Authors "S" and "T" Selections from Stock
 

[ST. HUBERTY, Antoinette C.] A line-engraved portrait of St. Huberty, "de l'Académe Royalle de Musique," by Colinet, after Lemoine, [c. 1809 (?)]. 7 1/4" x 8 1/2"; image 3 3/4" x 4 1/2"; printed in sepia; full margins. $30
A bust profile of the dramatic soprano, looking to the right, a band around her head; hair hanging. Oval within a rectangle with name below.

[SAINT-PRIX, Jean-Amable.]  An autograph testimonial by Saint-Prix, recommending Mons. Dubois, signed by Saint-Pris and Antoine Granger. Paris: 1822. Original folds (to quarters); slight dusting. $60
Saint-Prix and Granger sign as professors at l'Ecole Royale de Déclamation.

[SAVINA, Maria.] A Russian portrait postcard of Savina, [c. 1907]. Unused; corners showing minor wear; else very good. $22

SCHMIDT, Eugen H. HENRIK IBSEN ALS PYSCHOLOGISCHER SOPHIST. Ein Zeitbild.... Berlin: Hasse & Mues, 1889. First Edition. Original printed wraps, lightly soiled; wear to covers; with errata; uncut. $40
An intriguing contemporary study of Ibsen's plays and poetry -- one of the first to delve into the "psychology" of his work. Uncommon.

SCHMIDT-ZIEGLER, Tilla. GRISELDIS UND ANDERE SPIELE. Mit sechs bunten Bildern von Grethe Jurgens und einem Unhang von Gustav Schenk. Berlin: Georg Müller, 1937. Original paper-covered boards; joints rubbed; color plates. $30
Three full-length Kasperl plays, with color plates depicting the hand puppets.

[SCHOELER, H.] An amusing engraving, “Die Localsängerin und ihr Vater, oder das Theater im Theater.” Vienna: Theaterzeitung, [c. 1848 (?)]. 10 3/4” x 81/2”; top margin trimmed; colored by hand. $50
A humorous backstage scene showing dressing tables and the reverse of the scenery. The author, flanked by members of the corps de ballet, bows to the audience. The localsängerin is escorted from the wings by her father as another singer sinks down a trap door and a cat plays with costume trimmings.

[SCOTTI, Antonio.] A holograph salutation, signed, from Scotti. New York: [c. 1905]. Small 4to; pale-gray letterhead stock; minute pinholes to (blank) upper corner. $50
A bold inscription and signature of the Italian baritone to Vanderbilt Hotel letterhead.

SEWRIN, [Charles]. JADIS ET AUJOURD’HUI, Opera-Bouffon.... Paris: Barba, 1808. First Edition. Disbound; foxing to a few leaves. $30
The libretto to a one-act opera, music by Kreutzer, first performed at the Théâtre de l’Opera-Comique in October 1808. The cast of that production is listed.

[SHADOWGRAPHY.] A catchpenny-type print, “Kleine Schattenbilder.” Munich: Braun and Schneider, [c. 1860]. 13 3/4” x 17 3/4”; six rows of lithographed silhouette figures; colored by stencil in four colors; minor creasing and wear, primarily to margins. $125
This bilderbogen consists of more than 50 color-highlighted shadow figures (many of them grotesques). The central figure to the top row is of Kasperl and the crocodile in a puppet booth.

SHAKESPEARE, William. MERRY WIVES OF WINDSOR: The First Quarto, 1602, A Facsimile in Photo-Lithography by William Griggs. With an Introduction by P. A. Daniel. London: W. Griggs, 1888. Small 4to; leather-backed boards; very mild toning to text. $20
§Jaggard, p. 407.
 

[SHAKESPEARIANA.] An engraving, "As You Like It. Act 2. Scene 6. Orlando & Adam," by G. Noble, after R. Smirke. [London]: J. & J. Boydell, 1798. 6 1/2" x 10 3/4"; to a folio leaf; a bit of foxing, limited to margins; a very good, dark impression. $60

[SHAKESPEARIANA.] A small handcolored engraving of the graveyard scene in Hamlet, [c. 1830]. 3 1/2” x 4 3/4”; painstakingly colored. $25

[SHAKESPEARIANA.] An engraving, “King John. Act 4, Scene 3. Arthur, Pembroke, Salisbury, &c.,” by Isaac Taylor, after R. K. Porter. [London]: J. & J. Boydell, 1803. 6 1/2” x 10 3/4”; to a folio leaf; a bit of light foxing, limited to margins; light dampstaining to portions of uppermost margin, well away from image; a very good, dark impression. $60 

[SHAKESPEARIANA.] A pair of lithographed plates, “Shylock,” from Costumes of the Modern Stage, [1889]. Each 8 3/4” x 12”; colored by hand. $35
The plates are of costumes for the Paris Odéon production of 1889 (starring Rejane as Portia). They depict Lambert as Shylock, Caudé as Antonie and as Bassanio, and one of Bassanio’s squires.

[SHAKESPEARIANA.] An engraving, “Othello. Act 4. Scene 2. An Apartment in the Castle — Desdemona & Othello,” by Andrew Michel, after R. K. Porter. [London]: J. & J. Boydell, 1801. 6 1/2” x 10 1/4”; to a folio leaf; a bit of foxing and light dampstaining, limited to margins; a very good, dark impression. $60

[SHAKESPEARIANA.] An engraving of Act. Five, Scene Three of Romeo and Juliet by R. Rhodes, after M. W. Peters. [London: Murray, 1817.] 8 1/2” x 11”; margins trimmed (excising title and imprint at foot); laid down. $25
Juliet eyes the dagger raised above her head, with Romeo limp at her knees and the goblet fallen before them.

SHATTUCK, Charles H. (Editor). WILLIAM CHARLES MACREADY'S KING JOHN. A Facsimile Prompt-book.... Urbana: University of Illinois Press, 1962. First Edition. Oblong 4to; in worn dustwrapper; dual-patterned cloth; illustrated. $40
A facsimile reproduction of Macready's promptbook for Shakespeare's King John. Shattuck examines six other relevant promptbooks and three acting-editions and explains their relation to the productions. The text is accompanied by 34 plates of Drury Lane scene, and costume designs.

SHEIL, Richard. EVADNE; or, The Statue: A Tragedy.... London: J. Murray, 1819. Disbound; dusting to title-page; minimal foxing, primarily marginal. $20
Based on Shirley’s The Traitor. It provided Macready with one of his first primary roles, the villain Ludovico (Covent Garden, February 1819). Ludovico was also a favorite role early in Edwin Forrest’s career.

[SHERIDAN, John F.] A cabinet photograph of Sheridan. [New York: Wood, c. 1874.] Corners of mount worn; image very good. $35
A three-quarters-length portrait of the dandified entertainer (of the popular variety duo Sheridan and Mack).

[SHERIDAN, Richard B.] A Drury Lane playbill for a performance of Sheridan's The Critic on 19 April, 1788. Light dust soiling to head; paper fault at foot, affecting one line of text. $90
Also on the evening's bill were Arne's opera Artaxerxes (with Dignum and Madame Mara) and a "sea-fight and procession."

SHERIDAN, Richard Brinsley. THE CRITIC; or, A Tragedy Rehearsed. London: for T. Becket, 1781. Disbound; engraved title page (with vignette); wanting half-title and advertisement leaf. $70
A waggish reworking of Buckingham’s The Rehearsal which manages to mimic the fatuous tragedy of Hannah More’s Percy and the sub-Shakespearean blank verse of Richard Cumberland. This copy may or may not be a first edition — Iola Williams considers it impossible to determine priority without the half-title, copies with it being rare. §Rothschild 1846. Williams, p. 222.

SHERIDAN, R[ichard] B. THE CRITIC; or, A Tragedy Rehearsed. New York: Charles Wiley, 1824. Small 12mo; unbound engraved vignette to title; dusty with some light stains; edges untrimmed and thumbed; good. $30
With the ownership inscription of the Boston Museum to the title page and one interior page.

SHERIDAN, Richard Brinsley. AN ODE TO SCANDAL. Together with A Portrait. Edited by R. Compton Rhodes. Stratford-Upon-Avon: Shakespeare Head Press, 1927. Quarter vellum and marbled paper over boards; corners bumped; some shelfwear; deckled edges to text. $40
1/500 copies. The Ode to Scandal is the apparent source for Sheridan’s most famous play. Printed in 1819, no earlier edition was known until a century later. “It is now reprinted for the first time from a fuller version, printed anonymously in 1781.... A Portrait... was written in 1777. It appeared surreptitiously in print in 1810....” Rhodes also provides a bibliography of the first piece and reprints the Preface to the 1819 edition. §Durant 1927.7.

[SHERIDAN, Richard Brinsley.] THE PLAYS AND POEMS OF RICHARD BRINSLEY SHERIDAN. Edited with Introductions, Appendices and Bibliographies by R. Crompton Rhodes. New York: Macmillan, 1929. 3 vols. Royal 8vo, cloth; minor fraying to extremities; paper labels; internally very good. $125
The most authoritative edition with variorum text, critical introductions, appendices, extensive bibliographies, etc. This edition also includes the previously uncollected Poems.

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.

[SHERIDAN, William E.] A photogravure portrait of Sheridan as Louis XI. [New York]: Gebbie, 1888. 81/2" x 11 1/2", plus wide margins; minor foxing to outermost side margins. $10
A full-length portrait, with much of the stage setting also depicted.

[SHERSHENEVICH, Vadim.] [IGOR ILINISKY.] [Moscow: Kinopechat], 1926. Small 8vo; original pictorial wraps; stapled; halftone illustrations, some full-page; pencil notations under full-page illustrations; near fine. $85
A 16-page, illustrated booklet on the actor Igor Ilinisky in the Kinopechat series. Ilinisky was associated with the Meyerhold Theatre (most notably as Bruno in The Magnanimous Cuckhold) and active in the early Soviet cinema.

SHERWOOD, Bob. HOLD YER HOSSES! The Elephants Are Coming. New York: Macmillan, 1932. First Edition. Tan cloth; two-color title and decoration to upper cover; minor spotting to covers; frontisportrait and plates; foxing to frontisportrait and title-page. $25
Reminiscences of an American clown who served an apprenticeship with Dan Rice from 1867, started clowning with circuses in 1872, and was a member of the Barnum and Bailey troupe until his retirement in 1888. It includes a section on circus language. Signed and warmly inscribed by the author “off Havana,” 1936. §Toole-Stott 1151.

[SHOWMAN.] An engraving of a Chinese showman and his monkey, after Pu-Qua. London: W. Miller, 1799. 10” x 13 3/4”, including margins; colored by hand; some creasing, particularly to edges; a few short, closed marginal tears (repaired to verso). $50
A full-length portrait of an itinerant performer, a box instrument over a shoulder and a chained monkey in one arm.

SIEGLERSCHMIDT, Hermann. EXAMEN ET APPRECIATION IMPORTIALE DE LA TRAGÉDIE DE LUCRÈCE DE M PONSARD, Avec des Observations sur l’Art Dramatique en Général. Paris: Tresse, 1844. Printed yellow wraps; moderate soiling to covers; chips to backstrip; light stain to lower fore-corner of first signature; untrimmed. $30
Ponsard’s Lucrèce premiered at the Théâtre Français on 1 April, 1843. It is often quoted as the herald of a classical reaction against the romantic style of Dumas and Hugo.

[SIMONELLI, Karl.] A lengthy one page autograph letter, signed, from Simonelli to King Charles of Würtemburg. Haigerloch: 15 November, 1871. Tall folio leaf; original folds for mailing; mild toning. $100
The clown Simonelli was associated with the Circus Carré for a number of years and a citizen of Würtemburg. Here he petitions the King’s patronage, explaining the critical nature of his situation (due to the infirmity of family members) and his intention to join up with the Circus Renz in Russia. He states he has been promised an engagement, but Renz refused to forward travel expenses.

[SINCLAIR, John.]  A two-pence colored portrait of Sinclair as Prince Orlando in Dibdin's The Cabinet . London: J. Fairburn, [c. 1831]. A few small, scattered specks; colored by hand. $65
This juvenile drama portrait depicts the dramatic singer standing, in costume, a plumed cape in his right hand and his left arm raised in gesture. Sinclair was the father of Mrs. Edwin Forrest.

SITWELL, Sacheverall. THE ROMANTIC BALLET from Contemporary Prints. London and New York: B. T. Batsford, 1948. Small 4to; gray boards; light shelfwear; color-pictorial dustwrapper; color plates. $20
Sitwell annotates the 16 color plates reproducing ballet plates (1840-50), most from the collection of Marie Rambert, amongst them portraits of Taglioni, Elssler, Grisi, and Cerrito.

[SLOMAN, John.] A penny-plain portrait of "Mr. Sloman as Watty Wagstaff" [London: Hodgson and Co. (?), c.1827.] Mounted to light card. $60
The actor/vocalist is shown full length in the costume of a soldier, helmet on his head, left hand held against his breastplate, a tall pike held in his right hand. The background consists of the towers of a castle amongst rocks. Not in the Harvard Catalogue.

SMIRNOV, A. A. SHAKESPEARE: A MARXIST INTERPRETATION. New York: Critics Group, 1936. Original printed red wraps; slight dampstaining to foot of final five leaves. $12
One of a series of tracts “devoted to the revaluation of our cultural heritage from the Marxist point of view.” This one, translated from the Russian, is a “detailed survey of the Elizabethan age as mirrored in the works of Shakespeare.”

[SMITH, Albert.] A line-and-stipple engraved portrait of Smith, [1845]. 5” x 8 1/4”; lightly foxed. $15
A half-length portrait of the dramatist and entertainer, seated in an armchair, a pen held in his right hand.

[SMITH, Richard John.] An illustrated songsheet, "Oatland's Ramble. Sung by Mr. Smith, with Unbounded Applause, in the Rival Patriots, at Sadler's Wells." London: Laurie & Whittle, 1806. 11 1/4" x 9"; engraved illustration 9 1/2" x 6 1/4"; very good. $100
The scene is a watchhouse in which Smith as Oatland sings tipsily. Behind him a watchman sleeps in a hooded chair and two other captured revelers sit at a table, one asleep. A face gazes in through an aperture in a bolted door to the right. The engraved text below of the song relates Oatland's rambles from ale-house to ale-house until "being completely knock'd up, By the Hammer and Hand was knock'd down. In the watch-house I got, don't know how."

[SMOCK ALLEY.] A collection of five plays, "As Acted at the Theatre, Smoke-Alley, Dublin." Dublin: for the Booksellers, 1786. 12mo; contemporary full calf, gilt; rebacked; morocco label; one engraved frontispiece (a portion of the legend at the foot scraped away) and one engraved plate to text (short, closed tear to fore-edge neatly repaired) with margins trimmed. $150
The plays are: Sheridan's The School for Scandal (with a frontispiece of the screen scene), the same author's The Duenna, O'Keefe's The Agreeable Surprise, Macklin's Love-A-la-Mode, and O'Keefe's The Poor Soldier.

[SOMERVILLE, Margaret.] A juvenile drama portrait, “Miss Somerville as Imogine in the Tragedy of Bertram.” [London: n. p., c. 1820.] Colored by hand; narrow window mounting to edges; near fine. $80
An early penny-plain portrait (here hand colored) of the young actress (later to be the wife of Alfred Bunn). She stands, in a high-waisted and décolleté gown, holding the hand of a child. The publisher is unidentified.

 [SONGSTER.] MALROONY’S ROUT AND THE KEBBUCKSTON WEDDING. Two Comic Songs. With New Music, As Sung at the principal London Theatres. London: Music Saloon, n. d. [c. 1833]. 8vo; lithographed throughout; pictorial cover, printed in blue; two pages of music and text; one vignette illustration; stitching holes and minor fraying to gutters from removal; slight dustsoiling. $35
A four-page penny songster (last page blank) containing the two dialect songs. The naïve illustration to the front depicts the riot in the first song (set to the minstrel tune of “Sich a Gettin Up Stairs”).

[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.

[SOTHERN, Edward A.] A photogravure of Sothern as Lord Dundreary in Our American Cousin. [New York]: Gebbie, 1888. 8 1/2” x 11 1/2”, plus wide margins. $15
A three-quarters length portrait of the actor in his best-loved role.

SOUTHERNE, Thomas. PLAYS.... Now First Collected. With An Account of the Life and Writings of the Author. London: for T. Evans and T. Becket, 1774. 3 vols. Full period calf, gilt; corners bumped; spine ends worn; two of six labels missing and a third chipped; frontisportrait to first volume. $200
Dedicated to David Garrick and collecting together ten dramatic pieces.

[SOVIET THEATRE.] [Theatral’nya Dekada.] No. 32. Moscow: December 1935. Original wraps; stapled; halftone illustrations to upper cover; some abrading to backstrip; line drawings and halftone illustrations; although printed to paper with high pulp content, a fairly well-preserved example. $40
This issue of the Soviet theatrical periodical features a report on the Meyerhold Theatre production of Griboyedov’s Gore ot Uma (including the cover illustration). There are several shorter articles on Soviet theatre and performers and more than 40 notices and bills for a variety of theatres over the ten-day period of 1-10 December, 1935.

[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.

SPEAIGHT, George. PUNCH & JUDY. A History. Boston: Plays, Inc., [1970]. Pictorial dustwrapper, worn and torn at ends; profusely illustrated. $30
A revised edition of the account from his History of English Puppet Theatre. With a plethora of illustrations.

[SPOHR, Louis.] A Covent Garden playbill for Spohr’s Azor and Zemira, 30 April, 1831. Minor creasing. $20
The cast of the opera (founded upon the fairy tale “The Beauty and the Beast”) included Wilson and Inverarity. The bill’s second piece was Peake’s Neuha’s Cave with the clown Signor Paulo.

[STANISLAVSKY, Konstantin.] A postcard depicting Stanislavsky as Abrezkov in the premier production of Tolstoy's The Living Corpse (Moscow Art Theatre), 1911. Postally unused; minor rubbing to corners. $40

[STANLEY, (?).] A juvenile drama portrait of "Mrs. Stanley as Lady Constance in Magna Carta." [London]: Hodgson & Co., 1823. Minor creasing; small, light stain to top margin; full margins. $55
The actress is depicted in decorative medieval gown and headdress, facing to the right, her left arm extended, her right hand across her waist. A medieval manor in the background. The anonymous drama Magna Carta premiered at the Royal Coburg in April 1823.

STEELE, Richard. THE CONSCIOUS LOVERS. A Comedy. London: for Jacob Tonson, 1735. 12mo; disbound; engraved frontispiece, lightly dampstained at foot; title-page in red and black. $25
The frontispiece is by VanderGucht.

STEELE, Richard. THE TENDER HUSBAND: or, The Accomplis’d Fools. A Comedy. London: for J. Tonson, 1735. 12mo; disbound; engraved frontispiece. $30
The prologue is by Addison to whom the play is dedicated. With an engraved frontispiece by VanderGucht.

STEVENS, Geo[rge] Alex[ander]. A LECTURE ON HEADS... With Additions, by Mr. Pilon, As delivered by Mr. Charles Lee Lewes. To which is added, An Essay on Satire. With Forty-Seven Heads by Nesbit, From Designs by Thurston. London: for Vernor, Hood, [and others], 1806. Small 8vo; full calf, slightly worn; rebacked; title in gilt to spine; engraved frontispiece; engraved vignette illustrations to text; minor, marginal foxing; upper fore-corners of some leaves clipped (well away from text). $80
An illustrated edition of Stevens’ satirical monologue, the most popular British one-man show of the 18th century. Stevens made his fortune with this “series of characterisations upon the follies of the day (DNB). These included Jonas, the card-playing Jew, “no common sleight-of-hand man.” The contributor to the DNB considers the illustrator Nesbit the finest of Bewick’s pupils.

[STIRLING, Fanny.] A stipple-and-line engraved portrait, “Fanny Stirling of the Adelphi & Strand Theatres.” [London]: J. Bollaert, [1837]. 8 3/4” x 11 1/2”, plus narrow margins; light surface soiling, primarily finger marks to edges. $20
The young actress is shown full length, standing, face to the front, in a gown and lace cap, left hand resting on a pedestal.

[STIRLING, Fanny.] A stipple-and-line engraved portrait of Stirling as Arabella Beaumont in Wilson's Venus in Arms. [London]: Cumberland, 1838. 3 3/4" x 5 3/4"; later hand coloring, bright; window mounted to a larger leaf. $15
The actress is shown in a breeches role, full length, in officer's uniform, holding up a cap to shield her face. Mounted to the reverse is a brief biographical memoir of Sterling.
 

[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).

[STUTTGART OPERA.] A tall engraved plate, “Coupe de nouvel Opéra de Stuttgart.” [Paris: c. 1770.] 8 3/4” x 14”; very good. $40
A fine engraved view of a cross-section of the interior of the opera house, below which is a ground plan for the “project de la restauration de l’opera.” From Diderot’s Encyclopedie — Salles des Spectacles.

SUCKLING, John. THE POEMS, PLAYS AND OTHER REMAINS OF SIR JOHN SUCKLING. With a Copious Account of the Author, Notes, and Appendix of Illustrative Pieces. Edited by W. Carew Hazlitt. London: Reeves and Turner, 1892. 2 vols. Small 8vo; publisher’s patterned cloth; frontisportrait to first volume; folding facsimile plate to second volume; partially unopened. $30
The second, revised edition.

[SUIER, (?).] A line-engraved portrait of Suier in Le Soldat Magicien, [c. 1772]. 3 1/2" x 4 1/4", to 5 1/4" x 7" leaf; light foxing, primarily to margins. $18
The actor of the Comedie Italienne is shown full length in military costume, legs apart, left arm out behind him, looking and gesturing out with a sword to the left. Six lines of dialogue at the foot. Anseaume's comic opera was first performed in 1760.

[SURREY THEATRE.] A miniature engraving, colored by hand, of the front of the Surrey Theatre, [c. 1825 (?)]. 2 1/4" x 2 3/4"; hand colored; very good. $15

SÜVERN, J[ohann] W. ESSAY ON “THE BIRDS” OF ARISTOPHENES. [bound with] TWO ESSAYS ON “THE CLOUDS” and “THE [GREEK]” OF ARISTOPHENES. Translated by W. R. Hamilton. London: John Murray, 1835. Half calf and marbled boards; extremities rubbed; spine ends chipped; light, scattered foxing to
a few leaves. $75
The first editions of these two translations. Heavily annotated and footnoted essays by the Prussian classicist and philologist Süvern.

TACCANI, Francesco.  DELLA PROSPECTIVA E SUA APPLICAZIONE ALLE SCENE TEATRALI con Appendici Risguardanti la Construzione di Alcuni Nuovi Strumenti da Disegno e di Varie Figure Geometriche. Milan: Paolo Emilio Giusti, 1825. First Edition. 8vo; contemporary plain blue wrappers, worn and split at spine ends; printed title label to spine; lacking the accompanying illustrative plates; slightly foxed; fore-edges untrimmed; partially unopened. $85
The second section of the work (pp. 149-210) pertains to theatrical set design. §OCLC lists a sole copy in the U.S.

[TALMA, François Joseph.] A stipple-and-line engraved portrait of Talma as Nero in Racine’s Britannicus. [Paris: Moine et Falconer, c. 1900.] 7 1/8” x 10 7/8”, including margins; colored by hand; faintest of offsetting to margins. $20
A hand-colored portrait of the actor, full length, in Roman costume and a laurel wreath on his head, arms crossed near the shoulders.

[TANTI, V.] A large, illustrated Soviet circus poster, boldly announcing the performances of the clown V. Tanti, [1930]. 29 1/2" x 42 1/2"; pink, lightweight stock; one halftone illustration; gently and neatly creased from storage; slight offsetting; else very good. $300

TARGIONI-TOZZETTI, G. and G. MENASCHI. THE RUSTIC CAVALIER (Cavalleria Rusticana). Music by Pietro Mascagni. English Version by Willard G. Day. Milan: Sonzogno, n. d. [c. 1890]. Small 8vo; disbound. $15

[TAYLOR, Charles.] An autograph letter, signed, from Taylor to Mrs. Mathews. [London: 1821 (?).] Window mounted; very good. $40
The singer promises Mrs. Mathews he will invite a Mr. Denman (?) to call upon him and “then be able to form an opinion of his musical talents.” With a contemporary engraved portrait of Taylor.

TAYLOR, John. MONSIEUR TONSON. Illustrated by Robert Cruikshank. London: Alfred Miller, 1830. Small 12mo; original green wraps; printed paper label to upper cover; backstrip frayed; corners a bit dog-eared; engraved frontisportrait and plates, pencil notes to inside rear cover. $30
An anecdotal poem about the 18th-century strolling player and theatre manager Tom King, illustrated with plates by Cruikshank. §Cohn 467.

TELLE, [Constant Michel]. DER MALER, oder: Die Wintervergnügungen. Ein Komisch-Pantomimisches Ballet.... Musik von Gürrlich. Berlin: n.p., n.d. [1814]. Small 8vo; early paper tab to backstrip; lightly foxed. $60
The scenario to the two-act ballet pantomime performed at the Berlin Opera House. Telle, a student of Deshayes and later of Gardel, became ballet master at the Opera House after Lauchery’s death. The list of principal dancers is printed to the verso of the title-page.

[TERENTIUS AFER, Publius.] LE COMEDIES DE TERENCE, Avec la Traduction et les Remarques de Madame Dacier. Rotterdam: Gaspar Fritsch, 1717. 3 vols in 6. Small 8vo; full calf; decorative gilt to spine compartments and covers; spine ends bruised or chipped; leather label to one volume, other labels missing; gilt to spine compartments and covers; spine ends bruised or chipped; leather label to one volume, other labels missing; gilt to spines rubbed; engraved frontispiece to first volume; 46 engraved plates (including two folding) to text; title-pages in red and black; contents clean, crisp, and tight; speckled edges. $250
Dacier’s exemplary translations (with extensive commentary) were first published in 1688. Most editions carried Latin and French parallel texts, as does this one. This edition is of particular note for the addition of the 46 engraved plates (two folding). The Privilegie to the first volume is in Dutch.

[TERRIS, William.] A sepia photographic portrait of Terris, mounted to a periodical plate, [c. 1882]. 3 3/4" x 4 1/2"; mount 5 1/2" x 8 3/4". $12
A bust portrait, nearly full face.

TERRY, Daniel. GUY MANNERING; or, The Gipsey’s Prophecy! A Musical Play. Boston Wells and Lilly [and] New York: A. T. Goodrich, 1823. 16mo; original printed orange wrappers; a bit of creasing and wear to cover edges; lightly foxed; uncut. $20
An early American edition of Terry’s melodrama -- the very first dramatic adaptation of a Waverley novel and written with the assistance of Scott himself. With prefatory remarks and in the original wrappers.

[THE THEATRE.] THE THEATRE. A Weekly Record of the Stage. Vol. III. No. 3. New York: The Theatre, 1887. Small 4to; original decorative brown wraps; some fraying to cover edges; illustrations to plates and body of text. $25
This edition of the theatrical periodical, 4 April, 1887, includes a notice and plate of Bernhardt in Theodora, a caricature of Barnum, a report on Patti, a portrait plate of Clara Schuman, and bills (Ruddygore amongst them).

[THEATRICAL SATIRE.] An aquatint and etched caricature, “The Centaur-ian Manager.” [London]: The Satarist, 1811. 14” x 7 3/4”, plus margin at left and foot; in sepia; traces of old folds, as issued; a very good, clean example. $350
An anonymous satire on the equestrian performances at Covent Garden that season — beginning with a revival of Blue Beard (with a troupe imported from Astley’s) — which was very successful, but denounced as a disgraceful lowering of the theatre’s stature. John Philip Kemble, as a centaur, serves as mount for Mrs. Siddons. He extends his bare arms to a company of performing cats and dogs, saying: I will engage you all for the present Season and — methinks I shall do well, to engage the devil to play Lewis’s Wood Daemon. The animals are on their hind-legs, fashionably dressed; beside them stands a satyr-like Devil. Under Kemble’s arm is a book: Emendations of Shakespeare by I.P.K. Under his hooves are open folios and a portrait of Shakespeare torn in half. Siddons, as a tragedy queen, raises a dagger and spills the contents of a goblet. Behind the centaur’s kicking hind-legs lies Comedy (a young woman holding a smiling mask) on her back. Harlequin kneels at her feet flourishing his slapstick as Pierrot stoops over her head. To the rear right two asses, on their hind-legs, confer while holding [The] Manager’s Last Kick between them. Both wear fashionable clothes and one has an opera hat tucked under an arm. §BM 11773.

THOMS, Herbert. ANTON CHEKOV — PHYSICIAN AND LITERARY ARTIST. Chicago: American Medical Association, 1922. Original printed wraps, edges toned; stapled; author’s presentation to head of upper wrapper. $15
Reprinted from The Journal of the American Medical Association.

[TIVOLI GARDENS, PARIS.] An engraving, “Le Souper de Gargantua an Jardin de Tivoli,” [c. 1815]. 8 5/8” x 6 7/8”; trimmed to platemark; vertical creases; laid down to a portion of an early album leaf. $85
A slightly naïve depiction of the grand gormandizing automata, the major attraction of the Paris pleasure garden and amusement park, which ingested legs of mutton, whole poultry, bottles of wine, mugs of beer, and small children. An audience, gathered around the orchestra, watches as comical dancing cooks, grocers, and maidens offer up birds, beer, bread, and a large man dressed as an infant.

TOLSTOY, Alexei. TSAR FYODOR IVANOVITCH. A Play.... English translation by Jenny Coven. New York: Brentanos, 1922. Decorative wrappers; fraying to backstrip. $10
The first in Sayler’s Moscow Art Theatre Series of Russian Plays.

[TOMLINSON, (?).] A juvenile drama portrait, "Miss Tomlinson as Zatilda." [London]: Bishop & Co., [c. 1870]. Colored by hand; some creasing and wear. $16
A hand-colored portrait of the actress as the heroine of The Spanish Rover. A Bishop reprint of a portrait originally issued by Straker in 1829.

[TORTORITI, Guiseppe.] An engraving, “Joseph Tortoriti, faisant le personage de Scaramouche,” [Augsburg: Jeremias Wolff, c. 1695.] 7 1/4” x 11 1/2”, plus margins; a few gentle creases; image clean. $250
A full-length portrait of the actor in his best-known role, striding onto the stage, looking back behind him, a guitar held down in his right hand, with a painted backdrop to the rear. The distinguished commedia dell’arte performer Tortoriti (called Pasquarel) was a member of the King’s Italian comedians in Paris. After that company was dismissed in 1697, he was one of three players authorized by the King to form a troupe of their own (but forbade any to come within 30 leagues of Paris).

[TRAINED DOGS.] A catchpenny print, “Vermakelijk Honde -- en Apenspel.” [Turnhout: Glenisson & Zonen, c. 1860.] 12 7/8” X 15 5/8”; woodcut vignettes in columns; colored by stencil in three colors; two lines of text beneath each image; central horizontal crease; very good. $450
A series of three-dozen colored wood-engraved vignettes depicting a showman and his dogs each with a descriptive verse couplet. Amongst the feats depicted are dancing, military drills, spinning yarn, rowing a boat, acrobatics, pulling and firing canons, playing musical instruments, flying a kite, sparring with a goat, and riding in a carriage. This popular print was published, anonymously as usual, by Glenisson and Zonen after 1856 when the partnership between Glenisson and Ven Genechten was dissolved. The blocks originated with either Thompson (Rotterdam, c. 1820) or Van Staden (Amsterdam, c. 1810). §De Meyer, p. 125.

[TREE, Ann Maria.] An original ink-and-watercolor portrait, "Miss M. Tree as Celio in Native Land" by Thomas Allen. Signed and inscribed, February 1824. 7" x 8 3/4"; near fine. $700
A handsome depiction of the actress as Celio at the Egyptian Hall in 1824. This watercolor by Thomas Allen (1804-72) is perhaps for a juvenile-drama portrait. In it the young actress is shown in white cloak and breeches and a plumed hat. She dances, right foot raised, while playing castanets.

[TREE, Ann Marie.] An etched portrait by Richard Dighton, “Miss M. Tree of Covent Garden Theatre.” [London]: T. McClean, 1821. 7” x 11”, plus ample margins; mild browning to a portion of uppermost edge; very good. $100
A full-length portrait of Tree in Dighton’s elongated style. She stands with her face turned to a left profile, her right hand in front with a scarf draped around her arms. A rose is placed in her tightly curled hair.

[TREE, Ellen and Ann.] A playbill announcing an appearance of Ellen Tree as Hypolita in Cibber’s She Would and She Would Not for her sister Ann’s benefit at the Theatre Royal, Birmingham, 26 September, 1827. Minor dust soiling and foxing; five horizontal folds. $20
Ann appeared along side her sister, as well as in The Lady of the Lake and singing several solos and duets.

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