Authors "E" and "F" Selections from Stock

 

[EDINBURGH CIRCUS.] A front-page column notice concerning the sale of horses at the Edinburgh Circus, in a complete issue of the Edinburgh Evening Courant, 9 April, 1792. Large folio; central horizontal crease; contemporary holograph notations. $25
The advertisement gives particulars of the sale of circus horses and contains a notice at the foot concerning riding lessons given at the circus.

 

[ELÉONORE, (?).] A hand-colored lithograph portrait, "Mlle. Eléonore, Rôle de Floretta dans le Belveder." Paris: Noel et Cie, [c. 1825]. 10 1/2" x 15 1/2"; colored by hand; very light offsetting and spotting; else bright. $40
The Ambigu-Comique actress is shown full length, standing, in Greek costume and cap; with a mountain range in the background. Pixerecourt's melodrama was first performed in 1818. 

 

[ELLAR, Thomas.] A juvenile drama portrait, “Mr. Ellar as Harlequin.” [London]: A. Park, c. 1833]. Margins trimmed (excising imprint); mounting traces to verso; dark impression. $75
The pantomime actor is shown standing, legs apart, in motley and mask, right hand raised over his head and left arm crossing his midriff. His decorated slapstick is attached to the back of a belt. Two vignette scenes in the background.

 

ELLET, [Elizabeth F.] THE CHARACTERS OF SCHILLER. New York: [and] Boston: John Allen [and] Otis Brothers, 1842. Original plain boards, worn and a bit stained; hinges worn; spine ends chipped; paper labels to backstrip; decorative, engraved library bookplate; insignificant library marks to front paste-down and contents leaf; minor foxing to a few leaves. $18
A prefatory essay on the “theory and genius of Schiller” and his early compositions is followed by 23 chapters each of which studies an individual character from the dramas.

 

[ELLIOT, Charlotte and Harriet.] A broadside playbill for “Three Charades” performed by Lady Charlotte and Lady Harriet Elliot at the Theatre Royal, Admiralty, 14 February, 1840. Three horizontal creases; a hint of dusting; else very good. $45
The pieces were Retribution, William and Susan, and The Wedding Night. The juvenile actresses took the lead roles in each of the plays. A contemporary holograph note to the verso states: “Set up and printed by T. Ashton Croker.”

 

[EMERY, John.] An engraved portrait of Emery as Dandie Dinmont in Terry's Guy Mannering. London: W. McDowall, 1827. 9 1/2" x 13 1/4", plus margins; light surface soiling. $40
Emery is shown full length in character. He stands, legs apart, a whip held to his side in his right hand and his left arm before him.

 

[EQUESTRIAN DRAMA.] A double-page Drury Lane playbill for the second night of Planche’s Chevy Chase, 5 March, 1836. Printed in red; three gentle horizontal creases; nearly fine. $60
The new equestrian spectacle featured Mathews, Poole, Forde, and “a retinue of armed knights, fully caparisoned, and mounted on a magnificent stud of horses.” The evening’s program opened with Balfe’s opera The Siege of Rochelle. The second page is taken up with bold descriptions of scenes in the “grand chivalric entertainment.” Unusually printed entirely in red.

 

[EQUESTRIAN DRAMA.] A Drury Lane playbill announcing “Cooke’s magnificent stud of horses” in the equestrian drama Timour the Tartar, 26 May, 1831. $45
Liston performed in two other pieces the same evening, Planché’s The Legion of Honour and Poole’s Turning the Tables.

 

[EQUILIBRISTS AND ACROBATS] An illustrated column advertisement for equilibrists and acrobats at the Old Theatre, in a complete issue of Philadelphia’s The True American Commercial Advertiser, 22 February, 1806. Folio; removed; central horizontal fold; some dusting and minor fraying to edges. $50
”A numerous Company of Rope Dancers offer their services to the public ... Manfredi , in the wooden shoes, on the rope...,” military exercises and firing on the rope, Egyptian pyramids by the tumblers, a pantomime, and much else. At the head of the advertisement is 1 1/2” x 1 1/2” woodcut illustration of a clown looking up at a rope dancer.

 

[EQUILIBRISTS.] A Drury Lane playbill for the Christmas pantomime Harlequin & Cock Robin, 3 January, 1828. Pale blue stock; minor creasing to corners; very good. $55
One scene in the pantomime incorporated “the celebrated Herr Cline, on the corda tesa; the phenomena Ching Lauro and Sigr. Garcia, with various feats; and the inimitable Blackmore on the corde volante.” Also on the bill was Dimond’s Isidore de Merida with Braham and Feron.

 

[EQUILIBRISTS.] A playbill for the Covent Garden Christmas pantomime Harlequin and Number Nip, 2 February, 1828. 1 1/2” tear near upper left corner, excising one letter of text. $50
The carnival scene in the pantomime featured Il Diavolo Antonio on the slack rope and Wilson on the tight rope. The “grand panoramic naumachia” incorporated a representation of the Battle of Navarino. Antonio Migasi was associated with Edward Eldred’s Circus in he U. S. a few years later. The evening’s bill also included Lucia Vestris in the name role of Artaxerxes.

 

[ERASMUS, Franz.] A broadside playbill announcing Erasmus’ (“herrn Blondin”) troupe as an interact exhibition at the Augsburger Theater, 12 July, 1810. 8 1/2” x 14 1/2”; text within a decorative woodcut border; wide margins; creased to quarters; minute stitching holes to left margin; very good. $150
Erasmus seems to have taken the stage name Blondin when he formed his first troupe of acrobats and equilibrists circa 1800. Four years after this performance he added equestrians to his company, becoming the Cirque Olympic -- with which Ducrow, Martin, Loisset, and Gravelet (who took his master’s name) were all engaged early in their careers. The other pieces on the bill were Kotzebue’s Der Sammtrack and the pantomimic ballet Die Spanier in Otahaite.

 

[ESSLAIR, Ferdinand.] A playbill announcing Esslair’s benefit performance of Goethe’s Göz von Berlichingen..., at Königliches Theatre, Stuttgart, 3 December, 1819. Gently creased to quarters; near fine. $40
Esslair played the name role in Goethe’s play. The widely celebrated actor was second only to Ludwig Devrient in popularity. He was a favorite of Tieck’s who admired his ability to realize heroic roles fully and naturally.

 

[EVREINOV, Nikolai N.] [THEATRICAL INNOVATIONS.] [Petrograd: Tretha Straza], 1922. First Edition. Original decorative wraps; moderate wear to covers. $250
Evreinov’s series of essays on theatrical innovations includes several of his most important theses: the study and reconstruction of the scenic devices and acting techniques in use during the most theatrical periods of the past (what he referred to as the “Old Theatre”); the development of “separate forms of interplay between the stage and the audience (N. Gorchakov)” -- his slogan being “the reconstruction of the audience”; an outline of several of his objections to the theatre of realism; and some of his conceptions of the mission of the theatre. Although these influential essays were written, and widely known of, years prior to the Revolution they were not published until later. At the end is an annotated bibliography of Evreinov’s publications. The cover design is by V. V. Pakulin.

 

[EXHIBITION.] A column advertisement, “Curiosity,” in a complete issue of The Salem Gazette, 1 February, 1820. Large folio; light embrowning; marginal dampstaining. $50
The advertisement announces the exhibition of “the Vermont Monster, or Buffalo Baby (a four-year-old giant)” and “The African (of small size... found in the woods in the Eastern State)” at the Essex Coffee House in Salem, Massachusetts.

 

[EXHIBITION.] A column advertisement, “Live Porpoises,” in a complete issue of Philadelphia’s General Advertiser, 7 December, 1805. Folio; removed; creased to quarters. $40
A notice of two porpoises to be seen at the Black Horse Tavern -- with a description of the pair “taken at sea for the especial purpose of exhibition.” Also advertised is the publication of The Theatrical Censor.

 

[EXHIBITION.] A handbill for the exhibition of “Iphigenia, die holdselige Dioskuren-Brant mit ihrer Umgebung der Weiblichen Schönheiten,” Leipzig, [c. 1865]. 6” x 8 1/2”; green stock. $175
An exhibition of suggestive tableaux, including the most beautiful dreams of virgins, awakenings, Elvira in pagan costume, and Ulrika in the bath.

 

[EXHIBITION.] A playbill for "der Französiche Hercules" Lebesnier at Stuttgart's Königlicher Redouten-Saal, 4 March, 1826. Minor creasing and dusting to left corners; a very few light spots; else very good. $250
This densely worded bill lists numerous feats performed by the French strongman Lebesnier during the exhibition. Amongst the sundry stunts of lifting and strength he conveyed heavy weights while walking parallel tightropes; waltzed while carrying, in his hands and teeth, tables laden with up to five people; presented himself in poses plastique (representing more than a dozen statues and tableaux); and, in "Die Standarte des grossens Friedrichs," holding himself out on the perpendicular from a taunt, vertical rope.

 

FAGAN, [Barthelemy] and [M.-A.] LEGRAND. THEATRE DE FAGAN [and] THEATRE DE LEGRAND. Paris: n. p., 1821. Small 8vo; contemporary blue boards, rubbed and worn at ends; joints worn; paper label; engraved frontisportrait; internally fine; untrimmed. $40
Five farces by each author, some with divertisements. Written for the Comédie-Français, they took free inspiration from fairground entertainments and the commedia dell’arte. With the bookplate of the American modernist artist Hamilton Easter Field.

FAGAN [DE LUGNY, B.C.]  LES ORIGINAUX, Comedie.... Paris: Vente, 1816. Disbound; paper fault to upper fore-corner of title-page; very good. $18
A one-act comedy adapted, with three new scenes, by Dugazon (who played the Senechal).

 

F[AGAN DE LUGNY, Barthelemy] and [Charles-Simon] F[AVART]. LA SERVANTE JUSTIFIÉE, Opera Comique. Paris: Prault, 1744. Disbound; very scattered light foxing. $30
A one-act comic opera in prose, vaudevilles, and airs, with music by de Moulinghem. It was first published in 1743.

 

[FARQUHAR, George.] A mezzotint, “A Scene in the Recruiting Office,” after Phillip Mercier. [London]: J. Faber, 1739. 13” x 11”; trimmed to just outside of platemark; window mounting to extend margins; closed tear to caption, neatly repaired to reverse; image near fine (not rubbed). $350
A group picture of the opening scene of Act Three in Farquhar’s comedy with Kitty Clive as Rose in the center, carrying a basket of chickens, and behind her Captain Plume (portrayed by Robert Wilks) grasping the shoulder of Bullock with one hand while suggestively groping the basket of fowls. Behind them is seated Sergeant Kite taking a glass of wine. It is possible the inspiration for the picture stemmed from Mercier’s theatrical interest (in 1733 he became a shareholder in John Rich’s new theatre at Covent Garden).

 

[FAURÉ, Jean-Baptiste.] A two-page autograph letter, signed. N. p.: [c. 1870 (?)]. 8vo leaf, folded; embossed monogram; original creases; minor abrading near foot of (blank) integral leaf; very minor staining at foot. $100
A very good letter, with much theatrical/operatic content, addressed to “cher Directeur.” Faure was regarded the greatest French baritone of the second half of the 19th century -- particularly admired as Don Giovanni and Rossini’s William Tell. A rare signature.

 

[FAURÉ, Jean Baptiste.] A lithographed portrait, “Faure, rôle de Justin dans le Chien du Jardinier.” Paris: Godard, [c. 1856]. 8” x 11 1/2”, including margins; colored by hand; bright. $30
The dramatic baritone is shown, full length, in costume. Grisar’s comic opera was first performed in 1855 at the Opéra Comique.

 

[FAWCETT, John.] A line-engraved portrait, “Fawcett the Comedian.” London: [Art Journal, 1854]. 8 7/8” x 13 7/8”, including margins; closed tear to (blank) lower right margin, repaired; image very good. $40
A half-length portrait, to the front, looking to the left “from the picture in the Vernon Gallery” by Sir T. Lawrence.

 

[FELIX, Rachel.] MARIE STUART. A Tragedy... by M. Pierre Lebrun. The Original French Copy with an English Translation. Prepared Expressly for M. Raphael Felix, Manager of Mlle. Rachel’s French Company in America. New York: Darcie & Corbyn, 1855. Large 8vo; disbound; glue-stain to gutter of title-page; light stain to lower fore-corner of title-page; text in double columns; minor foxing to a few leaves. $16
A souvenir of Rachel’s first American tour.

 

[FEUILLET, Octave.] A complete issue of “Le Trombinoscope” devoted to Feuillet. [Paris: F. Debon, 1874.] 4to; engraved decorate-banner title and caricature to front; three stitching holes to left margin; moderate foxing. $35
The entirety of this four-page satirical periodical is given over to an account of Feuillet. The first page is illustrated with a caricature of the playwright.

 

[THÉÂTRE FEYDEAU.] An engraving, “Nouveau Théâtre Feydeau.” London: Jennings and Chaplin, 1830. 8” x 5 1/2”, plus narrow margins on three sides; colored by hand. $15
A hand-colored view of the front and one side of the Paris theatre. The original theatre was built in 1790.

 

FIELDING, [Henry]. THE TEMPLE BEAU. A Comedy. London: for J. Watts, 1730. First Edition. 8vo; modern marbled boards and green-morocco spine; new endpapers; gilt title to spine; very good. $400
The first (and only London) edition of Fielding’s second play, with obvious debts to Congreve. Fielding first offered this piece to the managers of Drury Lane, but lacking the support of Lady Montague was rejected. It was soon picked up, however, by Henry Gifford for the re-opened Goodman’s Fields where it opened in January 1730. The well-written prologue is by the author’s friend the American James Ralph (who had accompanied Benjamin Franklin to London in 1724), who at the time was introducing Fielding to the ways of Grub Street and low-life London. This copy with a price of 1s 6d to the title-page, the final signature of two leaves wrongly signed F (as apposed to G), and the advertisements to the last page. §Cross III, 290.

 

[FIELDING, Henry.] TUMBLE-DOWN DICK: or, Phaeton in the Suds. A Dramatick Entertainment of Walking, in Serious and Foolish Characters: Interlaced with Burlesque, Grotesque, Comick Interludes, Call’d Harlequin a Pick-Pocket. As It is Perform’d at the New Theatre in the Hay-Market. Being (‘tis hoped) the last Entertainment that will ever be exhibited on any Stage. Invented by the Ingenious Monsieur Sans Esprit: the Musick compos’d by the Harmonious Signior Warblerini. And the scenes painted by the Prodigious Mynheer Van Bottom-Flat. London: for J. Watts, 1744. Disbound; signatures loosening; variable dampstaining and cockling. $400
The second edition, and only other early edition, of the play often cited as Fielding’s rarest (there are fewer than 10 remaining copies of the first edition recorded). This edition is itself quite scarce. The text is a travesty, line for line at times, of the Drury Lane pantomime The Fall of Phaeton (Pritchard, 1736), choreographed by John Rich with music by Arne. It is perhaps Fielding’s most comprehensive satire of pantomime (a frequent target of his mockery) in which he “pits an author-figure named Fustian (a proxy for Fielding) against the theatre manager Machine (a proxy for Rich) who insists Fustian make deep cuts in the Shakespearian mainpiece in order to allow more time for the ridiculous pantomime (O’Brien).” The Dedication is “To John Lun, Vulgarly call’d Esquire,” to whom, in the words of the author, “we owe (if not the Invention) at least the bringing into Fashion, that sort of Writing which you have pleased to distinguish by the name of Entertainment.” §Cross III, 300.

 

[FILIPOWICZ, Elisabeth.] A tall broadside bill for Drury Lane featuring the violinist Filipowicz, 17 June, 1834, 7 3/4” x 19”; moderate creasing; 1” torn from upper left corner (just touching one letter of text). $50
“Extraordinary novelty for this night only, for the benefit of Mr. Ransford and Mr. Bedford, on which occasion Madame Filipowicz, the celebrated female violinist, from Poland (pupil of Spohr)... and M. Bogaert from Belgium will appear.” The evening commenced with Speed the Plough (Farren, Dowton, Mathews, and Orger in the cast). Filipowicz played an air with variations by Meyseder and the flautist Bogaert played a fantasia with orchestral accompaniment.

 

[FISHER, Minnie.] A sepia cabinet photograph of Fisher in Esmeralda. Gloucester: Wm. Gillard, [1885]. Very good. $16
A full-length portrait of the actress in Gypsy costume, a tambourine held in her right hand.

 

[FITZBALL, Edward.] A two-page Covent Garden playbill for Fitzball's Quasimodo, 25 May, 1836. Pale blue stock; minimal fraying to left edge; very good. $25
The "overture and whole of the music (with the exception of the Bohemian Dance by Mercandante and a Dead March by Beethoven) composed by Carl Maria Von Weber. "

 

FITZGERALD, Percy. SIR HENRY IRVING. A Record of Over Twenty Years at the Lyceum. A New Edition, Revised with An Additional Chapter. London: Chatto & Windus, 1895. Publisher’s cloth, a bit marked and dusty; author, title, and decoration to upper cover; corners bumped; leather label to spine; light foxing to frontisportrait and title-page. $30
A revised edition of this sympathetic biography detailing both Irving’s stage career and private life. §LAR 3088.

 

[FITZWILLIAM, Edward.] A stipple engraving, “Mr. Fitzwilliam, as Looney Mactwolter in The Review,” after F. Waldeck. [London]: H. Berthoud, 1822. 6” x 9 1/2”, plus margins; a hint of dusting and foxing, primarily to margins. $25
The actor is depicted standing, in costume, a pitchfork in one hand and a hat in the other.

 

[FLEURY, Abraham Joseph.] An engraving, “Mr. Fleury, rôle de Frederic dans les 2 Pages,” [c. 1789]. 4 1/4” x 3 1/4”, plus substantial margins; margins foxed. $20
A scene in Faur’s musical comedy showing Fleury and another actor. Le Deux Pages premiered at the Theatre Français in March 1789.  

 

[FLORENCE, William.] A sepia cabinet photograph of Irish-American actor Florence. New York: Mora, [c. 1875]. Near fine. $22
A head-and-shoulders portrait. Florence is best known as Bob Brierly in The Ticket-of-Leave Man and George D’Alroy in Caste.

 

FLORIAN, [Jean-Pierre Claris de]. THÉÂTRE. Quatrieme Édition. Paris: P. Didot, 1790. Small 12mo; period marbled calf; gilt to compartments; decorative gilt panels; morocco labels; joints and ends worn; engraved plates; a hint of foxing; gilt dentelles; a. e. g. $40
A pleasant pocket edition in full marbled calf gilt. In contains five pieces and is illustrated with four well-executed engraved plates.

 

FLORIAN, [Jean-Pierre C.]. THÉATRE DE FLORIAN. Paris: Briand, 1813. 2 vols in 1. 12mo; early gray-marbled boards; leather labels; tissue-guarded frontispieces; light dampstain to fore-edge of a few leaves at the end. $40
A collection of eight pieces, five of them comedies, each with a fine engraved frontispiece depicting a scene--half of them featuring Arlequin.

 

[FOOTE, Maria.] A juvenile drama portrait of Foote as Mary Copp in Charles 2nd the Merry Monarch. London: O. Hodgson, 1831. Very minor toning; a very good, dark impression. $45
Foote stands, in a gown with lace apron and headdress, left arm raised and right arm extended.

 

[FOOTE, Maria.] A Drury Lane playbill for Foote in Cowley’s The Belle Stratagem and Morton’s A Roland for an Oliver, London, 16 April, 1828. Pale blue stock; one horizontal fold; a bit creased to lower third. $30
Foote also danced a pas de deux with Ryall.

 

[FOOTE, Maria.] A Covent Garden playbill for Foote in Centlivre’s The Wonder and Payne’s Ali Pacha, 22 October, 1822. A bit of foxing and creasing; margins trimmed unevenly; mounting traces to verso corners. $30
The company also included Kemble, Cooke, Fawcett, and (Mary) Grimaldi.

 

FOOTE, Samuel. THE COMMISSARY. A Comedy.... London: for P. Vaillant, 1765. Modern wraps. $40
Based upon Moliere’s Le Bourgeois Gentilhomme and, to a lesser extent, on Dancourt’s La Femme d’Intrique, this comedy took as its primary target the composer-poet, Dr. Arne.

 

[FORBES-ROBERTSON, Johnston and Gertrude ELLIOT.] An albumen cabinet photograph of Elliot and Forbes-Robertson in Mice and Men. [London]: Windsor and Grove, [c. 1902]. Minor rubbing to corners of mount. $20

 

[FORBES-ROBERTSON, Johnston.] A chromolithographed portrait, “Forbie,” by Carlo Pelligrini. [London]: for Vanity Fair, 1895. 9 1/4” x 14 3/4”, including margins; short, closed tear to one lower margin corner and short crease to the other; image very good. $40
The “Spy” portrait of Forbes-Robertson, slightly caricatured, standing, looking to the left with hands on hips.

[FORDE, Catherine Maria.] A stipple-engraved portrait, "Miss Forde of the Theatre Royal Drury Lane," after R. E. Drummond. [London: n. p., c. 1822.] 5 5/8" x 9 1/8", plus margins; light pink stain to (blank) upper left corner; image very good. $20
A half-length portrait of the teenage singer and actress, looking to the left, a frill and long chain with a cross pendent around her neck. Issued soon after her London debut at the English Opera House.

[FORDE, Catherine Maria.] A juvenile drama portrait, “Miss Ford as Victorine (in My Old Woman).” London: Orlando Hodgson, 1832. Light toning to outer edges; image near fine. $35
The actress/dancer is costumed in a fantastical hat and frock (skirted just above the knees to show the legs).

[FOREPAUGH’S CIRCUS.] A chromolithographed advertising card for “Rousing Races on a Half-Mile Track, Hippodramatic Displays at Every Performance of the Great Forepaugh Show, [c. 1885]. 5 7/8” x 4 1/4”; chromolithographed illustration to recto; text to verso; minor mounting traces to verso; minimal crimping. $85
The front shows a female chariot driver before a cloud of dust, leading the dramatic race. The puff to the reverse states, in part, Forepaugh’s spectacular featured a “Beautiful Bevy of Dashing Female Jockeys” and 104 participants (including gladiatorial Knights).

 

[FORREST, Edwin.] A carte de visite photograph of Forrest. New York: Anthony, [c. 1864]. Very good. $45
A half-length studio portrait, from Brady’s National Portrait Gallery, showing Forrest turned to the left, head in near profile.

 

[FORREST, Edwin.] A Boston Theatre playbill for Forrest in the name role of Bulwer-Lytton’s Richelieu, 11 October, [1855 (?)]. Window mounted to an album leaf, with 3/4” upward fold to center (to fit album leaf); very good. $50
The company also featured Marshall as DeMauprat.

 

FORSTER, John. THE LIFE AND ADVENTURES OF OLIVER GOLDSMITH. A Biography in Four Books. London: Bradbury & Evans and Chapman & Hall, 1848. Thick 8vo; early half morocco, gilt; trifling shelfwear; engraved illustrations to text; an attractive prize binding; t. e. g. $85
An exhaustive 700 pages, considered a faithful portrayal of Goldsmith’s life and criticism of his work. In an apparently early Australian prize binding, inscribed for presentation at the King’s School, Parramatta, N.S.W., in June 1852.

 

[FOWLER, Emily.] A carte-de-visite photograph of Fowler. London: Elliot and Fry, [1876]. Near fine. $40
A three-quarters-length image of the actress and singer in role. Fowler created three roles in pieces by W. S. Gilbert: Florestein in The Merry Zingara, Alice in Robert the Devil, and Hans in The Gentleman in Black.

[FOY, Bertha.] A trade card for Foy as Paris in Greek Fire, with The Stella Belmore British Burlesque Artists, [c. 1890]. 3 1/8” x 4 3/4”; chromolithographed illustration to recto; text to verso; light dusting. $22
The illustration shows the actress in shorts, tunic, and headband, standing and holding a crook. The burlesque cast is printed to the verso. Issued to accompany the troupe’s U.S. tour.

 

[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.

 

[FREER, John Charles.] A halfpenny juvenile drama portrait, "Mr. Freer as Hassarac." London: M. Skelt, [c. 1860]. Ink stamp to reverse; very good. $25
A later impression of his equestrian portrait. The actor is depicted in Eastern costume, on horseback, a scimitar raised in his extended right hand. His left hand holds the reigns of his mount.

 

[FREER, John Charles.] A juvenile drama portrait, “Mr. Freer as King Henry the 5th.” [London]: A Park [and] M. Skelt, [c. 1835]. Very good. $50
Freer stands, legs apart, in armor and plumed helmet. He grasps a sheathed sword in his left hand and a baton in his raised right hand. A walled city and encampment are in the background. Uncommon, not in the Harvard Catalogue.

 

[FREER, John Charles.]  A juvenile drama portrait of Freer as Marmion. [London]: J. Fairburn, 1838. Some dusting to edges. $45
The actor is costumed in elaborate armor and plumed helmet. He stands, legs apart, with his right arm resting on the handle of a battle-axe and a shield on his upraised left arm.

 

[FREER, John Charles.] A twopence-colored portrait of Freer as Gilderoy. London: A. Park, [c. 1835]. Margins trimmed; creased slightly; right edge dusted; mounting traces to reverse; colored by hand. $55
Freer, as the Scottish hero, stands, legs wide apart, on a seashore. A pistol is pointed out in his extended right hand and he grips a dagger in his upraised left hand. An uncommon portrait, not in the Harvard Catalogue.

 

[FREER, John Charles.] A hand-tinted and tinseled juvenile drama portrait, "Mr. Freer as Prince Rudolph." London: A. Park, [c. 1855]. Right two corners creased. $175
Freer stands, legs apart, holding a lance in his outstretched right hand, his left arm is held out from his side. A hand-colored portrait, highlighted with tinseling.

 

[FRENCH COMEDIANS.] A playbill announcing the French Company of Comedians at the Theatre Royal, Edinburgh, 22 November, 1828. $20
The pieces performed were Les Deux Edmon and Le Tableau Parlant.

 

[FRENCH DRAMA.] CHEFS-D'OEUVRE DRAMATIQUES, ou, Recueil des Meilleures Pieces de Theatre de Corneille, Racine, Crebillon, Voltaire, Moliere, Regnard, Destouches, Prion, Etc.... Propres a Exercer les Jeunes Personnes a la Déclamation. Londres: Law and Whittaker, Boosey, and A. B. Dulau, 1816. 2 vols. Full tree calf, worn; hinges weak; paper labels to front boards. $45
Fifteen plays altogether are included in this collection.

 

[FRENCH DRAMA.] RÉPERTOIRE GENERAL DU THEATRE FRANÇAIS. Paris: Ménard et Raymond, 1813. 22 vols. Small 8vo; early plum-colored boards; titles in gilt to spines; variable wear to extremities; heads of spines chipped; backstrip of one volume nearly perished; dampstaining, primarily to the foot, of several volumes; early ink stamp in red to each title-page; scattered light foxing. $300
A selection of miscellaneous volumes (between the numbers 24 and 51) in this exhaustive set containing 90 pieces from the 17th and 18th centuries, plus several accompanying essays. Amongst the authors represented are: La Fosse, Beaumarchais, Hauteroche, Baron, Piron, and Marivaux. All but two of the volumes are comedies.

[FRIDL, Joseph.] A broadside for “indianischen Kunststücken und Proben seltener Körperkraft” by Fridl at the Augsburger Stadt-Theater, 12 November, 1829. 9 1/2” x 18”; lower left corner (blank) trimmed; one horizontal crease; minor fraying and dusting to portions of outermost margins; overall fairly well preserved. $250
Fridl was a juggler, in the manner of the Samee brothers, but also a strongman -- combining the two as did his contemporary Karl Rappo. This bill lists 13 individual feats.

 

FUERST, Walter-René. DU DECOR. Paris: La Douce France, 1925. Original wraps; small illustration to front cover; slight wear to spine ends; plates; mild toning to text; partially unopened. $50
A collection of essays on the New Stagecraft, including “les scènes à architecture fixe,” “le décor spatial,” “le décor peint,” “les moyens d’expression” and individual pieces on Max Reinhardt and E. Gordon Craig. With 14 plates of the author’s own stage settings.

 

[FURTADO, Terese.] A carte-de-visite photograph of Furtado. London: Figaro-Programme, [1876]. Near fine. $30
A bust portrait of the actress. Furtado’s most notable roles were in No Thoroughfare by Collins and Dickens and in the premieres of Gilbert’s Robinson Crusoe and Harlequin Cock Robin and Jenny Wren.