Authors "G" and "H" Selections from Stock

 

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

 

[GAFFIOT, Jules-Bernard.] A one-page autograph letter, signed ‘Breval,’ to F. -H. LeRoy. [Paris]: 1 September, 1857. 8vo leaf; lined blue stock; embossed monograph to upper left; original folds for posting. $70
The noted operatic bass (using his stage name, Breval) writes the stage director LeRoy in part, refusing to sing in Le Prophete and demands the role of Balthazar.

 

GALLELLI, Nicolo. I PRODIGI DELLA GRAZIA TRIFANTE. In effeto del Patrocinio della SS. Immacolata Con Cezione e Suoi Miracoli. Regina dell'Universo. Opera postuma.... Edita a divozione e spese del... Guiseppe Galleli. Gimigliano: n.p., 1888. Original calf-back boards, very worn; one vellum tip, others worn away; manuscript title page in red and black; 297 pages of holograph text to hand-lined leaves, written in black and red; edges thumbed and soiled; minor mildew staining to fore-edges early on; shaken; hand-colored illustration bound in at end. $95
The manuscript (nearly 300 pages in length) of an apparently unpublished 19th-century Italian miracle play.

 

GASTÉ, Armand and Louis PAULMIER. TALMA A CAEN (1826). Notes et Autographe.... Caen: Blanc-Hardel, 1879. Original tan printed wrappers; backstrip frayed (removed from a bound volume); head of covers stained; contents very good. $30
A 30-page booklet, footnoted.

 

[GATTI, Henry.] A stipple engraving, “Mr. Gattie, as Mons. Morbleu in Mons. Tonson,” after M. W. Sharpe. [London]: H. Berthoud, 1822. 6” x 9 1/2”, plus margins; moderate dusting to margins. $25
The vocalist is depicted standing, in costume, a hat held down in one hand.

 

[GAVAUDAN, Jean B. S.] A calling-card-sized notice of a benefit for the comedian Gavaudan at the Opera Comique, Paris, 20 January, 1817. 2 1/4” x 3 1/2”; minor dusting. $45
Gavaudan is announced as Murville in the opera Delire, Isuan in the opera La Calise de Bagdad, and Punville in Le Billet de Loterie. A very unusual miniature notice.

 

[GENLIS, Stéphanie-Félicité.] An engraving, “Vide Comedie de Madme. de Genlis intitulé La Rosiere de Selancy.” [London: for] J. Bretherton, [c. 1790]. 14” x 10 1/2”; trimmed to within platemark; hand-colored highlights; somewhat frayed at foot; reinforced at reverse; short tear near upper left corner, repaired to verso. $65
A scene in La Rosiere de Selancy, one of the best-known comedies in Genlis’ Théâtre à l’Usage des Jeunes Personnnes. An interior scene -- two young women stand to the right, their backs nearly to one another. At the left stands a middle-aged woman, an infant girl at her skirts, gesturing toward the pair of young women.

 

[GERMAN DRAMA.] THEATRALISCHE SAMMLUNG. Drey und dreyzigster Band. Wien: J. J. Jahn, 1794. 12mo; period calf-backed boards; backstrip and corners worn; upper cover detached; three engraved frontispieces; engraved headpieces. $80
This volume contains three plays, each with an engraved frontispiece. These are Der Freundschaftsdienst, oder, Wie macht es der Önkel in der Cömedie? (Frikke); Trennung und Wiedersehen (Anon); and Sophie, oder Der gerechte Furst (Möller).

[GEORGES, M. J. Weimer.] A stipple-engraved portrait, “Mademoiselle Georges Weimar of the Theatre Français.” [London]: John Bell, 1817. 5 3/4” x 9 1/4”, plus wide margins; some dust soiling to margins. $25
A half-length portrait of the French actress “from an original painting by Rose Emma Drummond.”

  

[GIFFORD, William.] THE MAEVIAD. By the Author of The Baviad. The Second Edition. London: for the Author, 1796. 4to; disbound. $75
Gifford’s second satire against the Della Cruscans, its model being the tenth satire of Horace. Much of the poem is devoted to a satiric discussion of plays written and produced by members of the Della Cruscan circle (a small group of intellectually keen English writers associated with Mrs. Piozzi’s salon in Florence--Robert Merry, William Parsons, Hannah Cowley, Bertie Greatheed, and others). Gifford mocks their dramas as strained, far-fetched, and filled with unnatural diction and incomprehensible imagery. He is not above descending to personal and sometimes tasteless invective, scorning not only the authors of the plays but also those who wasted their time watching them. Thus Greatheed and Boswell alike are brought under the satirist’s scourge.

 

[GILBERT, John.] A photogravure portrait of Gilbert as Sir Anthony Absolute in Sheridan's The Rivals. [New York]: Gebbie, 1887. 8 1/2" x 11 1/2", plus wide margins; thin stain to outermost right edge. $10

 

GILLET DE LA TESSONNERIE. LE DESNIAISÉ, Comedie. Paris: Tovssainet Qvinet, 1648. First Edition. Small 4to; later marbled wraps; printer's device to title-page; title-page trimmed closed at foot; some foxing. $300
The first edition of a comedy probably first performed at Marais early in 1647. Lancaster states: "the talent for comedy Gillet de la Tessonerie had displayed in Francian reappears, matured, in Le Desniaisé. No source has been discovered, but the importance given to a pendant suggests that it has some connection with the Italian comedy." There is even a reminiscence of the commedia dell'arte found in "ce nez d'un Harlequin" in the second act. §Solienne 1184.

 

GINISTRY, Paul. LA VIE D’UN THÉÂTRE. Illustrations de Maurice de Lambert. Paris: Dalagrave, [1906]. Half cloth and marbled boards, a bit faded and shelf worn; label to spine; original color, decorative upper wrapper bound in; numerous illustrations, a couple colored by hand. $75
An overview of all aspects of theatrical production, promotion, management, and the art of acting (incorporating historical and anecdotal notes). With a profusion of appealing illustrations.

 

GLOVER, Charles W.  

The sheet music to "Gems of the Opera of Berta." [London: Chappell, 1855.] Large 4to; removed; chromolithographed pictorial cover; seven pages of lithographed music.   
$30
Smart's opera Berta premiered at the Haymarket in May 1855. The chromolithographed cover shows a scene in the production and one of the singers is identified as John Sims Reeves.

 

GLOVER, [Richard]. BOADICIA. A Tragedy. London: for R. and J. Dodsley, 1753. First Edition. Disbound; dusting and light staining to title-page; dust soiling to (blank) verso of final leaf; small hole to center of final leaf, affecting a few letters of text; early (ink) owner's inscriptions to title-page. $35
A blank verse tragedy with a theme borrowed from Tacitus' Annals. Boadicia is "shown as a frantic and murderous enthusiast, her character being contrasted with that of the magnanimous and princely Dumnorix (Nicoll)." Dumnorix was first portrayed by Garrick.

 

GOBINEAU, Arthur de. SCARAMOUCHE. Nouvelle. Édition ornée de compositions de Maxime Dethomas gravées sur bois par Léon Pichon. Paris: Leon Pichon, 1922. 4to; full contemporary calf; pictorial tooling to cover and backstrip; lettered in gilt; marbled endpapers; designs to text; near fine; in cloth slipcase. $85
One of 450 copies on vélin d'arches

 

[GOETHE, [Johann W. von]. CLAUDINE VON VILLA BELLA. Ein Singspiel. Leipzig: Georg Joachim Göschen, 1788. Small 8vo; later calf-backed decorative boards; morocco label; light foxing; fore-edges untrimmed. $175
The first edition of Goethe’s revision of his libretto into a Singspiel in verse, performed in 1779, with music by Johann André. It was later set to music by Reichardt, Weber, Schubert, Seidel, and many others. §Sonneck, p. 291. Hagan 131.

 

[GOETHE, Johann W. von.] GOETHE ON THE THEATRE. Selections from the Conversations with Eckermann. Translated by John Oxenford. With An Introduction by William Witherle Lawrence. New York: for the Dramatic Museum of Columbia University, 1919. Original paper-covered boards, somewhat rubbed; paper label; contents fine. $40
These Gespräche, which came half a century after his Götz, represent the clearest view of Goethe's critical theory late in his life, particularly his move from romantic to classical values. 1/333 copies. With the ownership inscription of Donald Oenslager.

 

GOETHE, [Johann Wolfgang von]. JERY UND BÄTELY. Ein Singspiel. Leipzig: Georg Joachim Göschen, 1790. Small 8vo; period stiff, red decorative wraps; spine sunned; text slightly foxed and creased; unstitched and untrimmed; in a modern portfolio. $150
The first edition of Goethe's revised one-act singspiel, with "zuruck tretend" on p. 52 in two words. This piece was first performed, with music by Carl Siegmund von Seckendorff, at Weimar, on 12 July, 1780. §Sonneck, p. 662. Hagen 97. Goedeke IV/III 239.55.

 

GOLDSMITH, [Oliver]. THE GOOD NATUR’D MAN: A Comedy. London: for W. Griffith, 1768. First Edition. 8vo; modern marbled boards and green morocco spine; new endpapers; title in gilt to spine; tear to upper margin of one leaf and short, closed tears to a margin of a very few leaves; else very good and generally clean and fresh. $150
The first edition of Goldsmith’s first play (an unidentified issue -- it went through five printings in 1768 and differentiation of the issues is extremely difficult). It was staged by Colman at Covent Garden as Garrick rejected it for performance at Drury Lane. As a result, Garrick was denied the privilege of staging the author’s second comedy, She Stoops to Conquer, five years later. The prologue, 30-line poem in heroic couplets, was written by Samuel Johnson. §Rothschild 1031. Courtney & Smith, p. 113.

 

GOLDSMITH, [Oliver]. THE GOOD NATUR’D MAN: A Comedy. London: for W. Griffin, 1780. Disbound. $45
A “new edition,” published the same year as the first, of Goldsmith’s first play. It was staged by Colman at Covent Garden as Garrick rejected it for performance at Drury Lane. As a result, Garrick was denied the privilege of staging the playwright’s second comedy, She Stoops to Conquer, five years later. The prologue is by Samuel Johnson.

 

[GOMERSAL, Alexander.] A juvenile drama portrait of Gomersal as Frederick Baron Trenk. London: O. Hodgson, 1835. Imprint faint; very good. $50
Gomersal is shown in an elaborate caped costume and plumed hat, in a dungeon, broken chains on his wrists. He grips the barrel of a rifle, slung over his shoulder, in his right hand and a pistol in his upraised left hand.

 

[GOMERSAL, Alexander.] A juvenile drama portrait, “Mr. Gomersal as Frederick Baron Trenck.” [London: n. p., c. 1870.] Colored by hand; faint soiling; one central crease. $40
The actor stands, in an elaborate caped costume, broken chains on his wrists, a rifle in hand resting over his right shoulder, a pistol in his upraised left hand. A dungeon scene is behind him. This portrait was originally published by Hodgson in 1823.

 

[GOODWIN, Nat.] A photogravure portrait of Goodwin as Modus in The Hunchback. [New York]: Gebbie, 1888. 8 1/2" x 11 1/2", plus wide margins; a hint of foxing to right margin. $10

 

[GOT, François-Edmond] A complete issue of Le Trombinoscope, devoted to Got. [Paris: F. Debons, 1873]. 4to; engraved decorative-banner title and caricature to front; three stitching holes to left margin; light foxing and dusting. $40
The entirety of this four-page satirical periodical is given over to an account of Got. The first page is illustrated with a caricature of the actor.

 

[GOUNOD, Charles.] A set of three albumen print and colored-tissue stereoview cards showing scenes in Gounod’s Romeo et Juliette. Paris: B.K. Studios, [c. 1870]. Embossed colored mounts; tissues well colored and preserved. $60
The real-photograph tableaux show the marriage, the ballet in the grand hall of the palace (Act 4), and the deaths -- each with original hand coloring.

 

[GOUNOD, François-Charles.] A complete issue of “Le Trombinoscope” devoted to Gounod. [Paris: F. Debons, 1873.] 4to; engraved decorative-banner title and caricature to front; three stitching holes to left margin; light foxing. $45
The entirety of this four-page satirical periodical is given over to an account of Gounod. The first page is illustrated with a caricature of the composer.

 

GREGOR, Joseph and René FÜLÖP-MILLER. AMERKANSKI TEATR I KINO. Dwa obrazy z dziejów kuttury. Posnan: R. Wegnera, n. d. [c. 1931]. Folio; gilt-stamped yellow cloth, slightly rubbed and soiled; one folding plate; more than 300 pages of plates (29 in color). $55
A lavishly illustrated study of American theatre, film, opera, and dance, focusing on images of productions, scene designs, buildings, costumes, and performers. The 800+ illustrations are primarily of the 50 years prior to publication, but range from early Native American ceremonies to Disney animation.

GREGOR, Joseph. GESCHICHTE DES ÖSTERREICHISCHEN THEATERS von seinen ursprüngen bis zum ende der Ersten Republik. Mit 48 Bildern. Wein: Donau, [1948]. 4to; cloth-backed boards; in worn pictorial dustwrapper; 48 photoplates. $45
An excellent history of Austrian theatre from medieval times through the beginning of the 20th century. Donald Oenslager’s copy, with his ownership inscription.

 

GREGORY, [Augustus]. NEW COMEDIES. New York and London: G. P. Putnam’s Sons, 1913. Cloth-backed boards; minor stain to foot of rear cover; paper label; frontisportrait; contents very good. $35
Five original comedies: The Bogie Men, The Full Moon, Coats, Damer’s Gold, and McDonough’s Wife.

 

GRESSET, [Jean B. L.]. OEUVRES DE GRESSET. Paris: Didot, 1813. 2 vols. 16mo; contemporary half calf and marbled boards, scuffed; corners bumped; gilt to spines; leather labels; some dampstaining to first volume. $30
Removed as an instructor at a Jesuit school for writing satirical verse, Gresset turned to playwriting. He later turned against the stage, producing pamphlets on its incompatibility with teachings of the Church.

 

[GRIBOYEDOV, Alexander and V. NEMEROVITCH-DANTCHENKO.] [GORE OM UMA.] [Moscow and St. Petersburg: Gos. Iz.], 1923. First Thus. 4to; original decorative wraps, overhanging edges somewhat frayed; illustrations, several in color and a number tipped in. $250
This adaptation of Griboyedov’s greatest work, Woe From Wit, was published to coincide with Nemerovitch-Dantchenko’s production at the Moscow Art Theatre. The first half (135 pages) is taken up with a profusely illustrated history of the play and its production. The play text is accompanied by tipped-on color costume plates depicting each character. The color plates show the sets and costume designs by I. Gremislavsky and A. A. Petrov. The book also contains vignettes and an illustrated letter by S. Chekhonin. The cover design is by M. Dobuzhinsky. §Hellyer (Russian Avant-Garde Books) 397.

 

[GRIMALDI, Joseph.] A Covent Garden playbill announcing Grimaldi in the comic pantomime Harlequin and the Ogress, 8 February, 1823. Very good. $50
Grimaldi played Grim Gribber “(Porter to the Castle, afterwards Clown)” and his son J. S. Grimaldi played Abnab “(afterwards Whirligig)”. The pantomime also featured moving panoramic scenes of a royal embarkation for Scotland with “different views on the river Thames..., Leith Harbour, and the grand procession down Colton Hill....”

 

[GUÉ, Julien Michel.] A lithographed plate, after a design by Gué, “Decoration de 3e Acte du Meurtrier.” [Paris: G. Engelmann, c. 1822.] 14 3/4” x 11 1/4”; a couple of short, closed marginal tears; image very good. $50
A scene design for Paris’ Théâtre de la Gaité depicting the courtyard of a decayed Gothic castle amongst the mountains. It displays the two planes of perspective associated with the work of the Haitian scenographer Gué.

 

GUIET, J. B. S. EXPLICATION NOUVELLE DES JEUX DE LA DIEU D’AIX, au Point de Vue Historique et Symbolique. Illustres par Flechy. Aix: Makaire et Deleuil, 1851. Original pictorial wrappers; edges slightly worn; illustrated. $35
The illustrations are taken from Gregoire’s Explication de Ceremonie de la Fete-Deux d’Aix en Provence (1777). The text is most probably based upon, and protracted from, the same source.

 

[GUIGNOL.] An engraving, “Un Cavalier pour Guignol,” [1865]. 8” x 5 1/2”, plus margins; a hint of toning. $30
A full-page illustration from a French children’s periodical. It shows a Guignol performance in one of the parks of Paris. With vignettes of puppets to the upper corners.

 

GUIZOT, [Francois]. CORNEILLE AND HIS TIMES. London: Richard Bentley, 1852. Contemporary half leather and marbled boards, ends worn; lacking labeling pieces; marbled edges and endpapers. $35
A much-revised edition of Guizot’s critical study which was first published in 1813. The opening of five lengthy chapters concerns poetry in France before Corneille, the others with Corneille, Chapelain, Rotrou, and Scarron.

 

[GUYON, Emilie.] A lithographed portrait, “Mme. Guyon, Rôle d’Electre, dans l’Orêstie.” Paris: Godard, [c. 1856]. 8” x 11 1/2”, including margins; colored by hand; closed tear, repaired, to (blank) lower left corner. $25
The actress is shown, full length, in costume, as she appeared at the Théâtre de la Porte St. Martin.

 

[HAFNER, Philipp and Josef KURZ.] EVAKATHEL UND SCHNUDI. Ein lustiges Trauerspiel. [and] PRINZESSIN PUMPHIA und Hanswurst Kulican. Eine komische Tragödie. Zwei alte Possen zur Ergösslichkeit auf’s neue publicirt. Stuttgart: J. Scheible, 1856. 16mo; original printed wrappers, faded at edges; uncut and unopened. $60
The first work is Hafner’s best-known lokalposse singspiel (1765), a burlesque of bombastic tragedy. The second is also a burlesque, this time in comic verse and containing a role for Hanswurst, “with a preface stressing its theatrical character and praising the skill of Prehauser’s company, [it] is an important forerunner of the traditional parody in the nineteenth-century commercial theatres (Yates).”

 

HAINAUX, René (Editor). LE DECOR DE THÉÂTRE DANS LA MONDE DEPUIS 1960. Textes et Illustrations Rassemblés par les Centres Nationaux de l’Institute International du Théâtre. [Brussels]: Meddens, [1973]. Large 4to; color pictorial dustwrapper; illustrated (part color). $65
Short essays on modern scenography followed by more than 500 plates and illustrations from production photographs and designs. The organization is by playwright, from Aeschylus to the authors of the early 1970s. With a useful bibliography of books published 1960-1972.

 

[HALÉVY, Leon and Joseph MAZILIER.]  A stipple-and-line engraving, "Costume d'un Page dans Guido et Ginevra." Paris: Hautecoeu-Martinet, [c. 18(?)]. 5" x 7 3/8"; colored by hand. $25
A dancer, shown full length in costume, in Halévy's opera (Académie Royale de Musique, 1838). The ballets were choreographed by Mazilier.

 

[HARDING, Jane.] An etched portrait, “Mlle. Jane Harding.” [Paris (?)]: Kirkpatrick, [c. 1894]. 7 1/4” x 10” (including margins)’ printed to tissue stock; some creases to margins; image near fine. $40
A bust portrait of the society beauty turned singer, whose debut in Saint-Saëns’ Phyrné was noted for whistling, hisses, and catcalls, followed by a shower of dead rabbits, fish, eggs, and produce. At the end of the first act, one woman declared: “She took my husband from me and took my fortune. Nobody shall prevent me hissing her off the stage.”

 

[HARLEQUIN.] An engraving of Arlequin. Nürmberg: G. N. Benner, [c. 1820]. 11 1/2” x 13 3/4”, plus margins; colored by hand, bright; some soft creases. $300
A vividly colored image of Arlequin, full length, standing (slightly crouched), to the right, face turned back toward the front. He holds a slapstick in his forward hand and points the forefinger of his right hand at the forehead of his grimacing face. Four lines at the foot read: “Immer lustig, und volle Freund/Ist der muntre Arlequin/Seht ihm an, ihr leiben Leute/Und der Trübsinn dahin.”

[HARLEQUIN.] A large lithographed table game, “Het Vermakelijk Harlekijnspel.” Amsterdam: J. Vlieger, [c. 1890]. 17” x 22”; printed in color; creased to quarters; a bit of marginal fraying, well away from image. $100
This chromolithographed game incorporates numbered spaces and instructions at either side of a large image of a Harlequin playing a drum.

 

HASKELL, Arnold L. BALLET PANORAMA. An Illustrated Chronicle of Three Centuries. With 158 Illustrations from Prints, Drawings and Photographs. London: B. T. Batsford, 1938. Cloth; pictorial dustwrapper, worn; color frontispiece; numerous illustrations. $25
A history tracing the development of ballet companies and showing “the continuation of the ballet tradition” through the contributions of the principal dancers. One section is devoted to Russia and another is captioned Birth of Ballet in England and America.

 

HATTON, Joseph. REMINISCENCES OF J. L. TOOLE. Related by Himself.... Illustrated by Alfred Bryan and W. H. Margetson. London: Hurst and Blackett, 1889. First Edition. 2 vols. Original red-brick cloth; illustration to upper cover of each volume; covers worn and soiled; signs of label removal from foot of upper cover of each volume; halftone frontisportrait to each volume; damp staining to lower fore-corners; several vignette illustrations. $45
The memoirs of the foremost English low comedian of the 19th century’s last decades. Toole first came to fame as a star in Adelphi burlesques and farces and later successfully managed his own theatre (formerly the Charing Cross). He was also a friend or acquaintance of many of the theatre people of his day. §LAR 3590.

 

[HENDERSON, John.] A gravure portrait, "John Henderson as Macbeth," after Romney. [New York]: Gebbie, 1888. 11 1/2" x 10 1/2", plus wide margins; near fine. $15
A fine gravure after Romney's well-known portrait.

 

[HERON, Matilda.] A handbill for Heron’s benefit at Howard Athenaeum, Boston, 30 December, 1859. Light glue stain at head; rather creased. $30
The first night of Heron’s adaptation of Scribe’s Lesbia. The cast also included the Davenports and J. W. Wallack (his “re-appearance... expressly to perform the arduous character of Orceoto”).

 

HEYL, Edgar. A CONTRIBUTION TO CONJURING BIBLIOGRAPHY. English Language 1580 to 1850. Baltimore: Heyl, 1963. Decorative light-card covers; spiral bound. $50
1/300 copies of this privately printed endeavor.

 

[HICKS, Newton Treen.] A tinsel-decorated juvenile drama portrait of Hicks as Valentine. London: J. Fairburn, 1837. Trimmed to image and laid down; hand colored; mounted to card, with additional contemporary watercolors to background; cloth and tinsel applied; a bit of loss of lesser tinseling; some foxing to mount; in appropriate modern wood frame. $450

Hicks stands, legs apart, in armor and plumed helmet. He holds a shield on his left arm and a sword upraised in his right hand. The figure is well colored with extensive tinseling to the costume and armor.

 

[HICKS, Newton Treen.] A juvenile drama portrait, “Mr. Hicks as Black Will the Smuggler.” London: A. Park, 1837. Colored by hand, embrowned and rather foxed. $20
A colored portrait of “Bravo Hicks” in pirate costume, standing, legs apart, left hand upraised and the right holding a scimitar.

 

[HICKS, Newton Treen.] A juvenile drama portrait, “Mr. N. T. Hicks as Claude Duval.” London: J. Redington, [c. 1865]. Some creasing. $20
“Bravo Hicks” stands, legs apart, in the costume of the highwayman. He holds a pistol in each hand, the left one upraised. Not in the Harvard Catalogue.

  

[HILL, Charles J.] A hand-colored and tinseled juvenile drama portrait, “Mr. C. Hill as Sir Rupert the Fear Nought.” London: M. & M. Skelt, [c. 1837]. 7 5/8” x 9 1/4”; colored by hand; tinsel applied; colors and tinsel bright. $350
A tinsel-decorated image of the actor, full length, standing and directed to the left, in armor and plumed helmet, right arm extended upward. In the background are a river and castle.
 

 HOARE, Prince. SIGHS; or, The Daughter, A Comedy... Fifth Edition. London: for Machell Stace [and others], 1799. Disbound. $20
”Taken from the German drama of Kotzebue, with alterations.”
 

HOLMAN, J[oseph] G. ABROAD AND AT HOME. A Comic Opera.... London: George Cawthorn, 1796. First Edition? Disbound; title-page a trifle dusty. $30
Holman’s first dramatic piece, originally titled The King’s Bench (this, it is said, was objected to by the Lord Chamberlain). It premiered at Covent Garden on 19 November, 1796, with music by William Shield. §Sonneck, p. 23.

 

[HOOK, James.] The sheet music to “Listen Listen to the Voice of Love.” Philadelphia: John Aitken, [1808]. Large 4to; removed; two pages of engraved music and text; closed tear to gutter (neatly repaired); a hint of foxing; portion of an early music seller’s stamp to head of first page. $25
An anonymous lyric, set to music by Hook, as “sung with the greatest applause at Vauxhall Gardens.”

 

HOOK, [James]. The sheet music to “What Tho ‘Tis True I’ve Talked of Love.” New York: Wm. Dubois, [c. 1818]. Large 4to; removed; four pages of engraved music. $20
“Sung by Mr. Johnstone in The Siege of St. Quintin.” Thomas Hook’s melodrama premiered at Drury Lane in 1808.

 

HOOK, Theodore Edward. KILLING NO MURDER. A Farce.... With the Original Prefaces, and the Scene Suppressed by Order of the Lord Chamberlain. London: for C. Chapple, 1811. Disbound; dust soiling to title-page and final leaf; upper fore-corner of title-page clipped; a bit of foxing. $30
“Mr. Larpent, the Reader of Plays, being a Methodist, caused this farce to be prohibited, because there were a scene in which Methodists were ridiculed. Hook cut out the prohibited scene and inserted a passage in which Larpent was obviously held up to ridicule. This, having no reference either to politics or religion, the Licenser could not prohibit, and Hook had the satisfaction of holding up his oppressor to universal derision. The dispute was, of course, a magnificent advertisement for the farce (Lowe).” §LAR 3936.

 

HOOLE, John. CYRUS: A Tragedy. London: for T. Davies, 1768. Later crude cloth-backed boards; lacking half-title; dust soiling to title-page, else very good. $150
The importance of the play for a Johnsonian collection resides in its dedication, which Hazen ascribes to Johnson (and which is highly characteristic of his style). Johnson was a friend of Hoole for a number of years and took some part in nearly every one of his publications. §Hazen, pp. 60-2.

 

HOOLE, John. CYRUS: A Tragedy. Second Edition. London: for T. Davies, 1768. First Edition. Disbound; lacking half-title; dusting to verso of terminal leaf; minor foxing; contemporary owners’ inscriptions to one page. $150
This ‘second edition’ of Hoole’s drama, published the same year as the first, is in fact the second issue of the first edition — merely the same sheets with a new title. The importance of the play for a Johnsonian collection resides in its dedication, which Hazen ascribes to Johnson. Johnson was a friend of Hoole for a number of years and took some part in nearly every one of his publications. Hazen, writing in 1937, found only the first edition and two ‘third’ editions and assumed the first of the latter to be an error. The present reissue seems indeed to be rare: it is not in Stratman and there is no copy in the British Library. §Hazen, pp. 60-2 (not listing this issue).

 

HOOLE, John. CYRUS: A Tragedy. The Third Edition. London: for T. Davies, 1769. Disbound; lacking half-title; abrading to center of title-page verso; closed tear (repaired) and some dust soiling to verso of terminal leaf. $50
Hoole's drama, first published in 1768. The dedication is ascribed to Johnson by Hazen and it is highly characteristic of his style. §Hazen, pp. 60-2. Chapman, p. 150.

 

HOOLE, John. CYRUS: A Tragedy. The Third Edition. London: for T. Davies, 1769. Disbound; a bit of foxing to half-title and title-page; scattered light foxing to contents. $60
This is in fact the second edition, published the year after the first. The dedication is ascribed to Johnson by Hazen and it is highly characteristic of his style. §Hazen, pp. 60-2.

 

HÖVER, Otto. JAVANISCHE SCHATTENSPIELE. 24 Abbildungen nach Figuren des javanischen Wajangspieles mit einleitendem Text.... Leipzig: Wilhelm Goldmann, [1923]. Small 4to; decorative red cloth (over light boards); cord ties; plates to heavy stock; one plate in color. $65
“An important work on Javanese puppet theatre (Miller).” The text accompanies 24 full-page plates. Scarce. §Niles/Leslie, p. 234.

 

[HUMAN ANOMALY.] A carte-de-visite photograph of an unidentified circus fat lady. Frankford: John Schafield, [c. 1865]. Some surface soiling; else very good. $30
A half-length, partial-profile portrait of the woman in bejeweled crown and lavish earrings.
 

 

[HUNTLEY, Francis.] A juvenile drama portrait, “Mr. Huntley as Richard Varney.” [London: Hodgson, c. 1823.] Trimmed at upper corners at the diagonal close to figure and at foot excising imprint; original hand coloring, bright; minor mounting traces to edges of verso. $20
Huntley stands, legs apart, looking to the left, right arm extended firing a pistol.

 

[HYACINTHE, Louis Duflost.] A complete issue of “Le Trombinoscope” devoted to Hyacinthe. [Paris: F. Debons, 1874.] 4to; engraved decorative-banner title and caricature to front; three stitching holes to left margin; light foxing and dusting (primarily to margins). $40
The entirety of this four-page satirical periodical is given over to an account of Hyacinthe. The first page is illustrated with a caricature of the actor.