthur.” London: J.K. Green, 1843. Colored by hand, very bright; full margins. $85
A very good example with bright and particularly well-executed hand coloring. Cooke stands in armor and plumed helmet, legs apart, in profile. He hefts a battle-ax in his right hand and holds a shield on his left arm. The background incorporates a castle. Apparently a re-strike by Green of an earlier (Skelt ?) sheet. The earlier title has been partially excised at the foot and Green’s added at the head. To the right edge of the plate may just be made out the agency notice of Moss Hyams, Borough.

 

48. COWLEY, [Hannah]. WHO’S THE DUPE? A Farce. The Seventh Edition. London: for Robinson, 1790. Small 8vo; disbound; foxing to some leaves. $20
Taken partially from Centlivre’s The Stolen Heiress.

 

49. CUMBERLAND, Richard. FALSE IMPRESSIONS: A Comedy. London: for C. Dilly, 1797. Unbound; some dusting to title-page and terminal leaf; creasing and dog-earing to corners; publisher’s advertisement. $40
A dramatization of the author’s own novel Henry. Nicoll praises the play for its “real intrinsic excellence The dialogue is good and there are many effective situations.”

 

50. [DALY, Augustin.] An illustrated broadside playbill for Daly’s Griffith Gaunt at the Boston Theatre, 15 December, 1866. 6 1/4” x 18 1/4”; large engraved illustration; dated in pencil at the foot. $80
The engraved illustration shows “the duel in the snow” in Daly’s melodrama — a female rider positions herself between the two duelists facing one another.

 

51. DECASTRO, J[acob]. THE MEMOIRS OF J. DECASTRO, COMEDIAN. In the Course of Them Will be Given Anecdotes of Various Eminently Distinguished Characters.... Accompanied by an Analysis of the Life of the Late Philip Astley... With Many of his Managerial Peculiarities. Also an Accompanying History of the Royal Circus, Now the Surrey Theatre, and An Historical Sketch of Sadler’s Wells. Likewise, Scarce Theatrical Avertisements, From Garrick’s First Attempt in Goodman’s Fields; His Last Moments. Old Grimaldi’s Dream, &c To Which Will be Added the Origin of Poetry; A Chapter on Bent’s, &c, &c, &c. Edited by R. Humphreys. London: Sherwood, Jones, 1824. First Edition. 12mo; half maroon morocco and marbled boards; extremities rubbed; raised bands; decorations and title in gilt to spine; engraved frontisportrait, tissue guarded; two engraved folding plates; a hint of foxing to a very few leaves; untrimmed at fore-edges; marbled endpapers; t.e.g. $500
A rambling account of DeCastro’s four decades as a comedian, crammed with anecdotes of his theatrical associates. The “eminently distinguished characters” include Garrick, Foote, Sheridan, Cooke, Kemble, and Dr. Johnson. DeCastro was associated with Philip Astley for a remarkable 38 years (from 1785), becoming one of the circus manager’s few intimate friends. This title is “the main source of the little biographical material available [on Astley] (Toole-Stott).” One plate is a facsimile ANS and the other depicts an exhibition of Astley’s troupe in Paris. Cited amongst Toole-Stott’s “100 Best Circus Books.” §LAR 2672. Toole-Stott 1234.

 

52. [DEL PUENTE, Guiseppe.] A holograph sentiment, signed by Del Puente. Boston: 26 November, 1889. Small 4to album leaf; holograph text, in black and red, to recto. $60
An interesting album page on which the famed baritone signs his name in red ink, below which is added a lady’s name with a heart and arrows connecting the two.

 

53. DIBDIN, Thomas. FIVE THOUS AND A YEAR, A Comedy.... London: for G. G. and J. Robinson, n. d. [1799]. First Edition. Disbound; margins trimmed; holograph prompt cues to text, many affected by trimming. $40
A sentimental comedy which premiered at Covent Garden in March 1799. This copy carries prompt markings — prop and furnishing notes before each act and “P.S.” (prompt side) and “O.P.” (opposite prompt) for entrances and exits. Several of the notes are affected by the trimmed margins.

 

54. DICKENS, Charles (Editor). THE LIFE OF CHARLES JAMES MATHEWS, Chiefly Autobiographical, With Selections from His Correspondence and Speeches. New York: Harper & Brothers, 1879. 4to; original self wraps; text in three columns. $50
The first American publication of Mathews’ memoir, being the entire number of the periodical the Franklin Square Library, Number 71, 15 August, 1879 (densely printed in three columns). §LAR 3314.

 

55. [DRURY LANE.] A group of ten Drury Lane playbills, 1813-30. Moderate soiling or fraying to three or four. $65
Plays and operas include ones by Shakespeare, Coleridge, and Rossini, plus two pantomimes. The performers include Liston, Kirby, Elliston, Fisher, Braham, Webster, Faucit, and Tree.

 

56. [DUCROW, Andrew.] A penny-plain portrait, “Mr. Ducrow in the Vicissitude of a Tar.” London: M. & M. Skelt, [c. 1838]. One lower (blank) corner chipped; inventory number in red to upper corner of reverse; image nearly fine. $175
Ducrow, as the nautical hero of the pantomime, his belongings in a bundle at the end of a stick, stands upon the flanks of a charging horse. The horse is decorated with a cloth to represent a man-of-war with cannons protruding from its sides. Ducrow first performed this role at Astley’s Amphitheatre ten years before.

 

57. [DUMONT, Gabriel P. M.] A group of three engraved plates, one large, depicting theatre designs and/or plans by Dumont. [Paris: c. 1770.] Two are 8 3/4” x 14”, third is 17 1/2” x 14”; very good; original vertical folds to large plate. $85
This group consists of two longitudinal sections, one plan for a façade, and three floor plans for a proposed theatre. From Diderot’s Encyclopedie — Salles des Spectacles.

 

58. DUPORT, [Louis]. LES SIX INGÉNUS, Pantomime... remise en scene par M. Petipa.... Paris: Barba, 1815. Unbound; small stamp of previous owner to title-page; creasing and dusting; fore-corners dog-eared. $80
The “libretto” to Duport’s ballet-pantomime, first performed in Paris at the Théâtre de la Porte Saint-Martin in January 1815. The principal dancers were Petipa, Pierson, and Pascal.

 

59. [DZERZHINSKY, Ivan I.] [VIRGIN SOIL UPTURNED. Musical Drama....] [Moscow: n. p.], 1937. 4to; stiff wraps; color illustration to upper cover; 1 1/2” tear to head of upper cover; some stains and wear to cover edges; small S.C.R. stamp to cover and first leaf; frontisportrait; 43 halftone illustrations (six full-page); five plates with tipped-on color illustrations; music to two pages. $40
A 46-page publication related to the premier of Dzerzhinsky’s opera Virgin Soil Upturned at the Maly in 1937. The production was mounted by the State Committee for Artistic Affairs to commemorate the 20th anniversary of the Revolution. A series of three articles and a plot synopsis are augmented by several illustrations of performers, costumes, settings, and contextual photographs.

 

60. [EXHIBITION.] An illustrated broadside for the Gran Museo Dessort at the Teatro San Martin, Buenos Aires, [c. 1880]. 7 1/4” x 15”; four engraved vignette illustrations; moderate embrowning; gentle creases; closed tear at head; 1/2” x 1 1/2” tear to (blank) left margin; backed with Japanese tissue. $425
An unusual broadside for a traveling museum, apparently of European origin, in the Argentinean capital. From the vignette illustrations (Native American, shrunken head, exotic conjoined twins, and busts of hirsute men and a Chinese man) it gives the impression of being an anatomical museum and/or collection of curiosities and human anomalies.

 

61. [EXHIBITION.] THE SNAKE CHARMER. The Little Showman’s Series. New York: McLoughlin Bros., [1884]. Large 8vo; cloth spine at head; color-pictorial boards; corners bumped; cover shelf worn; a very few small nicks to surface of covers; chromolithographed pastedowns, one a colored backdrop and one decorative-bordered text; a few points of wear to inner edges; two chromolithographed and die-cut popup sheets; image
and popup very good. $400
One of the earliest recorded McLoughlin movables, a three-tier fold out (two die-cut scenes and a backdrop) picturing an exhibition booth with a woman and two children in the foreground observing a female snake charmer and a “feathered wild man” (or Zulu-like warrior) with lance and shield. An accompanying verse is printed on the forward portion of the inside bottom board.

 

62. [FAIRGROUNDS.] A chromolithographed plate of an English fairground scene, [c. 1859]. 15 1/4” x 9”; margins presumably trimmed; one central vertical crease. $75
A bright and busy lithograph, picturing booths for a menagerie, the exhibition of a Chinese giant and a midget, and Richardson’s pantomimes; a carousel and a bucket ride; a one-man-band; a dancing bear; a trained (and costumed) monkey astride a dog; blackface minstrels; and much else.

 

63. [FARREN, Elizabeth.] THE TESTIMONY OF TRUTH TO EXALTED MERIT: or, A Biographical Sketch of the Right Honourable The Countess of Derby; In Refutation of a False and Scandalous Libel. Third Edition. London: George Cawthorn, 1797. 4to; modern red marbled boards; paper label to spine; new endpapers; duplicates of two leaves bound in; faint foxing and dusting, primarily to margins; half-title present. $200
This pamphlet is, for the most part, a reply to an unpleasant memoir which has just appeared under the pseudonym “Petronius Artiber” (called by Lowe “sneering... with a few gratuitous nastinesses”). Farren’s last role, in April 1797, was that of Lady Teazle in Sheridan’s School for Scandal, and printed here is a “farewell address” for her which “some have attributed to Mr. Sheridan.” §LAR 2726.

 

64. [FATOUVILLE, Nolant de.] LE MATRONE D’EPHESE, Scenes Française. Nouvelle Edition, Revue et Corrigée. Paris: Prault, 1777. Contemporary wraps; title in a contemporary hand to upper cover; engraved frontispiece; early ink mark to fore-edge of title-page; untrimmed; very good. $150
An adaptation of one of Fatouville’s “naturalized” Italian comedies (“which in some respects are quite remarkable” — Duchartre) of a century earlier. It was presented by the Comédiens Italiens du Roi in January 1777. The engraved frontispiece shows: “Harlequin Comédien Burlesque — Vétu de pieces de diverses Couleurs avec un Masque tané et une Epée de bois, il parle Bergamasque, et S’appelle en Italie Zani et á Venise Trufaldin ou Trapolin.” A superior, entirely unsophisticated copy.

 

65. FITZGERALD, Percy. THE SHERIDANS. Beaux & Belles of England. London: The Grolier Society, n. d. [c. 1905]. 2 Vols. Half red leather and marbled boards; extremities rubbed; floral gilt design to spines; library withdrawal stamps to endpapers and verso of title-pages; color frontispieces; tissue-guarded plates; one folding plate; marbled endpapers; contents fine, t.e.g. $25
The Imperial Edition, 1/1000 fine-paper copies. “Fitzgerald follows the dramatist as a jovial, good-natured, pleasure-loving being, through his theatrical and political careers (Baker).” §LAR 3511.

 

66. FOOTE, Samuel. THE DEVIL UPON TWO STICKS; A Comedy.... London: for T. Cadell, 1778. First Edition. Disbound; complete with half-title and publisher’s advertisement leaf. $35
This comedy, based on Le Sage, took its character from Foote’s physical disability and “obviously written with a view to the necessities of a star performer with a cork leg (Belden).”

 

67. [FORREST, Edwin.] A handbill-size playbill announcing Forrest in the title role of Bulwer’s Richelieu at the Newark Opera House, 15 February, [1869]. A bit of foxing, primarily to right edge. $25
The company also featured G.H. Clarke.

 

68. [FRANCIS, Philip.] EUGENIA: A Tragedy. London: for A. Millar, 1762. Disbound; mild dustsoiling to title-page and verso of terminal leaf; previous owner’s name (trimmed) to upper fore-corner of title-page; preliminary leaves misnumbered (no half-title present in three BL copies). $45
A tragedy based loosely on Madame de Grafigny’s Cénie (1750). The prologue is by Garrick and the epilogue by Cibber. §Knapp 308.

 

69. FRANCONI, H[enri] and P[ierre] VILLIERS. LE FERME DES CARRIÈRES, Fait Historique.... Musique arrangée par M. Sergent. Paris: Fages, 1818. First Edition. Unbound; small stamp of previous owner to title-page; untrimmed. $70
A two-act pantomime-spectacle first produced at the Cirque Olympique in November 1818. The text is primarily a sequence of scenarios interspersed with brief dialogue and songs. §Toole-Stott 3182.

 

70. [GABRIELLI, Francesco.] A line engraving of Gabrielli, “Portrait de Comedien. Tableau au Dominique Feti...,” [c. 1730]. 9 1/2” x 123/4”, plus ample margins; one point of foxing, just touching image. $300
A three-quarters length portrait of Gabrielli holding his mask down before him at his waist. A slightly later impression of an engraving by Nicholas de Larmessin (1640-1725). Francesco Gabrielli, the son of the equally renowned actor of the commedia dell’arte Giovanni Gabrielli, was the most famous Scapino of the period. He took that role with Scala’s I Confidenti (c. 1616) and Fedeli’s company in Paris (c. 1624).

 

71. [GARCIA, Eugenia.] A large broadside playbill announcing Garcia as Elvira in Bellini’s I Puritani, at the Princess’ Theatre, 1 April, 1843. 9 1/2” x 20”; a bit of horizontal and marginal creasing; a trifle frayed at extreme head and foot and central crease; early price in pencil to upper left corner; laid down to a piece of light framer’s board. $75
The soprano was joined in the cast by Templeton, Burdini, Weiss, Jones, and Severn at the London theatre.

 

72. GILLIS, J[ames]. THE CAPE BRETON GIANT. A Truthful Memoir. Halifax: T.C. Allen, 1919. Printed brown wraps; covers creased; upper cover chipped at some edges; backstrip chipped at ends; stapled; two halftone portrait plates preceding title-page. $30
An account of the life and career of Angus MacAskill, the giant and strongman (most closely associated with Barnum), and an excellent source of firsthand information and anecdotes. The two plates are portraits of the author and of MacAskill with Tom Thumb.

 

73. GREGOR, Joseph and René FÜLÖP-MILLER. DAS RUSSISCHE THEATER. Seine Wesen und seine Geschichte mit besonder Berücksichtingung der Revolutionsperiode. Mit 48 bunten und 357 einfarbigen Bildern. Zurich: Amalthea, n. d. [1928]. Folio; gilt-decorated red cloth; hinges starting, but holding; small stamp of Chekov Theatre Studio to front pastedown; 231 pages of plates (48 color plates). $250
A lavishly illustrated study of the Russian and Soviet theatre in the first quarter of the 20th century, with particular reference to the heady days just after the Revolution. The plates show stage and costume designs by Bakst, Exter, Kandinski, Pelenkin, and many others, including a great number from the Meyerhold Theatre. Still the most complete work on the subject. From the collection of the Chekhov Theatre Studio.

 

74. GRIFFIN, G.W.H. CAMILLE, An Ethiopian Interlude.... New York: Happy Hours Company, n. d. [c. 1860]. Thin 8vo; original pictorial pink wraps; backstrip frayed at head; contents very good. $50
A short sketch based on Dumas’ La Dame aux Camélias, “as performed by Griffin and Christy’s Minstrels at their Opera House in New York.” The cover depicts an enlarged blackface head emerging from behind a stage curtain.

 

75. [GRIFFITH, Elizabeth.] THE SCHOOL FOR RAKES: A Comedy. London: for T. Becket and P.A. DeHondt, 1769. First Edition. Disbound; half-a-dozen small splash stains to title-page; strip of early paper adhering to gutter at head of title-page; else very good and clean. $50
Based on Beaumarchais’s Eugénie and dedicated to Garrick (who had encouraged Griffith in the writing of this play). Garrick then produced it at Drury Lane. With an additional epilogue by Henry James Pye.

 

76. [GRIMALDI, Joseph.] A playbill for Grimaldi in Dibdin’s The Salmagundi at Sadler’s Wells, 11 May, 1818. Some embrowning; mounting traces to verso corners; slight fraying to right corners (away from text). $65
Grimaldi appeared as Clown and the flute obligato “with the power of pantomimic music,” but Signor Il Diavolo Antonio gets the bill’s headline for his “astonishing and elegant exhibition on the corde volante.” The performance concluded with the “new Caledonian melange, called The Gathering of the Clans, in the production of which the strictest attention has been paid to the minutiae of local character and custom.”

 

77. [GRIMALDI, Joseph.] A William Heath etched caricature, “Grimaldi’s Bang Up in the Popular Pantomime of Golden Fish.” London: T. Palser, 1812. 12 5/8” x 8 7/8”; trimmed to platemark; original hand coloring slightly faded; laid down to stiff card; one short crease at head; light toning and foxing, more to background than image. $300
Grimaldi is pictured as Clown (including cape and inverted-bowl headgear) in Harlequin and Padmanaba. He is seated in a carriage (created out of a wicker cradle, a coal shovel, sausage stuffer, a fireplace fender, and four cheeses) pulled by a dog. He brandishes a ribboned stick in his left hand (which also holds the dog’s reins) as he blows a toy trumpet held up in his right hand. From the carriage peek the heads of a cat and pig. A satire on both the equestrian spectacles of the time and the notorious curricle of Romeo Coates. The pantomime premiered at Covent Garden on Boxing Day 1811. Not in BM.

 

78. [GUIGNOL.] A large illustration, “Guignol. De chaque côté de la gravure, les deux célèbres marionnettes lyonnaises: Guignol et Gnaffron,” to the front of Le Petit Journal, Supplément Illustré, 5 March, 1911. Large folio; illustrated self wraps; illustrations to text; mild toning, primarily to edges; partially unopened. $40
The color illustration (10 1/2” x 11 3/4”) depicts a Guignol performance, with vignettes of Guignol and Graffon to the upper corners. The magazine’s contents include a description of the illustration; an article, “Les Marionnettes à travers le Monde”; and a poem, “A Guignol.”

 

79. [HARLEY, John.] A broadside announcing the upcoming benefit for Harley at Drury Lane, 4 June, 1821. Pale-blue stock; minor wrinkling; full margins. $25
The program was to incorporate a “popular opera” with Braham, Vestris, and Horn; a “budget of eccentricity” with Elliston, Harley, and Kelly; and the reappearance of Munden singing “Characters upon Characters.”

 

80. HOARE, Prince. THE LOCK AND KEY: A Musical Farce.... Correctly Given, As Performed at the Philadelphia Theatre. New York: Charles Wiley [and others], 1824. 16mo; disbound; engraved illustration to title-page. $16
An early American edition.

 

81. HOLBROOK, Kennedy. HOW? or Spare Hours made Profitable for Boys and Girls. New York: Worthington, 1887. Pictorial green cloth, gilt; extremities rubbed; frontispiece; decorative title-page; plates; numerous illustrations and figures to text; occasional finger soiling. $50
This well-illustrated activity book contains instructions for more than 200 projects. Amongst these are puzzles, magical cards, arithmetical tricks, bottle imps, a camera obscura, and panoramas.

 

82. [HOLCROFT, Thomas.] HE’S MUCH TO BLAME, A Comedy. Second Edition. London: Robinson, 1798. Disbound; fore-edges trimmed close. $15
The same year as the first edition and premiere performance.

 

83. INCHBALD, [Elizabeth]. EVERY ONE HAS HIS FAULT: A Comedy.... The Second Edition. London: for G.G.J. and J. Robinson, 1793. Disbound; lacking half-title; a bit of dusting and foxing; early reinforcement to verso of terminal leaf at gutter. $20
A sentimental comedy owing “a great deal to the work of men like Etherege and Congreve and bear[ing] a strangely modern note (Nicoll).”

 

84. INCHBALD, [Elizabeth]. I’LL TELL YOU WHAT. A Comedy. The Second Edition. London: for G.G.J. and J. Robinson, 1787. Disbound; lacking half-title; publisher’s advertisement leaf at end. $25
Inchbald’s plays “are as good as any of her time, and one, at least, I’ll Tell You What You Want, has quality sufficient in its situations and characters to warrant revival (Nicoll).”

 

85. [INGLIS, Alfred.] STODARE’S FLY-NOTES; or, Conjuring Made Easy. By Colonel Stodare. London: Routledge, 1867. First Edition. Small 8vo; original three-color boards; extremities rubbed; rear hinge tender; vignette illustrations; publisher’s advertisements to endpapers; clean internally. $275
A yellowback published shortly after the death of Egyptian Hall conjuror, Inglis. Reported to have been a natural son of John Henry Anderson, he premiered the Indian Basket Trick to London audiences. This handbook includes chapters on palmistry and passes; tricks with and without collusion; tricks by magnetism, chemistry, or galvanism; on the continuity of tricks, and “friendly suggestions.” A total of 30 illusions are dealt with in some detail accompanied by more than 30 illustrations. §Toole-Stott 645.

 

86. IRVING, Henry. THE DRAMA. Addresses.... With a Frontispiece by Whistler. New York: Tait, Sons & Company, [1892]. Small 8vo; cloth; frontisportrait, tissue guarded; some underlining and brief marginalia in pencil, t.e.g. $25
A volume collecting Irving’s lectures “The Stage as it is” (1881), “The Art of Acting” (1885), “Four Great Actors” (1886), and “The Art of Acting (1891). The frontispiece reproduces Whistler’s portrait.

 

87. [JANAUSCHECK, Francesca.] MARIA STUART: Tragedy... by Frederick Schiller, As Performed by Mlle. Fanny Janauscheck and Her Company of German Artists, at the Academy of Music under the direction of Max Maretzek. New York: Academy of Music, n.d. [c. 1868]. Tall 8vo; disbound; text in double columns. $18
A dual-language text, a souvenir of the Czech-born actresses early appearances in New York.

 

88. [JORURI.] A booklet in a series of joruri plays, [c. 1900 (?)]. 8vo; later wraps; upper cover lettered in ink; some thumbing to lower fore-corners; performance onlays to three leaves; a few red performance markings to text; final leaf in manuscript. $70
The text to the joruri chant for the reciter at a bunraku puppet play (presented to musical accompaniment). This example contains 38 (plus one in manuscript) double-sided leaves printed in the calligraphic style reserved for the theatre, with rounded swooping characters in kana. This copy carries a few red performance marks and three onlays which further alter the text for performance.

 

89. [JUVENILE DRAMA.] A sheet, “Six Incidents in Black Eyed Susan.” London: Orlando Hodgson, [c. 1835]. Three full margins; dark impression; one small light-blue smudge near bottom of plate; mounting traces (blue) to verso; very good. $85
An unusual juvenile drama sheet, presenting six scenes in the play, as opposed to individual characters. Jerrold’s nautical melodrama was first performed at the Surrey in 1829.

 

90. [JUVENILE DRAMA.] A twopence-colored sheet of “Hodgson’s Theatrical Characters in Guy Fawkes. No. 4.” [London: Hodgson & Co., 1822.] Some chipping to (blank) corners; colors very good. $45
Six characters in two rows, including the Earl of Salisbury and the executioner. MacFarren’s popular piece premiered at the Coburg in September 1822.

 

91. [JUVENILE DRAMA.] A pair of large sheets, backdrop and sidewings, “Kerker.” Neuruppin, Gustav Kühn, [c. 1840]. Chromolithographed; some fraying to a couple of margins, well away from image; central vertical crease to each. $60
The interior of a prison cell. The Kühn family were one of the first German publishers of cheaply produced, chromolithographed juvenile drama sheets (often pirated). Because of their ephemeral nature they have become scarce.

 

92. [JUVENILE DRAMA.] A sheet of “Park’s Combat in Robert Bruce. No. 8.” London: A. Park, [c. 1840 (?)]. Colored by hand. $35
A combat between the armored figures of Robert Bruce and Kirkpatrick.

 

93. [JUVENILE DRAMA.] A colored character sheet, “Uftarte, die geraubte See.” [Esslingen: J.F. Schreiber, c. 1890.] 16” x 14”; tear to one figure (with neat, early repair). $30
Twelve costumed fairy-tale characters for the toy theatre.

 

94. [JUVENILE DRAMA.] A halfpenny sheet, “Skelt’s Scenes in the Floating Beacon. Scene 3.” London: M. Skelt, [c. 1835]. Very good. $20
The deck of a ship at sea, lightning flashing in the sky, in the nautical melodrama.

 

95. [JUVENILE DRAMA.] A partially colored sheet, “Skelt’s Scenes in Der Freischutz. No. 3.” London: M. & B. Skelt, [c. 1845]. Thin strip of toning to right margin; lower right corner chipped; image very good. $18
A moonlit cataract. The brown tones have been hand colored.

 

96. [JUVENILE DRAMA.] A halfpenny sheet, “Skelt’s Characters in The Inchcape Bell. Plate 7.” London: M. Skelt, [c. 1835]. Two pinholes to left margin. $20
Eleven figures in the nautical melodrama.

 

97. [JUVENILE DRAMA.] A sheet of characters, “Die Jungfrau von Orleans.” Vienna: M. Trentsensky, [c. 1855]. Large format (14 7/8” x 8 7/8”); original color, bright; some crimping along lower edge; faint surface soiling. $40
Six costumed figures, vibrantly colored by hand, for Trentsensky’s juvenile drama adaptation of Schiller’s tragedy. One of the two figures of Johanna shows her breaking her wrist chain.

 

98. [JUVENILE DRAMA.] A large-format sheet, “West’s New Ground Pieces, No. 2.” London: W. West, 1825. 14 1/2” x 6 1/4”, plus slight side margins; dark impression. $75
An unusual two-penny sheet (uncolored) issued by William West. It contains a pair of ground settings and four set pieces (a pump and three examples of statuary).

 

99. [KEAN, Charles and Ellen.] A tall triple-page broadside playbill announcing the Keans in Byron’s Sardanapalus at the Royal Princess’s Theatre, 2 September, 1853. 29” x 22” fully opened; minor dusting, but overall very good. $80
The bill for the last night of Kean’s season notes Byron’s tragedy was “considerably abridged for stage representation.” The entirety of the first page is taken up with Kean’s argument concerning the play and its production. Very few of these triple-page bills survive.

 

100. [KEAN, Edmund.] A Drury Lane playbill for Kean as Sir Giles Overreach in Massinger’s A New Way to Pay Old Debts, 15 January, 1816. About fine. $80
This was Kean’s second appearance in one of his most celebrated roles, also with Miss Tidswell as Froth. Tidswell helped to bring Kean up and was responsible for his early theatrical education. The second piece on the bill was the pantomime Harlequin and Fancy, the cast including Barnes as Harlequin, Paulo as Clown, and Tree as Columbine.

 

101. [KEAN, Edmund.] A juvenile drama sheet, “Mr. Kean in Six Favorite Characters.” London: Orlando Hodgson, [c. 1833]. Three full margins; dark impression; very good. $150
A particularly well-executed sheet of six miniature portraits produced about the time of the actor’s death. The roles are Othello, Rolla, Brutus, Sir Giles Overreach, Richard III, and Macbeth.

 

102. [KEAN, Edmund.] An account of the Cox vs. Kean trial in a complete issue of Salem’s Essex Register, 31 March, 1825. Folio; light foxing; slight wear to inner margin from removal; central horizontal crease; otherwise very good. $40
The two-column, front-page article entitled “Fashionable Morality,” comments on the case, Kean’s “infamous familiarity with [Mrs] Cox [and]... criminal correspondence of the most disgusting nature during the whole period in which Mr. Kean was the admired idol of wonder-loving Americans,” and reprints some of the letters produced in court.

 

103. [KEAN, Edmund.] DRURY-LANE THEATRICAL GAZETTE. November 25, 1816. [London: John Fairburn], 1816. Unbound; untrimmed. $40
An eight-page gazette with a bill for Kean’s second appearance in Morton’s The Iron Chest (followed by Byrnes’s ballet The Bridal of Flora and Colman’s The Review), the songs of the first play, and descriptive analyses of both dramas. Uncommon.

 

104. [KEAN, Edmund and Junius Brutus BOOTH.] DRURY-LANE THEATRICAL GAZETTE. February 22, 1817. [London: John Fairburn], 1817. Unbound; untrimmed. $50
An eight-page gazette with a bill for Kean and Booth “(second appearance)” in Othello (followed by Kemble’s The Pannel) and descriptive analyses of the dramas. Uncommon.

 

105. [KELLY, Michael and Anna Maria CROUCH.] A playbill for the Theatre, Wakefield announcing Kelly and Crouch in Bickerstaffe’s opera Lionel and Clarissa, 14 September, 1787. A bit of fraying to outer left margin; one central horizontal crease. $80
A bill from the pair’s tour of the north of England in 1787, this performance “by desire of the Earl of Scarbrough, steward of the races.”

 

106. [KEMBLE, Frances Anne.] A playbill for a Royal Command performance with Kemble as Lady Townly in Vanbrugh’s The Provoked Husband at Covent Garden, 1 November, 1830. Pale blue stock; very good. $60
A well-preserved playbill with a bold “By Command of Their Majesties” and coat-of-arms at the head. The program opened with “God Save the King” sung by the principal singers and full chorus.

 

107. KEMBLE, J[ohn] P[hilip]. MACBETH, AND KING RICHARD THE THIRD: An Essay, In Answer to Remarks on Some of the Characters of Shakespeare. London: John Murray, 1817. Contemporary boards; moderate soiling to covers; rubbing and wear to extremities; backstrip chipped; paper label to spine, worn; hinges just holding; scattered light foxing; ownership inscription of J. Cowell to front pastedown; contemporary subscription list of a circulating library (in ink) to front flyleaf. $125
The actor’s essay on Macbeth was previously published in 1786 as an answer to Thomas Whatley’s Remarks.... That on Richard III appeared for the first time in this edition. §LAR 3187. Jaggard, p. 182.

 

108. [KING’S THEATRE.] An engraved plate, “Masquerade at the King’s Theatre Opera House, Don Juan partaking of the Sports.” London: Thomas Kelly, 1821. 15 1/2” x 6 1/2”; trimmed to platemark; original hand coloring, bright; one (closed) vertical tear, repaired; one short, closed tear to blank portion at foot; three vertical creases; in a modern mat. $75
A panoramic view of the interior of the King’s Theatre, the band on the balcony set into the proscenium. Three dozen costumed revelers dance or stand in the foreground, including a Harlequin, Jolly Tar, owl, and the pig-faced Mrs. Atkinson.

 

109. [KLINGEMANN, August.] An engraved costume plate, “aus dem Schauspiel Columbus.” [Berlin: L.W. Wittich, 1812.] 5 1/2” x 8 1/4”, plus margins; original hand coloring, bright. $40
A full-length portrait of an actor, standing, in native costume and feathered headdress. He holds a large club over his right shoulder and a bow in his left hand. The costume relates to a production of Klingemann’s historical drama at Berlin’s Königlich National-Theater.

 

110. LAGARDE, Émile. OMBRES CHINOISES, GUIGNOL, MARIONNETTES. Paris: P. Paclot et Cie, n. d. [c. 1900]. Red boards; elaborate silver decorations to front cover; slight wear to extremities; plates and illustrations. $65
An illustrated account of shadow puppets, hand shadows, marionettes, Guignol, and hand puppets.

 

111. LANDELLS, E. THE BOY’S OWN TOY-MAKER. A Practical Illustrated Guide to the Useful Employment of Leisure Hours. With Numerous Engravings. New York: D. Appleton, 1860. Small square 8vo; publisher’s cloth, stamped in decorative blind and gilt; moderate wear to extremities; decorative endpapers; engraved frontispiece; early owner’s (small) ink stamp to front endpapers and verso of title-page; slightly shaken; profusely illustrated with vignette engravings and figures. $100
First published the previous year, this is a slightly expanded edition of one of the more technically advanced juveniles of the period. It incorporates paper toys, fire balloons and parachutes, the thaumatrope, models, toy boats, archery, angling (including fly-fishing), golf, practical puzzles, and much else. It is very well illustrated.
§Toole-Stott (Conjuring) 1289.

 

112. LAUGIER, Adolphe. NOTICE SUR TALMA, Dedie a la Comedie-Française. Paris: Hautecoeur, 1827. Disbound; facsimile plate; mild foxing to first and last leaves. $70
Written on the death of the great French tragedien in 1826, this booklet (136 pp.) is a good factual biography, well organized chronologically with actual dates. The facsimile leaf is of a letter from Talma.

 

113. [LESSING, Madge.] A photographic postcard, inscribed and signed, [c. 1903]. Adhesion marks to portions of margins. $10
A full-length image of the Edwardian actress and music hall favorite. Signature difficult to read against dark background.

 

114. [LEWIS, (?)]. A juvenile drama portrait, “Mr. Lewis as William the Conquerer.” [London]: William Cole, [c. 1824]. Colored by hand, vibrant; mild dusting to edges; else very good. $85
The actor stands, legs apart, in armor and plumed helmet. His arms are upraised, one holding a shield and the other lifting a sword. Fitzball’s William the Conquerer premiered at the Royal Coburg in May 1824. The publisher Cole was in business from 1821 and for a time in partnership with Hodgson.

 

115. LEWIS, M[athew] G. THE CASTLE SPECTRE: A Drama. Fifth Edition. London: for J. Bell, 1798. Disbound; hint of foxing to title-page and final leaf; publisher’s advertisement at the end. $25
Lewis’s most famous play. Calling it “a brilliant example of the more thrilling type of melodrama,” Nicoll cites a host of influences: Shakespeare, Sheridan, Walpole, and Schiller amongst others.

 

116. [THEATRE LIBRE.] A program for the first performance of Tolstoy’s La Puissance des Ténébres at Antoine’s Théatre Libre, 10 February, 1888. 4to leaf; text to recto. $65
This was the premier performance of Tolstoy’s drama (it was not produced in Russia, at St. Petersburg’s Alexandrinsky Theatre, until 1895), the cast including Méristo as Nikita and Antoine as Akim. Antoine recorded the presentation “was a triumph; Tolstoy’s play was universally hailed as a masterpiece.”

 

117. [LINLEY, Elizabeth Ann.] A stipple-and-line engraved portrait of Linley as St. Celia, after Reynolds. [London]: Dean and Mundy, 1816. 4” x 7 1/4”, plus wide margins; printed in sepia. $25
An oval portrait of the singer (titled “Mrs. Sheridan”), half length in profile to the left, with musical ornaments surrounding the oval.

 

118. [LISTON, John.] A playbill for the first night of Planché’s The Legion of Honour with Liston as Pierre Galliard, 16 April, 1831. Pale-blue stock; stitching holes to outermost left margin; nearly fine. $20
Liston was also seen in the farce High Ways and By Ways.

 

119. [LOFTUS, Marie and Marie LLOYD.] A Drury Lane program for Loftus and Lloyd in the pantomime Little Bo-Peep, Little Red Riding Hood, & Hop O’ My Thumb, 1 March, 1893. 4to; chromolithographed decorative covers; slight wear to edges. $15

 

120. LOUNSBERY, G. Constant. VIOLANTE DI VENEZIA. N. p.: [c. 1910]. 4to; plain, stiff wraps, dust soiled; typewritten text to rectos only; holograph annotations and corrections to text. $85
An original typescript to a one-act verse drama, owing something to the Symbolists. This was Beatrice Campbell’s copy with extensive revisions, additions, stage directions, and notes in her hand. The only drama by this author noted by Nicoll is an adaptation of Wilde’s Picture of Dorian Gray.

 

121. [LYON, Thomas.] A penny-plain portrait of Lyon as Faustus. London: W. G. Webb, [c. 1852]. Trifling dusting and wear to edges. $35
Lyon stands, legs apart, in right profile, left arm raised in trepidation, a dagger in his right hand. Behind, the moon illuminates alchemical paraphernalia.

 

122. MACKLIN, Charles. LOVE A LA MODE. A Farce. London: John Bell, 1793. Disbound; some dustsoiling; holograph notes to title-page and text; edges shaved. $50
This copy carries the holograph note, “Prompt Book of Symposiarkian Society” and the initials of James Winston to the title-page. The text itself carries prompt markings for entrances and exits (“P.S.” for prompt side and “O.P.” for opposite prompt) and underscoring of stage business. Some of the notations are affected by the trimmed margins.

 

123. [MACREADY, William Charles.] A double-page Covent Garden playbill for Macready as King John, 30 March, 1837. Some creasing and soiling. $40
The cast also included Vandenhoff as Faulconbridge and Faucit as Lady Constance. Much of the second page is taken up with an outline of scenes in the “new grand Eastern romantic spectacle, Noureddin and the Fair Persian, taken from the Arabian Nights’ Entertainments.”

 

124. [MACREADY, William Charles.] A hand-tinted and tinseled juvenile drama portrait, “Mr. Macready as Rob Roy MacGregor.” [London: A. Park, c. 1840.] 8” x 10”; trimmed to edges of image and remounted; hand colored; silk and tinsel applied. $400
A richly tinseled figure in armor, kilt, and headdress. Macready stands, legs apart, a shield held up before him in his left hand and a sword grasped (pointing downwards) in his right. A broken battle-ax is propped behind him. The background is a Highlands scene with a castle in the distance. There is significant decorative tinsel to both the armor and arms and much painted silk to the costume.

 

125. [MARIO, Giovanni.] A one-page letter, signed, from Mario. N. p.: 17 April, [1874]. 4to folded; integral leaf blank; original folds; minor dusting to edges. $175
A personable letter from the great lyric tenor written soon after his final tour (of the US — with Adelina Patti — 1872-73). An uncommon signature.

 

126. MASSINGER, Philip. THE PLAYS OF PHILIP MASSINGER. Adapted for Family Reading, and the Use of Young Persons, by the Omission of Objectionable Passages. Harper’s Stereotype Edition. New York: J. & J. Harper, 1831. 3 vols. 12mo; original cloth; extremities scuffed; engraved frontisportrait to first volume, tissue guarded; foxed; bookseller’s advertisements. $45
A well-preserved, early cloth binding. The text is comprised of a life of Massinger, “wholesome” texts of 13 plays, and “Selections from the Roman Actor.”

 

127. [MATHEWS, Charles and Ellen TREE.] A Drury Lane playbill for Mathews and Tree in Morton’s A Cure for the Heart-Ache, 19 June, 1828. Some offsetting. $25
Mathews also performed in Poole’s Who’s Who?

 

128. MAY, Earl Chapin. THE CIRCUS FROM ROME TO RINGLING. New York: Duffield and Green, [1932]. Purple cloth; spine a little faded; numerous illustrations. $25
“A useful reference work, particularly on the modern American circus and the artistes performing with the Ringlings (Toole-Stott).” Amongst Toole-Stott’s “100 Best Circus Books.” §Toole-Stott 488.

 

129. [MICHOT, Pierre Jules.] A one-page autograph letter, signed, from Michot to an unnamed recipient. Chatou: 1 July, 1864. 8vo leaf; original folds; very good signature. $45
A brief letter, signed “J. Michot,” mentioning Donizetti’s La Favorite at the recipient’s theatre. Michot was the lead tenor of the Theatre Lyric, Paris during the middle years of the 19th century.

 

130. [MOHAWK, Go-Won-Go.] A tall, double-sided streamer for Mohawk in Carter’s The Flaming Arrow, the week of 19 January, [1903]. 9 1/2” x 40”; orange stock; decorative block title and four illustrations to recto; two large (12” x 8”) block illustrations in landscape to verso; seven horizontal folds, with a few points of fraying (primarily at margins); two other closed tears to one margin. $200
Mohawk, billed as the “only Indian actress in the world,” appeared with a company of “sixteen selected artists together with eighteen full-blooded Indians in the only Western Indian play that is not an absurd travesty full of lurid impossibilities.” Trick horses, ponies, dogs, and burros were also incorporated into the play. The bill carries six different illustrations, both spectacular and comical. The actress Mohawk was said to have been a descendant of Red Jacket and was born on the Cattaraugus Reservation in Gowanda, New York. As she had in The Indian Mail Carrier, she played a hard-riding, knife-fighting male hero.

 

131. MORTON, Thomas. SPEED THE PLOUGH: A Comedy. London: for Longman and Rees, 1800. Disbound; dustsoiling to title-page. $20
The best known of Morton’s plays, a successful blending of pathos and broad comedy, famous for introducing the (off-stage) character of the moral watchdog Mrs. Grundy. First published the same year.

 

132. [MOSCOW ART THEATRE.] MOSCOW ART THEATRE. A Symposium. London: Soviet News, 1958. Decorative wraps; stapled; illustrated throughout. $20
This booklet, no. 27, contains a history of the theatre by its director, A. Solodovnikov; an essay by N. Volkov on Stanislavsky and Nemirovich-Danchenko; and V. Vilenkin writing on Chekov and the Art Theatre. The appendices are an overview of Soviet theatres and short biographies of some of the players. Well illustrated.

 

133. [MOULTRU, (?).] FALSE AND TRUE: A Play.... Dublin: Thomas Burnside, 1798. 12mo; disbound; moderate foxing to some leaves; fore-edges trimmed closed, affecting a few letters to three leaves; light dampstain to lower fore-corner of second half of text. $30
The first Dublin edition of Reverend Moultru’s comedy, subtitled “The Irishman in Italy.” It was first performed at the Haymarket in August 1798. The text to the songs, duets, and glees (music by Arnold) are printed throughout.

 

134. [OFFENBACH, Jacques.] A Boston Museum program for Offenbach’s The Grand Duchess, 9 July, 1883. 4to; minimal dusting; minor mounting trace to gutter of back page. $20
The right column of the front page announces several highlights of the “inauguration of the 43rd Dramatic Season” at the Museum.

 

135. [OLD-PRICE RIOTS.] A Covent Garden playbill for 10 October, 1809. Some dusting to margins; closed posting hole near head; tear to lower right corner (mostly margin, but affecting three or four words of text); laid down. $200
The program at the head announces The Woodman and The Village Lawyer, but what makes this of great interest are the management’s statements regarding their actions in the ongoing O.-P. controversy printed over the lower two-thirds of the bill. Much of this is the report of the committee for examining the Covent Garden accounts (and justifying the increase in prices). Below this is the numerical statement of the theatre’s accounts for the past six years and at the foot an account (of some 250 words) on behalf of the proprietors of “the proportions of space allotted to the audience in the new... Covent Garden, in the old theatre, and in Drury Lane.”

 

136. [PANTOMIME.] A Drury Lane playbill for Dibdin’s pantomime Harlequin Harper; or, A Jump for Japan, 4 January, 1814. Corners tipped to an early album leaf. $25
The Christmas pantomime featured performances by Barnes, Kirby, and Hartland. The evening opened with Dibdin’s Orange Boven, with dances by Byrne and Smith.

 

137. [PARIS HIPPODROME.] A color pictorial trade card for the Paris Hippodrome, [c. 1880]. 4 3/4” x 3 1/4”; chromolithographed illustration to front; text to reverse; very good. $65
The illustration shows a lion tamer directing a male lion as it leaps from a perch onto the back of a horse which is itself leaping a low hurdle. The reverse advertises the Hippodrome au Pont de l’Alma, “Le Lion, le plus grand succés... Exercises Équestes — Pantomimes....”

 

138. PELLET-DESBARREAUX, [Hippolyte]. LE CHAMP DE MARS, ou, La Régénération de la France; Divertissement...Terminé par un Vaudeville. Toulouse: Broulheit, 1789. First Edition. Unbound; stitched; untrimmed; contemporary pink bookseller’s label to title-page; very good. $65
A rather good, unsophisticated copy of the sole edition of Pellet-Desbarreaux’s divertissement. A patriotic piece set in the court of Charlemagne, it was first performed at the Theatre de Toulouse in August 1789. The approbation at the end states, in part: “allusion ingénieuese aux événemens présens, qui ne peut qu’ être parfaitement bien accueillie du Public.”

 

139. [PHELPS, Samuel.] A large-format broadside playbill for Phelps as Prospero in The Tempest at Sadler’s Wells, the week of 7 April [1847]. 9” x 19 1/2”; very good. $25
This was Phelps’ first production of The Tempest at Sadler’s Wells, perhaps most notable for George Bennett’s interpretation of Caliban.

 

140. PLANCHÉ, J[ames] R. YOUNG AND HANDSOME. A New and Original Fairy Extravaganza.... London: Thomas Hailes Lacy, n. d. [c. 1860]. 12mo; disbound; marbled edges. $25
A one-act burlesque founded on Murat’s fairy tale of Jeune et Belle, with music by Barnard. It premiered at the Olympic on Boxing Day 1856.

 

141. [POWELL, Harriet.] A mezzotint portrait, “Miss Harriet Powell, Engraved from a Painting of Mr. Peters..., by J. R. Smith.” London: J. Boydell, 1776. 10 1/4” x 12 3/4”, plus margins; moderate speckling and soiling. $100
A head-and-shoulders portrait of Powell, to the left and face to the front, decorative lace to cap and around neck and shoulders. Oval frame within mezzotint. The actress and singer (fl. 1769-1779) Powell became Countess of Seaforth after her marriage to Kenneth Mackenzie (2nd Earl of Seaforth). This portrait is not in the Harvard Catalogue which records only one other mezzotint of the actress. A scratched-letter proof (first state, with final letter of “Powell” almost erased). §Chalner Smith 137. D’Oench 81.

 

142. [PUPPETRY.] A hand-colored engraving, “Le Bagattelle,” by F. Palizzi. [Paris: Bourrant, 1853.] 6 1/2” x 10”; hand colored, bright; in a light, modern mat. $150
A Neapolitan puppeteer holds a Punchinello puppet up in his right hand and an upturned straw hat in his left. Another puppet leans over the platform of the puppet booth.

 

143. [PUPPETRY.] An etched caricature, “Billy Pierrot and His Puppet,” by Williams. [London]: S. W. Fores, 1804. 9 1/4” x 13 1/4”; trimmed to platemark; good original color; staining to two edges, light along head and moderate to right edge; four tears at foot (one affecting foot of two letters of title and the others closed) with early repair to verso. $100
A satire featuring William Pitt dressed as Pierrot. He plays with a puppet in the shape of G. B. Mainwaring. As he pulls the strings of the puppet he says: Here is a Gentleman, a Chip of the Old Block One of my own Manufactory. Here we go up up up, And then you go down down downee. Behind him is a fingerpost “To Brentford” along a road on which pass carriages decorated with slogans. A satire relating to the Middlesex Election of 1804 (when F. Burdett opposed Mainwaring on claims of qualifications as knight of a shire). §BM 10263.

 

144. [QUAGLIENI, Josephine.] An original pen-and-ink sketch of a circus scene, “Signora Josephine Quaglieni in her Flights of Fancy!” initialed J.D.C. and dated 1874. 10 1/4” x 7”; to stiff album stock; another sketch by the same artist to reverse; very good. $600
A charming semi-naïve depiction of a lively circus scene. Quaglieni is pictured leaping from the back of a galloping horse over a length of cloth held up by a ring assistant standing on the ledge of the ring and a clown on a pedestal. The ringmaster, whip in hand, orchestrates from the side. Behind the performers may be seen a congested crowd of amazed onlookers. The equestrienne, born in Germany, was from a family of circus riders and proprietors. Her father Antonio moved the troupe to Britain in 1856. Josephine was known as an elegant and peerless bareback equestrienne, best known for the feat of leaping through 40 balloons.

 

145. [RENZ, Océana.] PARIS-PORTRAIT. NUMERO 308. [Paris]: 1879. Folio; portrait photograph to decorative front cover; text in three columns; two gentle horizontal folds; a few spots of light foxing. $45
This issue of the theatrical periodical (for 10-16 April, 1879) features an article on the trick equestrienne and wire walker Océana. It also contains reviews of performances at the Comédie-Française, Odéon, Opéra-Comique, and other Paris theatres, as well as other articles. Tipped to the front, as issued, is a three-quarters-length portrait photograph of Océana.

 

146. RICCOBONI, Louis. REFLEXIONS HISTORIQUES ET CRITIQUES SUR LES DIFFERENS THEATRES DE L’EUROPE. Avec les Pensées sur la Déclamation. Paris: Jacques Guerin, 1738. First Edition. Contemporary speckled calf; upper cover detached; corners a little worn; spine in compartments, gilt; red morocco label; spine ends chipped; woodcut device to title-page; closed tear from margin (with neat archival repair) to F6 and K3 (the latter touching footnote, but with no loss of text); occasional light marginal spotting. $300
An important study of theatrical practices by the noted theatrical manager and actor (he created the much-loved character of Lélio, in the commedia dell’arte tradition, for the Nouveau Théâtre Italien of Paris). It offers much insight into staging methods, histrionic styles, theatrical customs, and the regulation of the Continental theatre and opera.

 

147. [ROSSI, Ernesto.] OTHELLO. Tragedie... de W. Shakespeare. Traduction Italienne de Guilio Careano. Paris: Lévy Frères, 1866. Tall 8vo; disbound; untrimmed; very minor foxing to a few fore-edges; text in double columns. $20
A dual-language (Italian and French) text of Shakespeare’s tragedy as presented by Rossi (himself portraying Othello) at Paris’ Théatre Impérial Italien from 29 May, 1866.

 

148. [RUSSELL, Annie.] ANNIE RUSSELL IN A ROYAL FAMILY. As Produced at the Lyceum Theatre. New York: R.H. Russell, 1900. 4to; decorative stiff red wraps; minor wear to backstrip; contents printed to heavy stock; stitching loose; frontisportrait; illustrated; internally fresh. $30
A pictorial souvenir with 18 scenes and costumes (most full page) from Froham’s production featuring the Canadian actress.

 

149. [SAINT-DENIS, (?).] A one-page autograph letter, signed, to a M. Nannon. Paris: 29 April, 1842. 4to leaf, folded; original creases for mailing. $40
The singer (marked “1er baryton a’ l’Opéra” in an early hand in pencil) writes the costumer Nannon concerning fabrics and costumes.

 

150. [SAMEE, Ramo.] A decorative broadside playbill announcing Samee at the Royal Victoria Theatre, London, the week of 19 November, 1831. 8 3/4” x 13 1/2”; wide decorative border; corners of verso tipped to a 19th-century album leaf; very good. $225
The bill announces the exhibition of the “looking-glass curtain, before which Ramo Samee and the Swiss Brothers will go through their Novel Feats.” This curtain was a set of mirrors filling the entirety of the theatre’s proscenium. Samee exhibited feats of juggling, conjuring, and sword swallowing. With a splendid arched decorative border.

 

151. [SCHERR, Johannes.] EL PRINCIPE DE LA PAZ UND DIE MICHELINE. Puppenspiel.... St. Gallen: Scheitlin und Zollikofer, 1859. First Edition Small 8vo; original patterned black boards; moderate wear to edges of boards, joints, and foot of spine; very light stain to upper forecorners of early leaves, embrowning to leaf of publisher’s advertisements at end. $150
A three-act puppet play set in Switzerland in the years following the Sonderbundskreig and resulting ratification of the federal constitution in 1848. “Ein wohlbekannter Axetor, der frührer auch mithandelnd in die Zietgeschichte eingegriffen, lägst hier in mit fester Hand gezeicheneten, scharfilmrissen Bildern die Eregnisse der letzen Jahre und bis zur gegenwärtigen Katastrophe aus dem Spiegel der Satyre widerscheinen. Das Puppenspiel wird den Leser ergötzen, aber auch zum Kachdenken stimmern, denn hinter der Maske des Humors blickt ein tiefsittlicher Ernst und glühender Patriotismus hervor, strafend, mahnend, und begeisternd.” Published anonymously soon after Scherr’s exile in Switzerland. No copy traced in the Deutschen Nationalbibliotek, one copy in the Schweitzerische Nationalbibliothek. Not in Randsome or Purschke.

 

152. [SELBY, Clara.] A juvenile drama portrait, “Mrs. Selby as Valentine.” London: W. Webb, [1860 (?)]. Trimmed close at head and foot; colored by hand; laid down to light stock. $55
The actress is depicted as the hero of Valentine and Orson, standing, legs apart, in armor and helmet. She raises a shield on her left arm and grasps a sword in her right hand.

 

153. [SHAKESPEARIANA.] A silk bookmark, “Shakespeare’s Tercentenary Commemoration April 23, 1864.” [Coventry (?): 1864.] 2” x 6” (plus tassel at bottom); nearly fine. $40
A five-color decorative silk bookmark, the central image is a bust portrait of Shakespeare encircled in laurel leaves. Presumably a ‘Steveno-graph’ by the Coventry firm.

 

154. [SHERIDAN, Richard Brinsley.] An engraved portrait identified in pencil as “R.B. Sheridan in 12th Night at 12 yrs old.” [London: Dodsley, 1781 (?).] 3 1/4” x 5”; mounted to an early blank leaf; pencil annotation to both portrait and mount. $25
An illustration to Thomas Sheridan’s A Course of Lectures on Elocution, a full-length portrait, standing, right arm raised in gesture. The note to the mount states: “This was in an early... bound collection of actors’ portraits.”

 

155. SHERIDAN, [Richard Brinsley]. SHERIDAN’S PLAYS. Now Printed As He Wrote Them. And His Mother’s Unpublished Comedy, A Journey to Bath. Edited by W. Fraser Rae. With an Introduction by Sheridan’s Great-Grandson The Marquess of Dufferin and Ava. London: David Nutt, 1902. Large 8vo; half brown morocco; pebbled cloth; very minor wear to extremities; marbled endpapers; title-page in red and black; a.e.g. $50
An inscribed presentation copy to the editor’s cousin, William H. Fraser.

 

156. SHIRLEY, William. EDWARD THE BLACK PRINCE; or, The Battle of Potiers: An Historical Tragedy. Attempted after the Manner of Shakespear. London: for J. and R. Tonson and S. Draper, 1750. First Edition. Disbound; lacking half-title; trimmed at head, affecting first word of title-page; very good. $50
Of Canadiana interest in that in the dedication to the Earl of Halifax, Shirley congratulates his patron on the establishment of a government in Nova Scotia. The play premiered at Drury Lane in January 1750 with a cast featuring Garrick as Edward and Barry (who was held to have stolen the show) as Lord Ribement. Shirley soon afterwards quarreled with Garrick and attacked him in a pamphlet of 1758.

 

157. [SIDDONS, Sarah.] A holograph Shakespearean quote, signed, by Siddons, [c. 1810]. 16mo leaf; one horizontal fold; upper portion mounted to a slightly larger sheet of brown paper; dark holograph text and signature. $250
“All the world’s a Stage and all the men and women merely Players.”

 

158. [SMOCK ALLEY.] A collection of five plays, “As Acted at the Theatre, Smoke-Alley, Dublin.” Dublin: for the Booksellers, 1786. 12mo; full contemporary mottled calf; elaborate, decorative gilt to spine; morocco label; one engraved frontispiece (a portion of the legend to the foot scraped away) and one folding, engraved plate to text; very good. $175
The plays are Sheridan’s The School for Scandal and The Duenna, O’Keefe’s The Agreeable Surprise and The Poor Soldier, and Macklin’s Love-A-La-Mode. The first play carries two engraved plates.

 

159. [SOPHOCLES.] A pair of engraved scenes in one plate, “de la Tragédie de Philotecte (sic)”, [c. 1740]. 10 1/2” x 15 3/4”, plus margins; dampstained at foot, affecting lower third of one image. $50
Two well-executed French engravings, featuring expansive settings for Sophocles’ tragedy, from the first half of the 18th century. The scene at the top is Act II, Scene 5 and that at the bottom Act I, Scene 5.

 

160. [SOVIET THEATRE.] [THE WORKER’S THEATRE No. 27.] [Moscow: Teakinopetschat], 1934.
Color, decorative wraps; covers frayed at backstrip and edges; stapled; numerous halftone (and one line) illustrations. $60
A “best-of” edition for the tenth anniversary of this Soviet theatrical periodical (1924-34), with several illustrations.

 

161. [STRACCIARI, Riccardo.] A holograph quotation, signed, from Stracciari. New York: 4 April, 1909. Oblong (5 1/2” x 2 7/8”) slip; tipped to larger slip of card. $45
A very good signature of the great Italian baritone (known for his Figaro and Rigoletto).

 

162. [STRONGMEN.] A two-page holograph letter from the Brothers McCann to T. Wilkinson. N. p.: 1 October, 1883. Oblong 8vo; printed letterhead, holograph text both sides; original folds. $50
The strongmen Hercules and Sampson McCann, “the marvellous muscular men, champion strong men of the world,” offer terms of engagement (“including lifting at every performance 10 heavy men with the shoulders”) at the Brighton Aquarium.

 

163. [SULLIVAN, Arthur.] A holograph address, in Sullivan’s hand, to an envelope. London: 27 September, [18]70. A small envelope, addressed to Mrs. Henry Jackson. To the inner edge of the rear flap is also the inscription: “Perhaps you had better send this letter.” $40

 

164. SWANN, Anna. A BIOGRAPHICAL SKETCH OF MISS ANNA H. SWANN, THE NOVA SCOTIA GIANTESS. [London: n. p. 1871.] Modern wraps; lacking title-page; verso (blank) of last leaf pasted down to a blank leaf; a few specks of foxing to each leaf. $150
A 12-page pamphlet issued at the time of Swann’s second tour of Britain (1871) and presumably just prior to her marriage to her fellow giant, Captain Bates. No mention of him is made herein and they were wed in St. Martin-in-the-Fields on 17 June, 1871. Toole-Stott does not record any pamphlets or pitch books devoted to Swann.

 

165. [THEATRICAL ADVERTISING.] An aquatint caricature by Charles Hunt, “Cross-Readings at Charing-Cross.” [London: W. Soffe, c. 1835.] 12 1/2” x 9 5/8”; trimmed to platemark; good original color; minimal foxing and dusting. $200
A scene in Charing Cross, with a view of the upper façade of the new National Gallery under construction above tall hordings. These boardings are covered with a plethora of advertisements, mostly for theatricals and exhibitions — Arab acrobats at the Adelphi; Jim Crow; actors J. Reeve, O. Smith, Macready, Buckstone, Bunn, Vestris, and others; the dancer Madlle. Duvernay; industrious fleas; “Jewess one night only”; elephant; and a “fine specimen of the monkey kind” at the Surrey Zoological Gardens — all jumbled and overlapping. In the foreground three miniature scenarios take place, one a dustup between two sandwich-board men (the aggressor’s board reading “Gallery of Practicle Science”).

 

166. [THEATRICAL OBSERVER.] THE THEATRICAL OBSERVER. [Dublin: J. Noland], 1821-22. 12mo; period half calf and marbled boards; boards rubbed and worn; morocco label; small wormhole to upper gutter, not intruding into text block; dustsoiling to a few leaves; one engraved plate; short, closed tear to fore-edge of some leaves; rear flyleaf removed. $325
A bound collection of 55 various issues of this scarce Dublin theatrical periodical for the periods January, February, and March 1821 and the same months of 1822. This may well be the collection of one person who attended specific performances and acquired the associated issues then had them bound together. Published six times a week, each issue contains a critical review of a performance, assorted commentary, and bill of the play. Several issues include additional leaves of song text. The bills relate to the Theatre Royal Hawkins Street or the Albany New Theatre (a view of the building to the first issue). Several contemporary pencil marks are made to portions related to Miss Kelly and her name is inscribed in ink to the front paste down. This periodical was published between January 1821 and 1825, the name changed to Nolan’s Theatrical Observer in the second year. §LAR 4430 (imperfect) and 4431 (not seen). Stratman 95.

 

167. [TREE, Herbert Beerbohm.] A Haymarket program for Tree’s production of Potter’s Trilby, 31 October, 1895. Oblong 8vo; stiff stock; decorative cover; central vertical crease. $16
This play, based on DuMaurier’s famous novel, featured Tree as Svengali and Dorothea Baird as Trilby. The production had its London premier the previous evening.

 

168. [TREITSCHKE, G.F.] FIDELO. An Opera.... The Music by Ludwig Van Beethoven. Second Edition. London: A. Schloss, n.d. [1832]. 12mo; original printed orange wrappers; cover dustsoiled; early tape repair to backstrip and rear wrapper; internally very good. $35
The dual-language libretto to accompany the first London performances of Beethoven’s opera — at “Drury Lane under the direction of Herr Schumann, director of the Opera at Mayence.” The cast list is printed.

 

169. TREWEY, [Felicien]. HOW IT IS DONE. [Middlesbrough, Jordison & Co, 1894.] Pictorial gray wraps; slight edge wear to covers; stapled; rust stains to backstrip and gutters at staples; portrait on title-page; illustrated on rectos throughout. $125
A shadowgraphy pamphlet, with illustrations of effects throughout, by the well-known French magician and acrobat. The portrait to the title-page depicts Trewey as a pantomime clown (“as he dressed in 1868 to 1885”). The text includes an account of his life.

 

170. [VAN AMBURGH’S MENAGERIE.] A double-sided, illustrated streamer for Van Amburgh and Co.’s Great Golden Menagerie at Cooperstown, 11 October, [1879 (?)]. 7 5/8” x 17 7/8”; large wood-engraved illustration to recto; ten vignette illustrations to verso; some spotting and embrowning; three narrow tears to one (blank) margin; closed tear to lower body of bill; creased to eighths. $300
One side is taken up with a descriptive and large illustration of “The Cazebian Bless Bock, the first and only one ever exhibited in any menagerie.” The reverse heralds “unquestionably the largest exhibition on this continent” and is illustrated with landscape cuts of circus wagons and the six-center-pole tent, as well as seven vignette cuts of exotic animals (a kangaroo and its babies amongst them).

 

171. [VARIETY.] An unused pictorial letterhead for “Jewette, Hayes and Lind, The Nimble Youth and Dancing Dolls.” [c. 1905]. 4to leaf; decorations and text to upper half; three halftone portraits; creased to quarters; minor abrading to horizontal crease; mild dusting and creasing to margins. $30
The trio announce their “singing and rare novelty toe dancing... [and] The Dance of the Demon (with light effects).” One of the three dancers is pictured in drag as a tophatted swell.

 

172. [VERGNET, Edmond.] A one-page autograph letter, signed. [Paris: c. 1890 (?).] 12mo leaf; black border; bold signature. $45
A scarce autograph of the French tenor mentioning terms for a concert — 800 francs, rather a large sum for the time.

 

173. [VESTRIS, Lucia.] A juvenile drama portrait, “Madame Vestris as the Page Julian.” London: O. Hodgson, [c. 1831]. Original hand coloring; a bit of surface soiling; mounting traces to verso. $55
A full-length twopence-colored portrait of Vestris in short skirt and low boots, her right hand on her hip and a wand resting in her left.

 

174. [VESTRIS, Lucia and Tyrone POWER.] A Covent Garden playbill for Vestris and Power in Dimond’s The Seraglio and Peake’s The £100 Note, 6 December, 1827. A few spots of foxing. $25
Dimond’s opera featured music arranged and adapted from Mozart’s Die Entführung aus dem Serial.

 

175. [WARREN, Minnie.] A chromolithographed paper-doll set, “Minnie Warren and Willie.” [New York]: McLoughlin Bros., [c. 1875]. Small 16mo (as booklet); 13 1/4” x 4 3/8” extended open; light card stock; printed one side; chromolithographed cover and ten figures or pieces; nearly fine. $300
A handsomely color-printed paper doll of the celebrated midget and baby. The cover of this accordion portfolio shows the pair full length, standing. The other four leaves hold a doll figure of each, Minnie with three costumes and two hats and the baby with three outfits. Remarkably fresh and well preserved.

 

176. [WEWITZER, Ralph.] An autograph note, signed. [London]: 1 January, 1799. One leaf; original creases; slight dusting to edges. $22
The comic actor writes declining an invitation, pleading a prior engagement.

 

177. WHANSLAW, H.W. SHADOW PLAY. Redhill: Wells Gardner Darton & Co., 1950. Cloth, color pictorial dustwrapper; some foxing to prelims; several illustrations and diagrams; pictorial advertisements to verso of dustwrapper. $30
Whanslaw touches upon the history of shadow puppetry; the shadow plays of Java, China, Greece, and other eastern countries; the old English gallanty show; how to make and manipulate a shadow theatre; colored shadows; and shadow films.

 

178. WILSON, Henry. WONDERFUL CHARACTERS: Comprising Memoirs and Anecdotes of the Most Remarkable Persons of Every Age and Nation. Collected from the Most Authentic Sources. London: J. Robins & Co., [1830/21/22]. Half green morocco; marbled boards; light wear to ends; spines gilt; engraved titles; numerous engraved plates; a nice set. $325
Wilson’s celebrated collection of biographical sketches of actors, performers, eccentrics, and anomalies. His subjects include Jacob Hall, Daniel Lambert, Thomas Topham, Joseph Clark, Count Boruwalski, Big Sam, the animal trainer Bisset, Jebediah Buxton, the giant Byrne, Daniel Cuerton, the dwarf Bébé, Wybrand Lolkes, and Madame Teresia (the Corsican Fairy). With 50 fine engraved plates. This set is made up of the first edition of Vol. II (1821), and reprints of Vols. I (1830, engraved title 1826) and III (1822). §LAR 2952.

 

INDEX

Acrobats & Equilibrists: 1, 51, 76, 128, 145, 165, 169, 178.
Animal Acts & Menageries: 19, 21, 41, 42, 43, 61, 62, 128, 137, 165, 170, 178.
Association & Signed Copies: 41, 73, 155.
Autographs & Manuscripts: 4, 16, 23, 29, 38, 40, 52, 113, 120, 125, 129, 149, 157, 161, 162, 163, 172, 176.
Automata: 21, 39.
Canadiana: 72, 148, 156, 164.
Caricature & Satire: 3, 9, 77, 143, 165.
Commedia dell'Arte: 64, 70, 146.
Conjuring & Allied Arts: 11, 45, 81, 85, 111, 150, 169.
Costume: 29, 59, 73, 108, 109, 149.
Dance: 16, 58, 69, 73, 108, 136, 165, 171, 173.
Early American Stage: 6, 8, 17, 19, 26, 32, 34, 46, 80, 102, 128.
Equestrian & Canine Drama: 43, 51, 56, 69, 77, 114, 128, 130, 137, 144, 145.
Exhibitions: 17, 19, 30, 39, 43, 45, 60, 61, 62, 72, 150, 162, 164, 165, 175, 178.
Fairs & Fairgrounds: 43, 45, 61, 62, 128, 178.
Human Anomalies: 19, 21, 30, 60, 62, 72, 108, 128, 164, 175, 178.
Juvenile Drama: 47, 56, 89-98, 101, 114, 121, 124, 152, 173.
Juveniles: 43, 61, 81, 111, 175.
Minstrel: 62, 74, 165.
Music: 6, 8, 13, 26, 32.
Opera: 4, 15, 29, 34, 37, 38, 55, 59, 71, 95, 105, 125, 129, 134, 146, 149, 161, 166, 168, 174.
Original Artwork: 144.
Panoramas: 17, 39, 81.
Pantomime: 1, 7, 33, 51, 55, 58, 62, 69, 76, 77, 100, 104, 119, 136, 137, 169.
Poetry: 3, 31, 78.
Prompt Copies: 53, 88, 120, 122.
Puppetry & Shadowgraphy: 78, 88, 110, 142, 143, 151, 169, 177.
Puzzles & Games: 11, 81, 111.
Shakespeariana: 46, 55, 101, 107, 115, 123, 139, 147, 153, 154, 166.
Singers: 3, 4, 8, 23, 29, 33, 38, 52, 55, 71, 79, 106, 117, 125, 129, 141, 149, 161, 166, 172.
Songsters: 12, 20.
Stage Design & Architecture: 57, 59, 73.
Theatrical Disasters: 35, 36, 42.
Vaudeville & Music Hall: 40, 113, 119, 169, 171.
Ventriloquism: 178.
Wild West Shows: 130.
: