[VAILLARD'S CIRCUS.] A broadside bill announcing Carl Vaillard and his troupe at the Amphitheater in Scheissgraben, Augsburg, 15 and 16 August, 1829. 10" x 15 3/4"; well margined; two gentle horizontal creases; one minute hole to lower quarter; minimal dusting and creasing; text within a decorative woodcut border. $300
The troupe featured the performances of the strongman Vaillard, his wife and juvenile son, and several performers recently arrived from Italy. The latter included the Micheletti family of trick equestrians and a group of tumblers, rope dancers, and pantomimists.
VANBRUGH, John. PLAYS. London: for J. Tonson and M. Wellington, 1719. 12mo; early full calf; extremities bumped and rubbed; neatly rebacked; morocco label; light stain to head of a few leaves; slightly shaken. $300
The first collected edition, with six comedies.
VANBRUGH, John. PLAYS.... London: for C. Hitch [and others], 1759. 2 vols. 12mo; full period calf, gilt; covers worn; double morocco labels; covers of Vol. I detached; hinges of Vol. II starting; engraved frontisportrait to first volume. $65
Nine plays.
[VANBRUGH, John.] THE RELAPSE; or, Virtue in Danger: Being the Sequel of the Fool of Fashion, A Comedy.... London: for Richard Wellington, 1708. Small 4to; disbound; sporadic foxing; publisher’s advertisements to terminal leaf and (unusually) foot of title-page; early ink excisions to two leaves. $85
The third edition of the author’s first play, written as a sequel to (and mirthful protest to the rank improbabilities of) Cibber’s Love’s Last Shift.
[VANDENHOFF, John M.] A lithographed portrait of Vandenhoff as Adrastus in Talfourd’s Ion. [London: J. Mitchell, 1839.] 8 1/2” x 11 1/2”; slight edge wear; image near fine. $40
Vandenhoff is shown half length, to the right, in costume and wearing a crown. With a facsimile autograph and three lines of dialogue.
[VARIETY.] MEMORANDUM OF AGREEMENT “between Isaac Wilkinson, the Manager and Secretary of the Brighton Aquarium, Brighton, and Mr. Albert Trillo,” 25 August, [1886]. 4to; printed text, completed in manuscript; signed. $65
A contract engaging Trillo, ventriloquist “and with Smiler’s Performing Donkeys,” between 22 and 27 November, 1886. Signed at the foot by Trillo and E. R. Davies (proprietor of Smiler).
[VARIETY.] A four-page program for London’s Alhambra Theatre of Varieties, 18 October, 1884. 4to; pictorial cover; thumbing to edges; central horizontal crease. $30
This was the first night of the theatre under the new license of a music hall. Amongst the acts were a “great aerial gun equilibrist,” “athletic acrobats,” comics, and musicians.
[VERNEIUL, Louis.] KARUSEL. [Moscow: Russian Theatre Society],
1923. Original decorative wraps; early tape reinforcement to spine; stapled;
contents well preserved for being pulp paper. $450
A Russian translation of Verneuil's three-act comedy (Carousel)
by R. and S. Kalbmens. This copy is signed by Konstantin Stanislavsky to
the title-page.
[VESTRIS, Caroline Ronzi.] A stipple engraving, "Madame Ronzi
Vestris, of the Italian Opera." London: W. McDowall, 1827. 9 1/2"
x 13 1/4", plus margins; moderate surface soiling.
$40
Vestris is shown full length, dancing, arms crossed on her breasts and
her face turned to the left, a wreath of flowers in her hair.
[VESTRIS, Lucia.] A stipple-engraved portrait of Vestris. London:
W. Sams, 1825. 8" x 11"; very good. $45
A handsome three-quarters length portrait of Vestris, standing, face
to the front, drawing on a glove.
[VESTRIS, Lucia.] A juvenile drama portrait, "Madame Vestris as Pandora." [London]: O. Hodgson, [c. 1833]. Some embrowning, primarily to edges; upper corners tipped to a larger leaf of stiff card; glue marks (lighter than the portrait leaf) to upper corners. $40
Vestris is shown full length, in costume, standing with arms extended downward. Beside her, the box sits upon a cushioned pedestal and around her are vignettes of escaped demons. The Olympic Revels, by Planché and Dance, premiered in January 1831.
[VESTRIS, Lucia.] A juvenile drama portrait, "Madame Vestris as the Page in Julian." [London: Orlando Hodgson, c. 1830.] Dustsoiled; some fraying to margins at head and foot, reinforced to verso. $40
A full-length portrait of Vestris in a short skirt, leggings, and low boots, right hand on hip and a wand in her left.
[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.
[VESTRIS, Lucia.] A group of three issues of The Theatrical Observer listing vocal performances by Vestris, London, 1823. 8vo; removed; minor dusting to margins. $25
[VESTRIS, Lucia.] A Covent Garden playbill for Vestris in the name role of Arne’s Artaxerxes and as Susannetta in Planché’s The Two Figaros, 25 October, 1839. Original mounting hole near head. $25
The cast also featured Borrani and Mathews.
[VESTRIS, Lucia and Ellen TREE.] A double-page Covent Garden playbill for Vestris and Tree in Knowles’ Love, 22 May, 1840. Printed to thin stock; a bit of creasing. $25
The second piece on the bill was the fairy extravaganza The Sleeping Beauty in the Wood.
[VESTRIS, Lucia.] A tall broadside playbill announcing Vestis in the first night of Planché’s The White Cat, Covent Garden, 28 March, 1842. 9 7/8” x 20”; one horizontal crease near foot; a bit of creasing to lower right margin. $40
Vestris appeared as Prince Paragon in the “fairy extravaganza” as well as in the name role of Milton’s Comus (“music principally selected from the works of Handel, Purcell, and Arne”).
[VINING, George James.] A stipple-engraved portrait of Vining as Octavian in Colman’s The Mountaineers. Ipswich: John King, 1814. 8 1/2” x 10 1/2”; hand tinted. $50
[VOLKOV, Nikolay.] MEYERHOLD. [Moscow: Zrelishcha], 1923. First Edition. Small 8vo; original decorative wraps; stapled; frontisportrait; near fine. $250
VOLTAIRE, Francis M. A. de. LA ZAYRE... Augmentée de l'Epitre Dédicatoire.... Paris [i.e. London]: Jean-Baptiste Bauche, 1733. Small 8vo; disbound; title-page dusted; some signatures separating; stab holes to gutters; engraved head- and tail-pieces. $150
The first printing in England of the French text; first published earlier
the same year in Rouen by Jore (twice) -- with an identical false Paris
imprint. The printing may be identified as English on the basis of typography
and ornaments (one headpiece has the initials "S. A.", possibly
Samuel Aris). Zayre, a work generally considered Voltaire's tragic
masterpiece, was first performed in November 1732. It is also of note because
the text introduced an abrupt change in French spelling, with "ai"
substituted for "oi", so such words as "anglois" became
"anglais", to conform to the pronunciation of the period. The
innovation took hold and within 50 years was universal.
VONDELLS, J[oost von den]. EURIPIDES FENICIAENSCHE OF GEBROEDERS VAN THEBE. Treurspel. Amsterdam: for Abraham de Wees, 1668. First Edition. Small 4to; later vellum; later endpapers; covers bowed; printer’s device to title-page; t. e. g.; fine. $95
The first edition of Vondell’s adaptation of Euripides’ Phoenissae — the first appearance of that tragedy in Dutch.
[WAINWRIGHT, Marie.] A photogravure portrait of Wainwright as Viola. [New York]: Gebbie, 1889. 8 1/2" x 11 1/2", plus wide margins; mild foxing to margins. $10
WALLACE, [Eglantine]. THE TON; or, Follies of Fashion. A Comedy. London: for T. Hookham, 1788. First Edition. Modern boards; minor dusting to verso of terminal leaf; very good. $85
The sole edition of Lady Wallace’s comedy, but the ESTC indicates two variants. This appears to be the earliest, with no advertisements on the verso of the title-page and with the additional five lines at the end of the Epilogue (with the subheading “Imitations”).
[WALLACK, Henry and James.] A Drury Lane playbill announcing the Wallacks in Osbaldistone’s The Brigand and Payne’s Clari, 24 March, 1831. Pale blue stock; gentle horizontal folds; minor creasing to side margins; very good. $20
[WALLACK, J. Lester.] A gravure, "J. Lester Wallack as Benedick. Much Ado about Nothing." [New York]: Gebbie, 1888. 11 1/2" x 10 1/2", plus margins; blue tone; a hint of foxing to edges. $15
[WALLACK, James W.] A juvenile drama portrait of Wallack as Don
Vincent de Almanza in Rodwell's My Own Love. London: Orlando Hodgson,
1832. Minor toning and nicking to edges; image very good. $30
Wallack, in courtier's costume, stands with a sword grasped in his left
and right arm raised in gesture.
[WALLACK, James W.] A gravure portrait of Wallack. [New York]:
Gebbie, 1889. 8 1/2" x 11 1/2", plus wide margins; short, closed
tear to right margin. $15
A hand-and-shoulders portrait.
[WALLIS, Wallis A.]
A promotional flyer for Mr and Mrs Wallis A Wallis, "baritone and dramatic soprano," [c. 1892]. Oblong 4to; two halftone portraits to front; gently creased to quarters; small band of cellotape staining to corners of terminal leaf. $15
A four-page flyer for the Wallis' "operatic dramatic, and humorous entertainments in evening dress." It contains two vignette portraits, a précis of their act, references, press notices, and specimen programs.
[WARDE, James Prescott.] An engraved portrait of Warde as Rob Roy. Dublin: McCleary, [c. 1825]. 8 3/4" x 13 3/4"; colored by hand; small hole to upper edge; lower left corner frayed; other corners thumbed. $50
The actor is shown full length, in costume, standing. He grasps the hilt of a dagger with his right hand, holding the sheath with his left. Not in the Harvard Catalogue.
[WARDE, James Prescott.] A lithographed portrait of Warde as Caspar in Der Freischutz, 1827. 11” x 15”; minor dusting to outer edges; very good. $30
The actor is depicted full-length, standing, turned and looking to the right, a small rifle held in his gloved hands. Not in the Harvard Catalogue.
WARE, W[illiam Henry]. The sheet music to “The Cabin Boy.” London: W. Hodsoll, [1807]. Folio; removed; three pages of engraved music and text; one page of engraved publisher’s catalogue; drop title; very good. $55
“A favorite ballad, sung by Master Smalley..., in the Popular Pantomime of Harlequin & Mother Goose.” Dibdin’s pantomime (1806) proved to be the most popular harlequinade staged at Covent Garden and the role of Clown therein was the making of Joseph Grimaldi.
[WARREN, William.] A photogravure portrait, "Warren as Herr Weigel in the comedy of My Son." [New York]: Gebbie, 1888. 8" x 12 1/2", plus full margins; mild toning and wear to foot; image very good. $10
[WATSON, (?).]
A juvenile drama portrait of Miss Watson as Queen Marguerite in Almar’s The Tower of Nesle. London: A. Park [and] M. & M. Skelt, [c. 1838]. Trimmed to platemark; short, closed tear to foot (neatly repaired to reverse). $35
The actress is shown in a long gown and decorative headdress. Almar’s melodrama, based on Dumas’ Tour de Nesle (with a plot incorporating sadistic incest), premiered at the Surrey in September 1832.
[WEBER, Carl Mario von.] A playbill for performance of Weber's
Preciosa at Königliches Hof-Theater, Stuttgart, 14 March, 1830.
6 1/4" x 7 3/4"; heavy stock; near fine. $25
This Romantische schauspiel mit Musik, with libretto by P. Wolff
(founded on Cervantes' La Gitanella) and music by Weber, was first
performed in 1821. The singers of this production included Dobritz, Pauli,
and Fossetta.
WEISSMANN, Adolf. DIE PRIMADONNA. Berlin: Paul Cassirer, 1920. First Edition. 4to; cloth-backed boards; some dampstaining; pictorial front cover; light soiling to covers; front hinge starting; hand-tinted frontisportrait; five hand-tinted plates; several other plates to text; all plates to heavy stock; illustrations
to text. $50
Amongst the 13 chapters are: “Das Erotische,” “Farinelli,” “Catalani und Pasta,” “Der Tenor,” “Die Garcias,” and “Die Operettendiva.” The plates include portraits of Arnould, Catalani, Colbrand, Elssler, Kemp, Lind, Malibran, Marchesi, Pasta, Patti, and Rubini.
[WELCH AND DELAVAN’S CIRCUS.] An engraved invitation to Welch and Delavan’s Circus, Boston, 22 July, 1843. Folio leaf, folded; decorative engraved text to first page, with holograph name added; original folds for mailing; holograph name and portion of wax seal in integral leaf; light dampstain at head; some dusting and wrinkling. $150
“Messiers Welch & Delavan... request the pleasure... at any performance of the Circus, in Atkinson Street, during their sojourn in Boston....”
[WESTERN DRAMA.] THE PLAY PICTORIAL. No. 66. [London: 1908.] 4to;
color pictorial wraps; stapled; spots of discoloration around staples; profusely
illustrated. $25
This issue is devoted to the western drama A White Man at the
Lyric Theatre, with Lewis Waller, Nora Lancaster, and Dorothy Dix, in January
1908. The color cover depicts Waller in full western regalia, including
six-shooter, hat, and buffalo chaps. There are 41 plates or illustrations,
after photographs, of the production -- several of Dix as Nat-u-ritch.
[WHEELER’S CIRCUS.] A complimentary ticket for S. O. Wheeler’s Great International Circus and Model Arena, [c. 1867]. 3 1/4” x 1 5/8”; blue card; text to recto; corners rubbed.$75
Silas Wheeler was a circus proprietor in America between 1863 and 1868.
WICKSTEED, Philip H. FOUR LECTURES ON HENRIK IBSEN. Dealing with His Metrical Works. London: Swann Sonnenschein, 1892. First Edition. 12mo; patterned "alligator" cloth; photographic frontisportrait. $35
One of the earliest critical works in English, by Ibsen's translator Wicksteed. The subjects dealt with are Poems, Brand, Peer Gynt, and the Social Plays. A contemporary review stated "the strong personality of Ibsen is given full value in the analysis of the moral intention of these works." §Firkins, p. 36.
[WIGAN, Alfred.] A three-page autograph letter, signed, [c. 1860]. Original folds; very light soiling to unused page. $35
Wigan writes the dramatic author John Palgrave Simpson, commenting on
the latter's The Devil's Bride which was submitted to Wigan at the
theatre.
[WILLIAMS, ?.] A twopence-colored portrait of “Mr. Williams as Frederick (In the Executioner).” [London: J. Bailey, c. 1830.] Trimmed at foot around title, excising imprint; mounted to contemporary album leaf; very minor toning from glue to background; hand colored; image very good. $50
[WILLIAMS, Barney and Maria.] A broadside for the Williams at Niblo’s Garden,12 November, 1859. 9” x 24”; some creasing and wear to margins; central horizontal fold. $35
WILLSON, Wingrove (Editor). MORE ADVENTURES WITH BUFFALO BILL. London: Aldine, n. d. [1930]. Large 8vo; decorative red boards; color pictorial onlay to upper cover; extremities rubbed; front hinge slightly cracked; light to moderate spotting throughout; four color plates; black-and-white illustrations to text; text in double columns. $20
Twenty-one adventure tales related to Cody. Well illustrated. §Toole-Stott 1610.
[WILSON, Azella.] A chromolithographed poster, “Azella Wilson The Beautiful Gymnast.” Paris: Calscha, [c. 1920]. 25” x 39”; printed in sepia; mounted to archival linen; very good. $275
A full-length portrait of Wilson, in beaded Leotard and headdress (turning away in partial profile), arms raised with one hand holding a strand of roses. We have traced the “virtouse de trapèze” Wilson to Paris music halls circa 1920-27.
[WILSON, Elizabeth.] A stipple-engraved portrait, "Mrs. Wilson, in the Character of Harriet, in the Comedy of Seduction." [London]: E. Harding, 1787. 6" x 7 3/4", plus margins. $40
WINTER, Marion Hannah. THE PRE-ROMANTIC BALLET. [London]: Pitman, [1975]. 4to; cloth; color pictorial dustwrapper, price clipped; profusely illustrated. $50
[WOODHOUSELEE, Alexander F. (Translator).] THE ROBBERS. A Tragedy. Translated from the German of Frederick Schiller. The Second Edition, Corrected and Improved. London: for G. G. and J. Robinson, 1795. Disbound; some dusting to half-title; small light stain to head of a few leaves; embrowning to terminal leaf. $40
Lord Woodhouselee’s translation, the first in English, including an eight-page preface. “A French translation of this tragedy appears in the Theatre Allemond... by Friedel and DeBonneville. The English translator’s opinion of that version is, that it is perhaps as good as the language of the translation will admit of: but as the French language in point of energy is far inferior to our own tongue, and very far beneath the force of the German, he owns he is not without hopes that his translation may... convey a more just idea of the striking merits of the original.”
[YATES, Frederick.] A one-page autograph note, signed, by Yates. [London (?)]: 7 October, [1841]. 4to; original folds; mounting traces to integral leaf. $45
A letter to his friend Robert Morrison, inviting him to attend the theatre.
[YAVORSKAIA, Lidia.] A phototype portrait postcard of the actress, signed. [London (?): c. 1912.] Unused; very large ink signature to front; small shiny patch on bottom border; otherwise very good. $100
[YOUNG, Charles Mayne.] A juvenile drama portrait, "Mr. Young as Cassius in Julius Caesar." [London]: Hodgson, 1822. Colored by hand. $80
This portrait by Robert Cruikshank shows Young in Roman costume, standing in profile, a staff held in his left hand and a dagger held out in his right.
[YOUNG, Charles Mayne.] A juvenile drama portrait, “Mr. Young as Daran in the Exile.” [London: Hodgson, c. 1823.] Trimmed within platemark, close to image (on the diagonal) and excising imprint at foot. $20
[YOUNG, Charles Mayne.] A juvenile drama portrait, “Mr. Young as Rolla.” London: J. Smart, 1821. A bit of creasing and wrinkling; nice example. $80
YOUNG, Edward. THE WORKS OF EDWARD YOUNG, LL. D. To which is prefixed The Life of the Author. London: for J. Dodsley, 1798. 3 vols. Original gray boards and buff-paper spines; hand-inked titles to the spines; some creasing and chipping to backstrips; extremities chafed; text fresh; bindings tight; untrimmed. $100
[YOUNG, Julian Charles.] A MEMOIR OF CHARLES MAYNE YOUNG, TRAGEDIAN. With Extracts from His Son’s Journal. London and New York: Macmillan, 1871. Original rust-red cloth; some wear to extremities; frontisportrait and portrait plates (tissue guarded); internally very good. $30
An important account of the eminent actor’s life and career. Young largely played Shakespearean roles, between 1807 and 1832, and was the rival of Kemble, Kean, and Macready. §LAR 3690.