Authors "M" and "N" Selections from Stock


[MACARTHY, (?)] A penny-plain portrait, “Miss Macarthy as Nourmahal in the Demon of the Ganges.” [London]: Dyer & Co., [c. 1834]. Very minor dusting; else very good. $65
The actress is shown in highly decorative costume and veiled tiara before an Eastern setting. She holds a dagger out from her right side. Almar’s melodrama was first performed at Sadler’s Wells in October 1834. An unusual juvenile drama portrait, not in the Harvard catalogue and a late date for a Dyer imprint.


[MACREADY, William Charles.] A Covent Garden playbill for Macready in the name role of Morton’s Henri Quarte, 8 May, 1820. Minor dusting. $25
The cast also included Liston and Kemble.


[MACREADY, Williams Charles.] A Covent Garden playbill for Macready in the name role of Morton’s Henri Quatre, 5 May, 1821. Three horizontal creases; original (small) posting hole near center. $25
The cast also included Liston and Kemble.


[MACREADY, William Charles.] A Covent Garden playbill for Macready in the name role of King Henry the Fourth -- Part the Second, 25 July, 1821. A bit of creasing and foxing to side margins. $30
Much of the playbill is taken up with descriptions of the coronation and its grand procession.


[MACREADY, William Charles.] A Covent Garden playbill announcing Macready in the name role of Shiel’s Montoni, 5 May, 1820. Small, original posting hole near head; very good. $25
Also on the bill was Pocock’s The Antiquary with Liston.

[MACREADY, William Charles.]  A Covent Garden playbill announcing Macready in Beazley's The Steward, 7 October, 1819. A bit of offsetting. $35
The second piece on the bill was Reynolds' The Gnome King.


[MACREADY, William Charles.] A Covent Garden playbill for Macready in the name role of Knowles’ Virginus, 9 October, 1820. Spotting to lower right corner; original (small) posting hole near center. $35
Also on the bill were Didelot’s ballet Marchand d’Esclaves and Liston in Tom Thumb the Great.


[MAGNIER, Marie.]  A lithographed portrait of Magnier as Clara de Fermanville in Les Respectables, by Steinlen, [1889]. 8 3/4" x 12"; colored by hand.$175
A lithograph by Theophile-Alexandre Steinlen from Costumes of the Modern Stage. It shows Magnier full length, standing in costume, with a parasol in one hand and a book in the other. Janvier de la Mote's drama opened at the Theatre de Vaudeville (Paris) in November 1889.


[MANNERING, Mary.] MARY MANNERING AS JANICE MEREDITH. New York: R. H. Russell, 1900. 4to; decorative embossed stiff gray wraps; some wear to backstrip; contents printed to heavy stock; stitching pulled and contents loose within covers; illustrated; internally quite clean and bright. $25
A pictorial souvenir of Mannering in this drama based on the romantic historical novel of the American Revolutionary period. With 18 portraits, most full page. This production by Frank McKee was Mannering’s debut as a star.


[MARIÉ, Paola.] A complete issue of “Le Trombinoscope” devoted to Marié. [Paris: F. Debons, 1874.] 4to; engraved decorative-banner title and portraits to front; three stitching holes to left margin; light foxing and dusting (primarily to margins). $45
The entirety of this four-page satirical periodical is given over to an account of Marié. The front is illustrated with a bust portrait of the singer (the great interpreter of Clairette in Lecocq’s La Fille de Madame Angot).


[MARIO, Giovanni.] A one-page autograph letter, signed. N. p.: 17 January, 1864. 4to leaf, folded; integral leaf blank; original folds. $275
A warm (salutation of “Caro”) and fine letter in French, with a very good signature.


[MARIVAUX, Pierre C. de.] LA DOUBLE INCONSTANCE. Comedie. Paris: Briasson, 1730. 16mo; disbound; rubbing to title-page, obscuring a few letters; light dust soiling to title-page and terminal leaf; a hint of foxing. $35
A three-act comedy, first produced at the Théâtre Italiens in April 1723. A romance involving Arlequin and the seductions of court life. In the series, Nouveau Theatre Italien.


[MARS, Mlle.] [Anne F. BOUTET]. A one-page autograph letter, signed. N. p.: n. d. [c. 1825(?)]. 8vo leaf, folded; original folds; hole from opening of wax seal, affecting two letters of text, with early backing to blank reverse. $85
The well-loved Comédie-Française actress writes to a Monsieur Empir asking payment of a sum due to her “que j’en ai grand besoin.”


[MARS, Anne F. Boutet.] A third-person autograph letter. N. p., n. d. [c. 1835]. 8vo leaf, folded; original folds; slight dusting to integral blank; (blank) central fold tipped to a later tab of paper. $60
The well-loved Comédie-Française actress writes to a Monsieur Pinkerton, inviting him to dine.


[MARSTON, Henry.] A hand-colored juvenile drama portrait of Marston as MacDuff. London: J. Redington, [c. 1865]. Colors bright; very good. $30
Marston stands, legs apart, in kilted costume. He holds a shield on his upraised left arm and a sword in his right hand.


MARTAINVILLE, [Alphonse L. D.]. TACONNET, Comédie... Mêlée de Couplets.... Paris: Barba, 1811. First Edition. Disbound; scattered light foxing. $20
A comedy based on episodes in the life of Toussaint Taconnet (1730-1774) the playwright and librettist. It premiered at the Theatre de la Gaîte in September 1811.


MARTIN, Sadie. THE LIFE AND PROFESSIONAL CAREER OF EMMA ABBOT. Minneapolis: L. Kimball, 1891. First Edition. Original red cloth, decorated in black and gilt; gilt to spine; extremities rubbed; frontisportrait and 27 plates to text after photographs; decorative endpapers; t.e.g. $50
The Chicago-born soprano-impresaria Abbot was America’s first populist prima donna. After training and touring in Europe she formed the Emma Abbot English Grand Opera Company (1878). With this company she toured all of America, from the operatic palaces of the major cities to the smallest of opera houses in the heartland. She was also noted for interpolating “specialties,” such as popular ballads, into operas in the repertoire. The text is accompanied by 28 plates of Abbot in her roles.


[MASSÉ, Victor.] An engraved portrait of Massé, [c. 1860]. 3 1/2” x 5” to a larger leaf. One point of foxing to (blank) upper left corner. $15
A half-length portrait, a scroll of music held in one hand. The composer is best known for the operas Galathée and Noces de Jeannette.


[MATHER, Margaret.] A photogravure of Mather as Juliana in The Honeymoon. [New York]: Gebbie, 1887. 7 1/2" x 12", plus wide margins; minor dusting to outermost margins; image near fine. $10
A full-length portrait of the young actress.

[MATHEWS, Charles.] A playbill for Mathews in the first night’s performance of Jameson’s The Invisible Bridegroom, Covent Garden, London, 10 November, 1813. Trimmed at head, excising the theatre’s name, a bit of fraying. $15
The new farce, here preceded by King Henry V,was performed only three times.


MAYOR, A. Hyatt. THE BIBIENA FAMILY. New York: H. Bittner, 1945. Large 4to; blue cloth, sunned and worn at edges; spine ends frayed; plates. $65
1/1000 copies. A study of the careers, milieu, and methods of the eight members of the Bibiena family of stage designers. It includes a chronological list of the work of each and plates with 53 very good reproductions of their designs (with attributions).


[MEILHAC, Henri.] A pair of lithographed plates, “Margot,” from Costumes of the Modern Stage, [1889]. Each 8 3/4” x 12”; colored by hand. $25
The plates are of costumes for a revival of Meilhac’s Margot in 1889. They depict Martel as Carline and Bertiny as Valentine.


[MENKEN, Adah Isaacs.] A double-page, broadside bill for Astley’s featuring Menken in the first performances of Brougham’s The Child of the Sun, the week of 9 October, [1865]. 19 1/2” x 14”; trimmed at head and foot, affecting some letters (including upper half of “Astley’s”); minor wrinkling and toning; early reinforcements to verso at folds and edges. $500
Menken played four different roles in Brougham’s new extravaganza -- the Creole Leon, Zamba “a dumb Peon slave,” Metoxa the chief of the Comanches, and the Mexican cabollers Don Leon de Mendez. Primarily a vehicle to display Menken to the fullest advantage, it nowhere neared the success of Mazeppa (presented, also at Astley’s, the previous year).


MENPES, Mortimer. HENRY IRVING. With Twelve Portraits in Colour. London: A. and C. Black, 1906. Small 8vo; decorative blue cloth; color frontispiece and plates. $20
An appreciation of Irving by Menpes. Several of the artist’s portraits are reproduced in color.


[MÉSAUTE, (?).] A lithographed portrait, “Mésaute, Rôle de Carlo dans La Fonti.” Paris: Godard, [c. 1855]. 8” x 11 1/2”, including margins; colored by hand and highlighted in gum Arabic; light tissue-guard adhesion to portions of color. $30
The dancer is shown full length in costume, one hand on a hip and the other holding a hat against a thigh -- Mazilier’s ballet La Fonti premiered in 1855.


[MEYERHOLD THEATRE.] A two-color poster for the production of Vishnevsky’s Poslediiy Reshitelny at the Meyerhold Theatre, 1931. 35” x 23 3/4”; boldly printed in black and green; three small mounting tears to head (the largest 3/4”), three closed tears to (blank portion of) lower right edge; one central, horizontal crease; neat vertical creases; some abrading to creases with slight loss at four points. $500
The boldest of the poster’s typography is consigned to Meyerhold’s name (32 1/2” x 8”). Meyerhold’s production of Vishnevsky’s The Last, Decisive “was a dazzling display of theatrical tricks (E. Braun)” including a production number which parodied the Bolshoi ballet and an effects-laden final scene.

[MEYNIER, Auguste.] A two-color lithographed poster for the conjuror, known as Agosta, “la plus Grande Nullité du Jour.” [Paris (?)]: Dusseque, [c. 1908]. 32” x 47”; early creases, slightly rubbed and lightly embrowned; two halftone portraits; linen backed. $400
Agosta was one of the most prominent of French conjurors at the start of the last century, publisher of the periodical La Prestidigitateur, and the founding president of the Association Syndicate des Artistes Prestidigitateurs (1903). This poster is printed in green and red with decorations to two corners and a duotone portrait of the performer to the other two.


[MINSTRELSY.] A program for an “Ethiopian Soirée of the Blacking Boxes,” Zurich, 13 February, 1875. Single leaf, folded; blue stock; decorative borders. $30
A three-program for a performance in the English Quarter, Hottingen, incorporating minstrel songs, ballads, dances, and farces. The cast appears to be English.


[MINSTRELSY.] MEMORANDUM OF AGREEMENT “between Isaac Wilkinson, the Manager and Secretary of the Brighton Aquarium, Brighton, and Mack and Curdy,” 1885. 4to; printed text, completed in manuscript, signed. $60
A contract engaging the pair for “Negro Burlesque, Grotesques, and acrobatic Songs Dances &ct.”


MIRECOURT, Eugène de. LES CONTEMPORAINS. Déjazet. Rose Chéri. George Sand. Paris: Gustave Havard, 1855. 3 vols. in One. Small 12mo; disbound; engraved frontisportrait with tissue guard to each volume; three folding facsimile plates; minor chipping to upper fore-corner of first signature of first volume. $40
An assemblage of three volumes in Mirecourt’s series of compact biographies: the author George Sand and the actresses Virginie Déjazet and Rose-Marie Chizos (Rose-Chéri). Each with an engraved portrait and facsimile of an autograph letter.


MOLIERE, J. B. Poquelin. OEUVRES DE J. B. POQUELIN DE MOLIERE. Édition Stéréotype. Paris: Hector Bossange, 1828. 8 vols. 12mo; contemporary calf-backed marbled boards; extremities rather rubbed; minor, scattered foxing; light stains to edges of some leaves; gilt decorations to spines; marbled edges. $100
A pleasant little eight-volume set containing 33 pieces.


[MOLKAU, Johann Carl.] A playbill announcing Molkau and his company at the Theater, Augsburg, 29 February, [1825 (?)]. Decorative woodcut border; nearly fine. $20
A benefit performance for Molkau, including declamatory performances, a musical piece called Pygmalion, and a one-act farce.


[MONICAULT, (?).] LE DEDAIN AFFECTE, Comedie Françoise. Paris: Briasson, 1730. 16mo; disbound; lightest of dusting and foxing. $40
A three-act comedy, first performed at the Theatre Italiens in December 1724, the only play by Monicault (who may have been an actress in the company). The characters include Arlequin, Colombine, and Pantaloon. In the series, Nouveau Theatre Italien.


MONKTON, O. Paul. PASTIMES IN TIMES PAST. London: West Strand, 1913. Small 8vo; gilt-stamped cloth; a bit of rubbing to extremities; frontispiece; plates; variable foxing to a few leaves. $45
Two of the dozen chapters concern the history of playing cards.


[MOORE, George Washington.] A carte-de-visite photograph of Moore. London: for The Figaro, [1874]. Near fine. $35
A half-length portrait of the minstrel performer and manager (Moore & Burgess’ Minstrels).


[MORAN, P. K.] The sheet music, “Crooskeen Lawn.” New York: Dubois & Stodart, [c. 1822]. Large 4to; removed; two pages of engraved music and text; minor foxing and dusting. $35
The words and music (strophic with chorus) of an Irish ballad “sung with unbound applause by Mr. Mathews.” Printed at the foot of the second page is an anecdote on the drinking habits of Sir Tobias Butler “a lawyer of great eminence at the Irish Bar” mentioned in the second verse.

MORISSET, B. LES CONTES DU PREMIER ET DU SECOND AGE, ou Le Pouvoir des Bons sur les Mauvais Génies. Paris: Libraires Associés, 1807. 12mo; contemporary blue wraps, rather scuffed; neat reinforcement to fore-edges of inside wraps and foot of backstrip; engraved frontispiece, colored by hand; a hint of dusting, primarily to fore-edges; a few fore-corners turned up; a few upper fore-corners stained; completely untrimmed; in a protecting box. $175
An unsophisticated, desirable copy of a pleasant juvenile, with a hand-colored frontispiece. Two of the four stories are "Les Mauricauds, ou, L'Origine des Arlequins" and "La Bella Fortuna, ou, Le Palais des Nains."


MORTON, Thomas. A CURE FOR HEARTACHE; A Comedy. London: for T. N. Longman and O. Rees, 1800. Disbound; very light dampstaining to fore-edges. $15
First published and performed in 1797.


MORTON, Thomas. EDUCATION: A Comedy. London: for Longman, Hurst [and others], 1813. First Edition. Disbound; some soiling to title-page and offsetting to text. $22
Morton’s sentimental comedy premiered at Covent Garden in April 1813. The cast included Mathews, Kemble, and Liston.


MORTON, Thomas. SPEED THE PLOUGH: A Comedy. London: for Longman and Rees, 1800. Disbound; title-page dust soiled. $18
The best known of Morton’s plays, a successful blending of pathos and broad comedy, famous for introducing the (off-stage) character of the moral watchdog Mrs. Grundy. First published the same year.


MORTON, Thomas. SPEED THE PLOUGH: A Comedy. London: for Longman and Rees, 1800. Disbound; publisher’s advertisement leaf at the end. $25
The best known of Morton’s plays, a successful blending of pathos and broad comedy, famous for introducing the (off-stage) character of the moral watchdog Mrs. Grundy. First published the same year.


MOWATT, Anna Cora. ARMAND; or, The Peer and the Peasant. A Play.... New York: Stringer and Townsend, 1851. First Edition. Disbound; some foxing; primarily to first signature and margins. $40
Mowatt’s second play and the first to be publicly performed. It was premiered at New York’s Park Theatre in September 1847 and in London in January 1849. On both occasions Mowatt took the part of Blanche. §Roden, p. 96.


[MOZART, Wolfgang A.] A chromolithographed plate, “Die Zauberflöte.” Berlin: [A. Fürstner, c. 1880]. 11 1/2” x 8 1/2”; colors bright. $150
A series of six unsophisticated vignette illustrations of featured scenes in Mozart’s opera. Rather humorous in nature (including a moon dangling on a chain), each vignette is accompanied by an abridgment of dialogue (in German).


[M-ROV, G. T. (Pseud.).] [OUT OF THE FIRE AND INTO THE FLOOD (?). Drama....] [Tomsk: P. I. Makushina], 1896. 8vo; original paper-covered boards; marbled paper to rear cover; extremities rubbed; front cover a trifle soiled; erased letter-code to upper left edge of cover; black cloth spine; Library of Congress duplicate stamp to front flyleaf; binding tight; contents clean. $50
A five-act drama. M-rov was the pseudonym of Gamaliil S. Gantimurov.



MRVINA, Eugeniya.] A cabinet card photograph of Mrvina in costume. [St. Petersburg: for the Imperial Theatres, c. 1890.] Image a trifle light; minor marking, away from image; mount corners rubbed. $50
The great soprano is shown three-quarters length, in costume, in a performance pose. Mravina studied with Pryanishnikov in Russian, Artôt in Berlin, and Marchesi in Paris. She made her debut (1885) at Vittorio Veneto as Gilda (Rigoletto). This intelligent and highly regarded singer was a mainstay at the Mariinsky Theatre between 1886 and 1897 -- creating the roles of Oxana in Rimsky-Korsakov’s Christmas Eve and Fornarina in Arnesky’s Rafael.


[MUNDEN, Joseph S.] A stipple-engraved portrait of Munden. [London]: Bellamy and Robarts, 1791. 4” x 6 1/4”, plus narrow margins; in modern window mount; very good. $15
A half-length, oval portrait of the comedian.


[MURDOCH, James E.] A photogravure portrait, "James E. Murdoch as the Stranger [Count Waldbourg]." [New York]: Gebbie, [c. 1887]. 8 1/2" x 11 1/2", plus wide margins; very minor spotting to margins. $10
A full-length portrait of Murdoch, seated, in costume.


[MURRAY AND STICKNEY’S CIRCUS.] A handbill program for Murray and Stickney’s New York Circus at the Siege of Paris Building, Boston, [1880]. 5” x 9 1/2”; pasted to an early album leaf; some browning. $75
Sixteen individual acts are listed, including the aerialists M’lle Lottie and Jenny Tournour, equestrianism by the Stickneys and Charles W. Fish, acrobatics, and trained dogs.

NEWTON, H. Chance. THE OLD VIC. And Its Associations. Being My Extraordinary Experiences of “Queen Wictoria’s Own Theayter.” Foreword by George Dance. London: Fleetway Press, n. d. [c. 1922]. Small 8vo; green wraps, edges dust soiled; pictorial vignette to front cover; frontisportrait; plates. $20
Recollections of the first 100 years of the London theatre and the plays, variety entertainments, and principal stars seen there.


[NICOLE, Phillipe and Rose.] A small promotional card for the Nicoles’ Palais des Nains, Montreal, [c. 1924]. 4” x 2 1/2”; halftone vignette portrait to one side. $30
This card for the Montreal attraction is printed in French to one side and English to the other. The former carries a halftone portrait of the midget couple.


NICOLL, Allardyce. STUART MASQUES AND THE RENAISSANCE STAGE. New York: Harcourt, 1938. 4to; black cloth, lettered in gilt; decorative dustwrapper; frontispiece; numerous illustrations to text; United Scenic Artists union stamp to front flyleaf. $30
An extensive study of masques and ballets produced at the courts of James I and Charles I. This is accompanied by 197 illustrations, a complete photographic record of the Inigo Jones designs preserved at Chatsworth, and drawings of contemporary Turin ballets.


NIKLAUS, Thelma. HARLEQUIN PHOENIX, or, The Rise and Fall of a Bergamask Rogue. London: The Bodley Head, 1956. Cloth; pictorial dustwrapper (design by Mervyn Peake); illustrated. $30
A well-documented history of the commedia figure tracing him from his Italian roots through to modern representations. “There is a particularly interesting account of the shows given in the fairgrounds and... a description of Grimaldi’s technique (R. Toole-Stott).” With an appendix of “Some Celebrated Players of Harlequin” and one of early scenari. §Toole-Stott 523.


[NIXON, John (?).] An engraved caricature, "Country Acting -- or no Tricks upon Travellers." London: Laurie & Whittle, 1804. 9 3/4" x 7 3/4", plus full margins; slight dust soiling to outermost margins; hand colored; very good. $175
"Tricks upon travellers" was a catch-phrase, perhaps deriving from Foote's The Orators (1762). This hand-colored caricature, attributed to Nixon, depicts a kitchen scene. An Irishman, wearing smart (spurred) top boots, bastes a bird on a spit. He is interrupted by an actor in the costume of an African prince who inquires as to when the fowl will be finished. The Irishman responds angrily to the "outrageous looking Rascal" that the chicken is for his dinner and he does not mean to share it. The actor responds: "My Dear Sir I dont want your Fowl I am going to play Oroonoko in this House and we cannot begin for want of the Jack Chain." §George 10357.


[NOUVEAU CIRQUE.] A lithographed program for the Nouveau Cirque, Paris, 2 December, 1894. 8vo leaf, folded; pictorial covers, printed in blue. $65
The program featured the clowns Foottit and Chocolat, the equilibrist Mlle. Cashamore, and the pantomime Pirouettes-Revue. The covers show both the exterior and ring of the Paris circus.