Author "C" Selections from Stock 

[CAMARGO, Marie-Anne Cupis de.] An etched and engraved portrait, “Mlle. Camargo,” after Nicholas Lancret. Paris: Laurent Cars, [1731]. 23” X 18”, plus full margins; backed with archival tissue; some expert cleaning, leaving only a nearly imperceptible shadow of staining; image very good; central vertical crease. $1200
A portrait of the ballerina Camargo, after Lancredt’s painting of 1730 (in reverse direction). It depicts her dancing in a woodland clearing, right foot slightly off the ground and arms outstretched. Her shortened-skirt costume and hair are decorated with garlands of flowers. At the right is a man leaning against a pedestal, playing the pipe and tabor and at the left a group of musicians and admiring onlookers are seen amongst the bushes. Lines of engraved text in two columns below the image. Praised by Voltaire, Camargo “became the first ballerina to achieve brilliance and virtuosity as well as grace (Moore).”

 

[CARDOZO, Joseph.] An etched portrait, “Joseph Cardozo,” after T. G. Parry. London: T. Parry, 1805. 4 1/2” x 6 7/8”, plus wide margins; original hand coloring; some light surface soiling and offsetting; three soft diagonal creases; with an accompanying leaf of engraved text. $250
Cardozo is shown full length to the front, hands in the pockets of his breeches. With an accompanying two-page biographical sketch (printed from engraved plates) to a second leaf. The sketch heralds Cardozo as “without exception the best made dwarf that ever was exhibited in this; or perhaps any other country” and states he “sometimes walks in Hyde Park and other public places... dressed in the manner of a child just out of petticoats, to prevent too particular notice of his person.” Scarce, not in the Harvard Catalogue.

 

[CARNAHAM, Bertha.] An ivory-process photograph of Carnaham. Boontown: Wendt, [c. 1898]. Image light (as typical of the ivory process); mount edges rubbed; identification in ink to lower mount. $75
The image shows the midget full length, in a gown, posed in a studio. Carnaham was associated with Barnum’s Circus at the end of the 19th century.

 

CARR, B[enjamin]. The sheet music to “Paddy Carr, Arranged as a Rondo for the Piano Forte.” Baltimore: J. Carr, [1816]. Large 4to; disbound; decorative engraved title-page; seven pages of engraved music; very good. $45
The first edition, no. 35 of Carr’s Musical Miscellany. §Wolfe 1634.

 

[CARTLICH, John.] A juvenile drama portrait of Cartlich as Saladin in The Siege of Jerusalem. London: J. Fairburn, [c. 1835]. Minor finger soiling.$85
Cartlich is seated on a horse in elaborate tack and saddlery. He holds a javelin in his upraised right hand. The equestrian spectacle The Siege of Jerusalem was first presented at the Royal Amphitheatre (Astley's), under Ducrow's supervision, in April 1835.

 

[CARVALHO-MIOLAN, Caroline.] A lithographed portrait, “Mme. Miolan Carvalho. Rôle de la Fanchonette.” Paris: Godard, [c. 1856]. 8” x 11 1/2”; including margins; colored by hand, fairly bright. $30
The dramatic soprano is shown, full length, in costume as she appeared at the Théâtre Lyrique.

 

[CARVALHO-MIOLAN, Caroline.] A lithographed portrait, “Mme. Miolan Carvalho. Rôle de Margot.” Paris: Godard, [c. 1856]. 8” x 11 1/2”, including margins; colored by hand. $30
The dramatic soprano is depicted, full length, in costume as she appeared at the Théâtre Lyrique.

 

[CAVALIERI, Lina.] A Russian photographic post-card of "La Cavalieri," [c. 1904]. Unused; very good. $18
A three-quarters length portrait of the Italian soprano.

 

[CELESTE, Celine.] A group of three issues of The Theatrical Observer, including bills for Celeste at Drury Lane, November 1833. 8vo; disbound; some removal wear to gutters. $40
These issues of the theatrical periodical list Celeste in The Maid of Cashmere, Prince Lee Boo, and Masaniello.

 

[CELESTE, Celine.] A pair of issues of The Theatrical Observer, including bills for Celeste at Drury Lane, November and December 1833. 8vo; disbound; some removal wear to gutters. $30
These issues of the theatrical periodical list Celeste in The Maid of Cashmere and Prince Lee Boo

 

CHARRIN, P. -J. LE CIMETIÈRE DE VILLAGE, Imitation Libre en Vers Français; De l’Elégie Anglais, de Gray.... Paris: Barba [and others], 1809. First Edition. Original blue wraps; dampstained to head; manuscript alterations to foot of one leaf; uncut. $50
A verse adaptation of Grey’s Ode, for recitation, by the Lyonnais playwright Charrin, set to music by Lemonnier. With a prefatory essay. Not in Solienne.

 

[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.

 

[CHIARINI FAMILY.] A broadside playbill for the Chiarini family at the National-Theater, Augsburg, 26 June, 1824. 8 3/4” x 14 1/2”; woodcut ornamental border; nearly fine. $375
The family of equilibrists and acrobats is announced in numerous different feats in “Tanz mit der Balanzierstange” followed by a pantomime, Der Goldene Traum. The Chiarinis, in their many branches, are one of the oldest and most notable of circus families (beginning as puppet showmen in the 17th century and then as rope dancers in the 1740’s).

 

[CHUSINGURA.] A landscape-format woodblock print of a chusingura scene by Kunisada, [c. 1847]. 14 3/4” x 10”; very good impression; a hint of wormholing, the longest on the title plate; paper fresh; colors well preserved. $175
A handsome woodblock illustration by Utagawa Kunisada. It depicts a scene in the famous revenge drama Chusingura, dramatized frequently for kabuki and the Japanese puppet theatre. This print shows Act 10, a favorite of Edo merchants as it features the merchant Gihei (financial supporter of the ronin). In this act Gihei is the subject of a mock arrest by the ronin, who do so to test his loyalty. Gihei shows himself to be as loyal and righteous as a samurai, refusing to succumb to threats and reveal the whereabouts of the ronin. The print shows Gihei on the ground before his warehouse filled with bales of rice. The black-clad ronin shine a light on him and hold a box for his arrest beyond the gate. This one is signed “Kunisada Aratame Toyokuni hitsu” (Kunisada changing his name to Toyokuni) on the title plate at the right. There are dual censor seals at the top, used between 1847 and 1852. As Kunisada changed names in late 1844, and continued to advertise it for three years, this must be close to the 1847 date. The publisher is “Eihisado.”

 

CHRIST, Joseph Anton. SCHAUSPIELERLEBEN IM ACHTZEHNTEN JAHRHUNDERT. Zum ersten Male veröffentlich von Rudolf Schirmer. Munich and Leipzig: Wilhelm Langewiesche, [1912]. Original stiff decorative wraps; frontisportrait; illustrated with silhouette plates. $35
Memoirs of the 18th-century German actor, with significant reminiscences of his theatrical and musical contemporaries. With 18 plates, several of them silhouette portraits.

 

CICÉRI, Pierre-Luc. A lithograph, “Bertram. Decoration du 1 Acte.” Milan: Vallurde, [c. 1825]. 8 3/4” x 9”, plus very full margins; a bit of dusting and wear; image very good. $85
One of the lithographs of the “Panorama Dramatique” in Vallurde’s series of the “Théâtres de Paris.” Cicéri was chief scenographer for the Paris Opera from 1810 to 1847. His designs for the melodrama Bertram; ou, Le Pirate were amongst his most notable. This scene, showing the influence of Sanquerico, depicts an ocean side cliff top, buildings on either side, lit torches near the precipice, with two actors in the foreground and range of landscape behind.

 

[CIRCUS.] A pair of original watercolor depictions of young circus performers to an album leaf, [c. 1852]. Page 12 3/4” x 10 1/4”; figures 3” x 4” and 4” x 4 1/2”; colors bright; some closed tears to edges (repaired); some dusting and wear; contemporary scraps to verso. $60
One figure is a leaping acrobat and the other a strongman. A larger image to the center depicts a scene in Richelieu.

 

[CIRCUS.] A pair of woodcut illustrations of circus performers, [c. 1830]. One 5 1/4” x 4 1/2”, the other 4 1/4” x 4 3/4”; trimmed to images; laid down to a contemporary folio album leaf. $125
The top image depicts an equestrienne riding side saddle, her horse leaping hurdles. The lower image depicts either a giant straddling a group of hippodramatic figures or a showman doing the same over automatons.

 

[CIRCUS.] An illustrated wrapper for Lautz Bros. Circus Soap, [c. 1889]. 7 3/8” x 10 3/4”; orange stock; engraved illustration; some decorative engraved text; some fading and wrinkling. $25
The illustration shows a clown astride a donkey in a circus ring. The soap company was located in Buffalo, NY.

 

[CIRCUS.] An illustrated column advertisement for a circus and caravan from the Bowery Amphitheatre appearing in Lowell, Massachusetts, in a complete issue of The Lowell Courier, 22 May, 1841. Folio; removed; creased to quarters; else very good. $18
The two engraved vignettes, within a decorative border, are of equestrians and giraffes. 

[CIRCUS.] A Chocolat Guérin-Boutron trade card, “La piéce militaire au théâtre imperial du Cirque, Boulevard du Temple,” [c. 1900]. 2 1/2” x 4 1/8”; chromolithographed; color image to recto; text to verso. $20
From the series, “Le Theatre a Travers les Ages,” The image shows a historical military spectacle at the Paris circus.

 

[CIRCUS.] An illustrated Belgium trade card showing a trained elephant and juvenile ringmaster, [c. 1900]. 4” x 2 1/2”; chromolithographed illustration to recto; text to verso; faint mounting traces to verso; very good. $20
The illustration, with gilt background, shows the elephant and juvenile ringmaster in the arena. The text touts a Huy department store.

 

[CIRCUS AND BULLFIGHTING.] A large broadside for “Funcion Extraodinoria de Novillos y Ejercicios por Los Alcides Arabes” at the Plaza de Toros, Madrid, 16 October, 1842. 18” x 26”; green stock; text, in a variety of typefaces, within a wide decorative border; docketed in manuscript to a portion of verso; one vertical and three horizontal folds; one point of minor abrading at junction of folds; small, light ink stamp to one corner of verso; overall very good. $500
A sizable circus and bullfighting broadside. It announces performances of the “Alcides Arabes” Majamet and Ali and their troupe of gymnasts and acrobats (during the suspension of exhibitions by the matador Francisco Montes Reina), at the principal bullring of Madrid. The program featured a running of the bulls, acrobatics, feats of strength, Moorish dances, lion taming, and pyrotechnics. With a contemporary docket to the verso.

 

[CIRCUS JUVENILE.] CIRCUS PAINTING & DRAWING BOOK. Akron: Saalfield, [1916]. Large folio (10 3/4” x 15 1/4”); color pictorial stiff-card covers; stapled; slight wear to covers; backstrip worn; upper cover nearly loose; numerous line illustrations, some with printed colors; several of the illustrations colored by a previous juvenile owner. $45
“A mammoth painting and drawing book for the children, chock-full of intensely interesting pictures of the circus and menagerie, in color and outline.”

 

[CIRCUS.] LE PETIT JOURNAL, Supplement Illustré. [Paris]: 23 May, 1891. Folio; slight toning and edge wear; color-printed covers. $30
The large color-printed illustration to the back cover, “Néron à l’Hippodrome,” depicts lion tamers in a circus arena.

[CLAIRVILLE, Louise Nicolaie.] A complete issue of Le Trombinoscope devoted to Clairville. [Paris: F. Debons, 1874.] 4to; engraved decorative banner title and caricature to front; three stitching holes to left margin; a bit of foxing. $35
The entirety of this four-page satirical periodical is given over to an account of Clairville. The first page is illustrated with a caricature of the playwright.

 

[CLAIRVILLE, Nicolaie.] A handbill program for Clairville’s La Queue du Chat at the Théatre du Chateau-d’Eau, [c. 1871]. 5 1/2” x 8”; corners tipped to a small quarto album leaf. $15
This féerie, with music by Diache, premiered on 4 September, 1871.

 

[CLARKE, ?] A half-penny juvenile drama portrait, “Mr. Clarke as Pantaloon.” London: M. Skelt, [c. 1837]. Two corners creased; else very good. $40
The actor stands, in pantomime costume and wig, a crutch raised in his right hand.

 

CLEMENT-JANIN, [Noel]. DRAMES ET COMEDIES ROMANTIQUES. Paris: Le Goupy, 1928. First Edition. Later buckram; stamp of Chekov Theatre Studio to front pastedown; plates and in-texte illustrations. $40
1/1115 copies. A still-useful critical history of French drama in the first half of the 19th century. It incorporates studies of Hugo, Lemaître, Dumas, "La Tour de Nesle," de Vigny, and de Musset. From the collection of the Chekov Theatre Studio.

 

[CLEVELAND THEATER.] A tall playbill for a performance of Coleman’s The Poor Gentleman at the Cleveland Theater, 22 September, 1855. Tear to upper corner, repaired; light foxing to foot; short, closed tear, repaired, at head; one horizontal crease. $30
This bill for the opening of the Fall and Winter season lists the stock company to the center.

 

[CLEVELAND THEATER.] A tall playbill for Caroline Richings in Taylor’s Rosalind at the Cleveland Theater, 1 July, 1856. Light stain to one side; some wrinkling to upper margins; one horizontal crease. $25

 

[CLIFTON, Josephine.] A Covent Garden playbill for Clifton’s London debut, as Belvidera in Otway’s Venice Preserved, 4 October, 1834. A hint of foxing; some creasing; a bit of soiling and wear to side margins. $35
Clifton was “the first actress of American birth who visited England as a star.”

 

CLUZEL, Magdeleine E. PRÉSENCES (Entreitiens sur l'Art). Paris: Maisonneuve, 1952. Original printed wraps and glassine; frontisportrait; plates; unopened. An inscribed copy. $12
A collection of essays, amongst the subjects being Louis Jouvet, Georges Pitoëff, Jean-Paul Sartre, and Serge Lifar. Illustrated with plates.

[COBHAM, Thomas.] A juvenile drama portrait, “Mr. Cobham as Gilderoy.” [London: n. p., c. 1827.] Trimmed to within platemark, excising imprint; edges laid down to a portion of an album leaf. $25
Cobham is shown standing, in Highlander costume and pistols in his belt, arms held up and out in gesture.

 

[COBHAM, Thomas.] A juvenile drama portrait, “Mr. Cobham as Hardicanute in One O’Clock or the Knight and the Wood Demon.” [London: O. Hodgson, c. 1830.] Impression faint at foot; colored by hand. $45
Cobham is shown in armor, cape, and plumed headdress. He stands, legs apart, turned to the right with arms extended.

 

CODY, William F. LIFE AND ADVENTURES OF BUFFALO BILL. Illustrated with many Rare Engravings. Chicago: John R. Stanton Co., [c. 1921]. Original cloth, worn; spine dull; paper portrait tipped to upper cover; clippings pasted to endpapers; frontisportrait; numerous plates and illustrations to text. $50
This volume incorporates Cody's original autobiography published in 1879 and extended in 1888 and a final chapter--"The End of the Trail," by Col. William Lightfoot Visher, covering the last days of Cody's life of which little was known. §Toole-Stott 6029.

 

[COFFEY, Charles and Theophilus CIBBER.] THE DEVIL TO PAY: or The Wives Metamorphos’d. An Opera. London: for H. D. Symonds, n. d. [c. 1785]. 12mo; disbound. $25
Adapted by Coffey from Jevon’s The Devil of a Wife. Upon encountering some criticism for offense it gave nonconformists it was pared to a one-act play by Cibber.

 

[COGHLAN, Rose.] A photogravure portrait of Coghlan as Lady Teazle. [New York]: Gebbie, 1888. 8 1/2" x 11 1/2", plus wide margins; image near fine. $10

 

[COLAS, Stella.] A carte-de-visite photograph of Colas as Juliet. London: London Stereoscopic, [c. 1870]. Partially tinted with watercolors; near fine. $35
A full-length portrait of the actress in role. Colas was French, but learned to speak English (though her elocution was defective). Juliet was her most famed role on the London stage and she participated, in this part, in the Shakespeare Tercentenary at Stratford-upon-Avon in 1864.

 

[COLBURN, Zerah.] A stipple-engraved portrait of the mathematical prodigy/lightning calculator Colburn, after T. Hull. London: [H. Meyer], 1813. 13” x 15”, plus margins; contemporary hand tinting; mounting traces to reverse; very good. $500
The original print of the portrait of the young Vermont native, with paddle and shuttlecock, mostly encountered as the greatly reduced frontispiece to Colburn’s Memoirs (1833). It is subtitled: “A child of just eight years of age, endowed by nature with the remarkable faculty of solving a great variety of arithmetical questions by the mere operation of his mind.” The engraving is after a drawing by Thomas Hull, done while Colburn was exhibiting in London (where for several years he lived with his father). A striking Regency portrait of a curious subject, and quite rare (no portrait in the Harvard Catalogue).

 

[COLE’S CIRCUS.] A die-cut and chromolithographed card for “W. W. Cole’s Great Circus,” [c. 1885]. 5 1/2” x 2”; die-cut to shape; printed both sides; near fine. $35
A novelty cut into the shape of a butterfly and printed in yellow and red, with black type, printed both sides. It was used to advertise Cole’s circus, boasting of its 3000 marvels, 500 snakes, 500 horses, menagerie, gallery of wax statuary, 1000 men, aerial bicycle riding, and much else.

 

[COLETTE, Sidonie and H. GAUTHIER-VILLIARS.] A large, color-lithographed poster for the operetta Claudine, “d’apres les Romans de Willy & Colette Willy,” at the Théâtre de Moulin-Rouge. Paris: Clérice Freres, 1910. 25 3/4” x 35 1/2”; colors bright; fine. $550
The three-act operetta, Claudine, (based on Colette’s novels) by Henry Gauthier-Villiars (“Willy”), Henri Cain, Edouard Adenis, and Henri Moreau, with music by Rudolphe Berger, opened at the Moulin Rouge on 14 November, 1910. This handsome and colorful poster depicts the cast, including a woman in blackface, parading in front of the heroine.

 

[COLLIER, John Payne.] PUNCH AND JUDY, With Twenty-Four Illustrations. Designed and Engraved by George Cruikshank. And Other Plates. Accompanied by the Dialogue of the Puppet-Show, An Account of Its Origin, and of Puppet Plays in England. London: Bell & Sons, 1881. 8vo; original patterned green cloth, a little scuffed and faded at edges; some fraying at head of spine; spine cloth faded to brown; engraved frontispiece and plates; publisher’s catalogue bound in at the front. $90
Additional new illustrations (not by Cruikshank) are included in this edition -- page ten carries two of costumes of the Italian commedia after Riccoboni.

 

COLLIN [D’HARLEVILLE, Jean François]. L’INCONSTANT, Comedie.... Paris: Prault, 1787. Disbound; foxed; some dampstaining at foot. $20
The author’s first play, performed at Versailles in 1784. It was first printed in 1786 following its Comédie-Française debut (where it had considerable success).

 

[COLLINS, ?] A hand-colored and tinseled juvenile drama portrait, “Mr. Collins as Ivanhoe.” London: M. & M. Skelt, [c. 1838]. 7 5/8” x 9 3/8”; colored by hand; tinsel applied; colors and tinsel bright. $425
A richly tinseled equestrian portrait of Collins in decorative armor and helmet. He sits astride a horse with elaborately adorned tack and manta, a shield on his left arm and battle ax in his raised right hand. Scarce, not in the Harvard Catalogue.

 

COLMAN, George. THE COMEDIES OF TERENCE, TRANSLATED INTO FAMILIAR BLANK VERSE. London: for T. Becket and P.A. Dettondt [and others], 1765. First Edition. 4to; full speckled calf; slightly shelfworn; spine ends abraded; gilt to spine compartments, rubbed; morocco label; upper hinge tender; marbled endpapers; engraved frontispiece and plates; text and plates clean and bright throughout; speckled edges. $500
This collection contains all six of the comedies in Colman’s highly praised adaptations, each with substantial footnotes. Colman’s lengthy preface explains and justifies his translations. The frontispiece and plates depict Roman performers and masks.

 

COLMAN, George and David GARRICK. THE CLANDESTINE MARRIAGE, A Comedy. London: for T. Becket [and others], 1766. First Edition. Disbound; lacking half-title; scattered stains and foxing. $40
”Truly amongst the dramatic masterpieces of this time (Nicoll).” This was the play which brought about the rift between the two authors -- Garrick insulted Colman by refusing to play the lead. Colman took his trade elsewhere, purchasing the lease to the rival Covent Garden. §Knapp 290 and 291.

COLMAN, George and David GARRICK. THE CLANDESTINE MARRIAGE, A Comedy. A New Edition. London: for T. Becket and P. A. DeHondt, 1770. Disbound; light soiling, primarily to margins; a trifle shaken; complete with half-title and final ad leaf. $30
Truly amongst the dramatic masterpieces of this time (Nicoll).” This was the play which brought about the rift between the two authors -- Garrick insulted Colman by refusing to play the lead. Colman took his trade elsewhere, purchasing the lease to the rival Covent Garden.  

 

[COMÉDIE-FRANÇAISE.] A group of five L’Illustration programs for the Comédie-Française, July and August 1899. 12mo; four pages each; bust portrait to front of each. $35
The productions were six pieces by Moliere and one each by Corneille, Sophocles, Racine, and Rostand. The portraits are of Coquelin, Lambert, and Truffier.

 

CONGREVE, William. THE WAY OF THE WORLD and LOVE FOR LOVE. Two Comedies. With Illustrations and Decorations by John Kettelwell. London: John Lane, 1929. Pictorial cloth, gilt; in frayed dustwrapper; front hinge starting; frontispiece and plates; some signatures opened unevenly. $15
The Bodley Head edition.

 

CONGREVE, [William]. THE WORKS OF MR. CONGREVE. In Two Volumes. To Which is prefixed, The Life of the Author. London: for T. Lowndes [and others], 1774. 2 vols. 12mo; modern quarter calf; engraved frontispieces; four engraved plates to text; Lowndes’ catalogue at the end of Vol. I; a very good set. $100
The dramatis personae and engraved scenes are of contemporary productions. The frontisportrait is by VanderGucht.

 

[CONJURING/JUGGLING.] A hand painted decorative ceramic tile, the central image depicting a conjuror/juggler, [c. 1800 (?)]. 5” x 5”; decorated in color; glazed; in an early beveled frame. $500
The figure (2” x 2 1/4) is depicted in a Pantaloon-like costume, kneeling, a piece of apparatus held out in his left hand and a wand in his right. A series of colored balls hover over the apparatus. The figure is painted in purple and yellow. To the edges of the tile are added decorations in dark purple.

[CONJURING.] An admission ticket for "Haviland's Magical and Novelty Co., [c. 1880 (?)]. 3 1/2" x 2"; heavy, orange stock; dusted; penciled design to reverse; upper corner clipped for admission. $18

 

[CONJURING.] A large lithographed plate, “Silhouettes par Larue.” [Paris]: Gihaut, [c. 1850]. 19” x 13 1/2”; merest hint of foxing; matted. $100
A series of a dozen lithographed silhouette scenes, one being the performance of a boulevard conjuror and assistant. Another scenario shows a group at cards.

 

[CONJURING.] A large broadside advertising the sale of conjuring apparatus, Berlin, [c. 1865]. 12 3/4” x 18 1/4”; thin stock; five woodcut illustrations to head; three horizontal creases and one central vertical fold; very minor toning at fold; red-pencil marks preceding four items. $550
The list of 60 pieces of conjuring apparatus is laid out in two columns, each with a brief description and price. Twenty-one come under the heading of Grössere Apparate. The banner paragraph heralds them as “höcst überraschend,” suitable for all levels of performers, and also very appropriate as Christmas and New Year gifts. The items were offered for sale at an inn and at a market stall. The five woodcut illustrations depict conjurors in performance.

 

[CONJUROR’S MAGAZINE.] THE CONJUROR’S MAGAZINE. [London: for W. Locke, 1792-93]. Early cloth-backed boards; one engraved plate cut down and pasted in as frontispiece; lacking the remainder of the plates; bound without the first issue; numerous engraved figures; text in double columns; minor wormholing to a few leaves of text (pp. 217-220) and two of the index excised. $250
The second of two volumes, bound without the first of 12 issues, of the first English periodical devoted to conjuring. Issued monthly, it contains tricks abstracted from, or credited to, Breslaw, Dean, and Pinetti. According to Toole-Stott the rare Lavater plates are more often than not missing. Bound volumes of the periodical are “highly prized by collectors (Hall).” §Toole-Stott (Conjuring) 179. Clarke & Blind, p. 57.

 

[CONNOR, Charles.] A penny-plain portrait, “Mr. Connor, As Earl of Montrose, in Montrose, or, The Children of the Mist.” London: Hodgson, 1822. A bit of dusting to edges; two points of foxing at head; very short, closed tear at foot, with early repair to verso; very good impression. $85
The actor stands, in costume, left arm held out to point to the right and a drawn sword in his right hand. Pocock’s melodrama, based on Scott’s novel, premiered at Covent Garden in February 1822.

 

[CONSTRUCTION SHEET.] A large-format lithographed construction sheet, “Porte St.-Martin-Paris.” Epinal: [Pellerin, c, 1885]. 19 1/4” x 15 1/4”; light card; original hand coloring; very light surface spotting. $65
A hand-colored construction sheet to build a model of the Paris monument plus six double-sided human figures or groups and one (single-sided) of a dog.

 

[COOKE, George Frederick.] A gravure portrait of Cooke as Richard the Third. [New York]: Gebbie, 1888. 8 1/2" x 11 1/2", plus wide margins; thin stain to outermost right margin; image near fine. $15
A full-length portrait, standing, arms crossed in front of his chest.

 

[COOKE, Thomas Potter.] A tinsel-decorated juvenile drama portrait, “Mr. T. P. Cooke as Sir Roland the Constant in King Arthur.” London: M. & M. Skelt and A. Park, [c. 1837]. Colored by hand; tinsel and cloth applied; laid down to an early folio album leaf; a few points indicating the impression of another tinseled portrait. $150
Cooke is depicted in armor, a battle-axe raised in his right hand and a shield held on his left arm. Purple cloth is applied to his costume and tinsel embellishes his helmet, axe, shield, and costume. Pocock’s equestrian drama King Arthur (based on Scott’s The Bridal of Trierman) was performed at Drury Lane in 1834.

 

[COOKE, Thomas Potter.] A playbill for Cooke in the "only night this season" of the nautical drama Nelson, or, The Life of a Sailor, at the Theatre Royal, Edinburgh, 1 May, 1829. Slight wrinkling. $35
Cooke was featured as the seaman Fid in The Red Rover, "an entirely new spectacle adapted from the leading incidents in the New American Novel, by the author of The Spy, The Pilot, &c...."

 

COOKE, T[homas] S. The sheet music to “I’ll Love Thee Dearly.” Words by S. J. Arnold. New York: W. Dubois, n. d. [1817]. 4to; disbound; three pages of engraved words and music; some foxing. $30
The music by Cooke and sung by him “in the Operatic Anecdote of Frederick the Great, as Performed at the Theatre Royal Lyceum.” §Wolfe 2058.

 

COOTE, [Charles]. The sheet music to, “The Enchantress... The Anna Waltzes.” [Philadelphia]: E. Ferrett & Co., [c. 1846]. Folio; removed; two-color lithographed upper cover, trimmed at fore-edges; nine pages of music; speckling and finger soiling. $30
As “performed at the Th[eatre] Royal Drury lane [and] taught by Henry Whale, Assembly Buildings, Philadelphia.” The music is for five waltzes and an introduction. The cover shows a scene in Balfe’s opera, within an ornate gold border.

 

CORNEILLE, [Pierre and Thomas]. LES CHEF-D’OEUVRES DRAMATIQUES DE MESSIEURS CORNEILLE, Avec Le Jugement des Savants a la suite de chaque Piece. Rouen: Pierre Dumesnil et Labbey, 1785. 3 vols. 12mo; early calf-backed, speckled boards; vellum tips; some rubbing and wear; gilt-tooled decorations to spine; morocco labels; two volume labels chipped at one end; engraved head- and tail-pieces. $150
This collection contains 14 dramatic pieces, one of the comedies with a new prologue and one with a new divertissement.

 

CORNEILLE, T[homas]. CHEF-D’OEUVRES DE T. CORNEILLE. Paris: Petite Bibliotheque des Theatres, 1786. 12mo; original pink wraps, slightly worn; backstrip faded and chipped slightly at ends; original paper label, chipped at ends; engraved portrait plate; untrimmed. $30
An unsophisticated copy of this pocket edition. It contains a life of Corneille, a lengthy catalogue of pieces, and the tragedies Ariane and Le Comte d’Essex.

 

[CORTESI, Antonio.] An issue of The Theatrical Observer,” including a bill for Cortesi’s Ines di Castro at Covent Garden, 20 June, 1833. 8vo; disbound. $30
The principal dancers in the ballet included Pallerini, Cortesi, and Ronzani. Also on the bill was Vestris as Apollo.

 

[COSTUME.] A French engraving, "Habit of Aletes in the Tragedy of Creusa," [c. 1770]. 8" x 10 1/4"; very good. $60
A full-length portrait of an actor in the elaborate costume of Aletes in Roy's tragic opera.

 

[COUP’S CIRCUS.] A trade card, “W. C. Coup’s Hippodrome Puzzle Card,” [c. 1881]. 4 1/2” x 2 3/4”; lithographed illustration to recto; text to verso; a trifle foxed and toned. $55
The illustration contains 17 hidden objects and the text to the reverse lists 17 attractions of Coup’s Ten Shows Combined.”

 

[COUP’S CIRCUS.] A double-sided streamer, “W. C. Coup’s $50,000 Challenge,” for the exhibition of Coup’s Equescurriculum at Worchester, 16 September, 1878. 22” x 9 1/2”; purple stock; large wood-engraved illustration near head of one side; soft horizontal folds; trimmed at head, touching top of one line of text; else near fine. $300
One side of this densely worded streamer outlines Coup’s challenge “to the proprietors of the show seeking to bask in the sunshine of [his] prosperity by following place to place and inviting the public to wait for their interior affair.” The other side is taken up with “A Spicy Interview with Mr. Coup the Prince of Managers” -- more than 2400 words. The illustration depicts a giant octopus assailing a masted ship.

 

COURSAGET, René and Maximilien GAUTHIER. CENT ANS DE THÉATRE par la Photographie. Comédiens et Comédiens d'Heir. Préface de Gérard Bauër. Paris: Éditions L'Image, [1947]. First Edition. 4to; pictorial paper wraps over limp boards; illustrated with numerous gravure portraits; decorative borders, some in color. $65
A review, in photographic portraits, of French theatrical personalities from Samson to Antoine, accompanied by selections of contemporary criticism. Many of the major figures (Rachel, Ristori, Coquelin, Bernhardt, Réjane, Duse, Guitry, and Lugné-Poe) are covered, as are more than 100 other players. At the end are 105 useful biographical sketches.

 

CRAIG, E. Gordon (Editor). THE MASK. Volume Twelve. Number Four. Florence: October 1926. Small 4to; original decorative orange wraps, a bit of fraying to edges; spine worn; frontispiece and plates (one folding). $25
This volume contains a piece by Craig on Alexandre Dumas père and the Théâtre Français, and a design for Venice Preserved, as well as several reviews of books on the European theatre.

 

CRÉMIEUX, Hector and Émile LAMÉ. QUI PERD GAGNE. Comédie.... Paris: Michel Lévy Frères, 1856. Disbound; some dust soiling to head. $10
A one-act comedy first performed at the Odéon in June 1856.

 

CRISTIANI, [Stefano]. The sheet music to “Ma Chere Amie!” Philadelphia: Bacon & Co., [c. 1819]. Large 4to; removed; two pages of engraved text and music; minor foxing. $50
An “admired English song,... inscribed to Miss Sarah Coleman.” The Italian-born Cristiani, composer and music and voice teacher, lived in or about Washington and Philadelphia circa 1818-23. The first edition of this composition. §Wolfe 2202.

 

[CUMBERLAND’S BRITISH THEATRE.] A group of 15 plays and operas in the series of Cumberland’s British Theatre. London: v. p., [c. 1850-70]. 12mo; original decorative wrappers; wear to some covers and spines; most with a frontispiece; contents very good on average. $50
A selection of 15 different “standard” dramas by such authors as Planche, Milton, Centlivre, Rede, Dibdin (after Scott), and Colman. Most carry remarks and a frontispiece (some by Cruikshank).

 

CUVELIER [DE TRYE], [Jean G. A.] LE FILLE HUSSARD, ou Le Sergent Suédois, Pantomime... et Spectacle. Jonée deux cent einquante fois,... avec les combats équestres et évolutions, exécutés par le troupe du citoyen Francony. Paris: Barba, [1799]. Thin 8vo; later marbled wraps; variable foxing to first three leaves. $100
The scenario to a three-act equestrian spectacle, featuring the Franconis, first produced at the Cirque Olympique in 1798. Cuvelier de Trye was the author of more than 120 spectacles and pantomimes. A very scarce piece related to the early French pantomime and circus. §Toole-Stott 3078 (1814 edition).

 

CUVELIER [DE TRYE], J[ean] G. A.

LES QUIPROQUO NOCTURNES, Opera Bouffon.... Paris: Barba, 1798. First Edition. Disbound; variable foxing. $35
A two-act opera, with music by L. Morange, which premiered in December 1797 at the Théâtre Montansier. The cast list is printed. Cuvelier de Trye was the author of more than 120 pieces, primarily for the Cirque Olympique collaboration with the Franconis. §Sonneck, p. 112.