Catalogue 120

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1. [ACROBATS.] A chromolithographed plate, “Japanese.” [Philadelphia: Ledger Job, c. 1870.] 5” x 7”, plus margins; in a modern mat. $50
A trade catalogue specimen image for a larger show poster. The central, largest illustration is of a five-person Japanese acrobatic act. The four vignettes surrounding show two female equilibrists, a juggler, and a pair of acrobats. The text at the foot gives the title, price, and availability in colors.

 

2. [ACTORS.] A complete set of Players Past & Present, cigarette cards, [1916]. Color printed pictorial rectos; text to versos; near fine. $20
A complete set of 25 standard-size cards, issued by the John Player & Sons Company, depicting performers in costume to the front and brief biographies to the reverse -- Coquelin, Terry, Barrington, and Irving are amongst the subjects.

 

3. AMBERG, George. ART IN MODERN BALLET. [New York]: Pantheon, [1946]. 4to; Hessian boards; cloth spine; illustrated; very good. $35
An informative, superbly illustrated record of the principal achievements of ballet design in the first half of the 20th century (stressing the contributions of the Ballet Russes). The 202 plates are accompanied by an introductory essay; indexes of designers, composers, and choreographers; and a 69-page survey of 833 ballets, 1909-45, with production data.

 

4. [AMSTERDAM SCHOUWBURG.] A large engraving of a stage scene, “De Romeinsche Hof-Gallery,” at Amsterdam’s Nieuwe Schouwburg. Amsterdam: J. W. Smit, 1788. 16” x 13”; margin slightly trimmed at head. $125
A handsome engraving depicting the stage and set in the midst of a performance of the tragedy <I>Titus,</I> the wings, the orchestra, and the foremost portion of the pit and boxes (including the audience). The new Schouwburg opened at the Liedseplein in 1774.

 

5. [ANONYMOUS.] PROCEEDINGS OF THE SHEFFIELD SHAKESPEARE CLUB, From Its Commencement in 1819, to January 1829. Sheffield: for the Editor, 1829. Small 8vo; half calf, gilt; marbled boards; head of spine worn; engraved frontispiece; contents very good. $95
The author is given as “A Member of the Club.” 1/250 copies only. §LAR 1683.

 

6. [ANONYMOUS.] THE MIDNIGHT HOUR; or, War of Wits. A Farce. Translated from the French... Represented Seventy Successive Nights at Paris, and Now in Rehearsal at the Theatre-Royal, Covent-Garden. London: for H. D. Symons, 1787. 8vo; disbound; lightest of dusting and foxing; crease to upper fore-corner of terminal leaf. $60
The first edition of this version of Damaniant’s Ruse Contre Ruse, different from that by Elizabeth Inchbald (Nicoll confuses the two). Scarce.

 

7. [ANONYMOUS.] RHYMING DICK AND THE STROLLING PLAYER: Being a true Account of the Life and Death of Richard Namcollas, The Alehouse Poet: And of a Portuguese Player, Who Died in London. Nottingham: C. Sutton, n.d. [c. 1810]. Small 8vo; self wrappers, lightly foxed and dusted; woodcut device to both front and back; paper fault to lower fore-corner of second leaf, affecting a few letters of text. $75
An eight-page chapbook with accounts of Nancollas, whose “general practice was to excite sinful merriment among the drunkards, etc. by extempore versification” and to the “pomps and vanities” of the transitory life” of the strolling player Henry Hitchcock. The front carries a woodcut device of a conjuror with cups and balls and a wand. §Toole-Stott (Conjuring) 599.

 

8. [ARBENIA, S. R.] A Russian portrait postcard of Arbenia, [c. 1910]. Unused; near fine. $20
The beautiful actress is shown seated in a decorative chair in the costume of Princess Gryozy.

 

9. [ASTLEY’S AMPHITHEATRE.] A broadside playbill for Astley’s Amphitheatre, 12 May, 1834. 10 1/4” x 15 1/4”; a few pin-size holes; small ink stain near foot; faint ink stamp to upper left; minor creasing. $350
A large bill announcing The Wars of Wellington and Victories of the British Army “being played in four parts”; The Grand Equestrian Gustavus Mask’d Ball, “invented and produced by Mr. Ducrow” (with the characters mounted on 50 horses and 20 quadrupeds -- pigmy horses, zebras, llamas, etc.); the “Dance of Punch and Judy”; “the 2nd Division of the Boys of the Royal Military Asylum, with their juvenile band”; and the “Tartar Voltigeurs, Messrs. Hillier and Brown.” The former was reputedly black or mulatto (in his time it was said “Hillier had ridden until he has become black in the face”). John Ducrow is listed as a Clown to the Circle, but was dying at this time.

 

10. [BANNISTER, James.] A copper souvenir token for Bannister’s Olympic Circus, [c. 1815]. 1” diameter; some rubbing and wear. $275
The obverse shows a rider, flag in hand, standing on one leg astride a galloping horse. Behind is part of a circus ring. The reverse shows the figure of Bannister above the legend “JN Bannister Rid-ing Master Returns Thanks to the Public in General.” Bannister was one of the first British circus proprietors to go on tour. In 1815-16 his circus performed in Newcastle and Hull, advertised as “from Astley’s Royal Amphitheatre.”

 

11.[BANNISTER, John.] A Haymarket playbill for Bannister as Captain Surat in Andrew’s Summer Amusement and Compton in O’Keefe’s The Agreeable Surprise, London, 22 June, 1791. Minor creasing. $50
The cast also featured Davies, Palmer, Baddeley, and Wilson.

 

12. [BARKER’S PANORAMA.] A SHORT DESCRIPTION OF THE ISLAND OF ELBA, AND TOWN OF PORTO-FERRAJO; Illustrative of the View Now Exhibiting in Henry Aston Barker’s Panorama, Leicester Square. [London: J. Adlard], 1815. Disbound; engraved vignette illustration to title-page; light foxing. $200
An 11-page guide to the paintings and exhibition making up Barker’s panorama at the Rotunda. “When Napoleon Bonaparte was exiled to Elba, Barker dropped in on him to renew their acquaintance and was able to provide the curious London public with an exact reproduction of their defeated enemy’s new abode; here we have an example of the panorama as a forerunner of the tabloid press (Oettermann).”

 

13. BARNES, Elliot. A TRAMP ACTOR. Chicago and New York: Belfry, Clarke & Co., 1886. First Edition. Pictorial brown cloth, rubbed and worn; some gilt to spine; shaken; frontispiece and plates. $50
“A picaresque novel in the Mark Twainsian style about young Patsy O’Hoolahan, native of a squalid New York tenement, and his adventures as he makes his way in the world, working a riverboat on the Erie Canal [and] becoming part of a troupe of traveling players. Barnes [was] an actor himself, as well as the author of at least one successful play, Only a Farmer’s Daughter, and he married a member of the corps du ballet of a traveling opera company, so one presumes his novel boasts a degree of verisimilitude.” Uncommon, very few copies recorded in collections. Not in LC Fiction Catalogue or Wright.

 

14. [BARNUM’S HIPPODROME.] A program for a “Grand Testimonial Concert, for the Benefit of the Gilbert Library and Prisoners’ Aid Fund... at Barnum’s Hippodrome.” 20 April, [1875]. 8vo; mild embrowning; some wear to edges; one horizontal and one vertical crease. $45
The concert boasted nearly 100 performers.

 

15. [BARROILHET, Paul.] A one-page autograph letter, signed, from Barroilhet to Monsieur Stephen de la Madeleine. [Paris: c. 1850 (?).]$125
A good letter, mentioning several roles, from the “French Tamburini.” Barroilhet was considered by many the premier baritone of his day having created the roles of Alfonso in La Favorita, Camoens in Don Sabastiano, and Nottingham in Roberto Devereux. Accompanying the letter is a contemporary portrait of the singer.

 

16. [BARTOLOZZI, Josephine.] A juvenile drama portrait, “Miss Bartolozzi as Apollo.” London: O. Hodgson, [c. 1830]. Colored by hand; near fine. $70
A brightly colored portrait of the actress in costume, standing, a lyre resting against her left arm and hip and her right arm upraised in gesture.

 

17. [BAYLIS’ MARIONETTES.] A promotional envelope for Baylis’ Marionettes, [c. 1876]. 5 1/2” x 3”; blue stock; decorative title, compliments, and vignettes to recto; unused; near fine. $85
The front is headed “Mr. Sam Baylis’ Royal Marionettes, The Mannikins of the Period.” The reverse carries extensive text, including a press notice, headed “Full Houses Versus Empty Benches,” An excellent unused example.

 

18. BECK, Julian. THE LIFE OF THE THEATRE. The Relation of the Artist to the Struggle of the People. [San Francisco]: City Lights, [1972]. First Edition. Original pictorial stiff wrappers; rubbed at ends; stains to rear cover; frontispiece. $30•An intriguing assembly of 123 meditations, reflections, journal entries, and poems by the cofounder of the Living Theatre. Most of the pieces were written while the company was in exile.

 

19. BERNHARDT, Karoline.] A playbill for Bernhardt, “erste künsterin der Magie und Physik,” in Munich, 22 and 23 May, [1829]. 7 1/4” x 8 3/4”; decorative border; three minute stitching holes to left margin; very good. $625
Bernhardt’s exhibitions of mechanical, natural, and physical conjuring are heralded as having been performed before the most esteemed monarchs of Europe. She also offers conjuring lessons to interested laymen and, on-request, a comic ballet by her daughters. An early Bernhardt bill.

 

20. [BERNHARDT, Sarah.] A cabinet photograph of Bernhardt. London: W. & D. Downey, [c. 1878]. A hint of dusting and fading; one lower corner of mount creased. $45
A bust portrait of Bernhardt nearly full face to the front.

 

21. [BINGHAM, Amelia.] SOUVENIR OF THE AMELIA BINGHAM STOCK COMPANY. Bijou Theatre. New York: R. H. Russell, 1901. 4to; decorative and embossed stiff purple wraps; covers sunned at edges; 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 containing 24 portraits of the company’s performers.

 

22. BORNIER, Henri de. DANTE ET BÉATRIX, Drame…. Paris: Michel Lévy Frères, 1853. First Edition. Original printed wraps; very good; untrimmed. $25
A five-act drama in verse.

 

23. BRACHVOGEL, A[lbert] E. NARCISS. Ein Trauerspiel.... Jena: Hermann Costenoble, n. d. [c. 1878]. Disbound. $35
Brachvogel’s first, and best-known, play. Amongst the characters of the drama are Quinault, von Holbach, Grimm, and Diderot. This edition includes a new foreword by the author.

 

24. [BRAHAM, John.] A tall broadside playbill for Braham in Cobb’s The Siege of Belgrade at the Theatre Royal, Birmingham, 8 October, 1827. 8 1/4” x 25 1/2”; pale blue stock; central vertical crease; light dusting and offsetting. $40
An uncommonly tall bill, presumably for posting.

 

25. BRANDES, Georg. HENRIK IBSEN. Københawn og Kristiana: Gyldendalske, 1916. Contemporary half leather, corners rubbed; stiff-wrapper covers preserved; illustrated. $30
The first important biography of Ibsen, written by his friend, critic, and translator.

 

26. BROWN, Tom. AMUSEMENTS SERIOUS AND COMICAL AND OTHER WORKS. Edited With Notes by Arthur L. Haywood. London: Routledge, 1927. Large 8vo; blue cloth; illustrated. $35
Reprints the author’s Amusements..., Letters on Several Occasions, and Letters from the Dead to the Living. Amongst the amusements discussed in the first are The Playhouse and Gaming-Houses. The Letters from the Dead to the Living, imaginary letters with fictitious responses, contains several of theatrical interest.

 

27. [BULLOCK, Christopher.] THE PER-JUROR; or, The Country Justice. A Farce. As Acted at Lincoln’s-Inn Fields. Now re-printed on the occasion of the Craftsman, August 5, 1732. London; for W. Mears, 1732. Disbound; closed tear to half-title. $95
Originally written in 1719 to cash in on the anti-Jacobite popularity of Cibber’s Non-Juror and here republished in answer to the similar political ferment of the time.

 

28. BURTON, W[illiam]. A PASQUINADE, On the Performers of the York Company. Leeds: for the author, 1801. Later wrappers; untrimmed; moderate stain to lower fore-corner of final four leaves.$300
A 24-page poetical description of the actors and actresses on the York circuit, under the management of Tate Wilkinson. The verse is generally good-natured; Burton was a comedian of the company and evidently did not wish to offend his fellow players. §LAR 1704. Loewenberg, p. 66.

 

29. [CANINE DRAMA.] A Covent Garden playbill for a performance of Harris’ The Forest of Bondy, 26 May, 1813. Minor dusting and creasing. $25
The canine spectacular was preceded by the masque of Comus and the farce The Fortunes of War (with Mathews, Liston, and Foote).

 

30. [CIRCUS CARRÉ.] An illustrated broadside poster for the Circus Carré at the Heumarkt, Cologne, 10 November, [1863]. 10 1/2” x 19 1/2”; two woodcut illustrations (each 3” x 3”) at head; creases; overall very good. $500
The principal performers listed are the lion tamer James Crockett and his “6 grossen vorgülich dressirten Löwen,” the trick equestrienne Bertha Weinling and her son the acrobatic jumper. The woodcuts depict two scenes in the circus ring within decorative frames.

 

31. CARTER, Huntley. THE NEW SPIRIT IN THE EUROPEAN THEATRE. 1914-1924. A Comparative Study of the Changes Effected by the War and Revolution. New York: George H. Doran, [1925]. 4to; burgundy cloth boards, a bit spotted; spine faded; frontispiece; numerous plates. $30
Carter continues his study of the New Stagecraft in Europe, divided in three main theses -- war, revolution, and peace. The numerous illustrations are from photographs of productions, stage sets, costumes, etc. With the bookplate of The Civic Repertory Theatre.

 

32. [CARTLICH, John.] A tinseled juvenile drama portrait, “Mr. Cartlich as Mazeppa.” [London: O. Hodgson (?), 1831.] Approximately 7 1/2” x 8”; trimmed to image and laid down; hand colored; cloth and tinsel applied; mounted to contemporary card, with additional watercolors to background; some foxing to card; in a beveled wood frame. $250
An equestrian portrait of Cartlich in the title role of the equestrian spectacle Mazeppa, a role he created at Astley’s in 1831. He is shown seated on a rearing horse, a spear grasped in his right hand. His costume and the horse’s saddle carry appliqué colored cloth, both highlighted with tinsel. Carlich’s helmet and spear are tinseled, as are the plumes on his helmet and the horse’s head.

 

33. [CELESTE, Celine.] A pair of issues of The Theatrical Observer, including bills for Celeste at Drury Lane, October 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.

 

34. CHENIER, M[arie]-J[oseph]. TIBÉRE, Tragedie...; Avec une Analyse de Cette Piece, par M. Népomucène Lemercier.... Paris: Ponthieu, 1819. First Edition. Disbound; faint dampstaining to upper fore-corners; untrimmed at foot. $50
The first edition of Chenier’s Romantic tragedy. It premiered at the Théâtre-Français in December 1819, the cast including Talma, Lafon, and Duchénois. Napoleon and his Imperial censors quickly banned its performance. Lemercier’s 30-page analyse precedes the text of the play.

 

35. [CINQUEVALLI, Paul.] A studio photograph, inscribed and signed. [London: c. 1905.] Mount 8” x 9 3/4”; image 4” x 5 3/4”; wear to edges of mount, including chips to right corners; image near fine; bold inscription and signature to lower third of image; publicity stamp in ink to foot of mount. $200
The noted juggler and strongman is shown seated in costume, a cannonball at his feet. He has inscribed the photograph: “To Master Algie Davis look out for silver medal and practice hard every day” and signed below. A stamp from a London publicity department (quite faint) marks a portion of the lower mount.

 

36. [CIRCUS.] An illustrated poster for the “Gran Circo en El Carnaval de Iloilo,” in the Philippines, [c. 1910]. 11 3/4” x 18”; crude decorative border; printed to newspaper stock; images poorly registered. $35
This rather crude poster advertises “acrobatas, equilibristas, bailarinas, y circadores.” The illustrations are of “Le Belle Florida-ballerina,” the comic equilibrist Tommy Lowrey, and performing dogs.

 

37. [CIRCUS TOY.] LE FRIQUET. Infatigable Acrobate. Nouveau Jouet Thermo-Mécnique. Paris: L. G. P., [c. 1905]. Tin and colored paper; small repair to leg of paper figure; in original (11” x 5”) box with paper label; some wear to box edges; moderate stains to label; toy very good. $450
A heat-operated circus acrobat toy. When a candle is placed in its holder and lit the tin fan circulates, prompting the weighted, colored-paper acrobat figure to spin and tumble. Assembled, the toy stands 12” high.

 

38. COLMAN, George (the Younger). THE POOR GENTLEMAN: A Comedy.... London: for Longman and Rees, 1802. Disbound; minor dusting to title-page and terminal advertising leaf; light foxing to a few leaves; minute wormholing to (blank) upper fore-corners. $20
A melodramatic comedy first performed at Covent Garden in February 1801.

 

39. No Item.

 

40. [COOKE, George Frederick.] An engraved portrait of Cooke as Richard III. New York: Anderson, [c. 1820]. 3 1/4” x 5 1/4”; very good. $10
A full-length portrait, standing, in costume.

 

41. [COSTUME.] A hand-colored sheet, “Personnages de Theatre.” [Epinal: Pinot & Sagaire, c. 1885.] 12 1/2” x 15 1/2”; some embrowning and fraying to edges (away from images); crudely hand colored. $40
A sheet with representations of 29 figures in theatrical and dance costumes. The theatrical subjects are primarily of the Renaissance.

 

42. [COVENT GARDEN.] A Covent Garden playbill announcing Hoare’s comic opera The Italian Villagers and the “new grand serious ballet” Raymond and Agnes, 28 April, 1797. Very minor foxing, primarily to right margin. $150
This was the third night of the opera (with music by Shield), the cast including Incledon and Munden. The greatest interest of this playbill is the “description of the scenes in the ballet” which takes up nearly two-thirds of the whole -- 45 lines of small and closely leaded text.

 

43. COWLEY, [Hannah]. WHICH IS THE MAN? A Comedy.... The Fifth Edition. London: for C. Dilly, 1785. 12mo; disbound; lacking half-title; light foxing. $15
“An excellent sentimental play... [which] deserves to be placed alongside Mrs. Sheridan’s The Discovery as a revivable comedy (Nicoll).”

 

44. CRAIG, Edward Gordon. INDEX TO THE STORY OF MY DAYS. Some Memoirs.... New York: Viking, 1957. Decorative cloth; pictorial dustwrapper; plates. $15
One of the finest of 20th century theatrical biographies, “engagingly frank, with many recollections of Ellen Terry and Henry Irving, as well as accounts of Craig’s own early acting career (Conolly and Wearing).” Numerous illustrations after photographs, stage designs, and woodcuts.

 

45. CRASKE, Margaret and Cyril W. BEAUMONT. THE THEORY AND PRACTICE OF ALLEGRO IN CLASSICAL BALLET (CECCHETTI METHOD). With Illustrations by Randolph Schwabe. London: C. W. Beaumont, 1930. Brick-red cloth, a trifle rubbed; line drawings to plates at the end; very minor foxing. $15
The first text by Craske and Beaumont on the Cecchetti design, focusing on Intermediate temps d’allègre. §Magriel, p. 131.

 

46. [CRESWICK, William.] A penny-plain portrait of Creswick as Count Gnam. [London]: A. Park, [c. 1860]. Very good. $20
Creswick stands, legs splayed, looking to the right. He holds a sword down in his right hand.

 

47. D’ÉPAGNY, J. -B. LES HOMMES DU LEDEMAIN. Comedie.... Paris: Quay, 1830. First Edition. Disbound; engraved frontispiece, colored by hand; a few scattered stains. $25
D’Epagny’s one-act comedy in verse premiered at the Odéon in September 1830. The hand-colored frontispiece depicts a scene in the piece.

 

48. [DAVENE TROUPE.] A handbill program for W. M. Davene’s Allied Attractions at the Park Square Garden and Summer Pavilion Theatre, Boston, 17 June, 1884. 4” x 11 3/4”; moderate browning; narrow tears to portions of right blank margin. $45
Amongst the attractions were vocalists, dancers, the equilibrist Edward Earl, the Davenes and other trapeze performers, and the Egyptian juggler Alfred Valjean.

 

49. DAVIS, W. J. and A. W. WATERS. TICKETS AND PASSES OF GREAT BRITAIN AND IRELAND. Struck or Engraved on Metal, Ivory, etc. for Use at Theatres, Public Gardens, Shows, Exhibitions, Clubs,... also Railway Passes, Gambling, Lottery, and Racing Tickets, etc. Leamington Spa: Courier Press, 1922. 4to; patterned brick-red cloth, a trifle rubbed and soiled; title in gilt to spine; decorative endpapers; pictorial frontispiece; first signature loosening. $100
A scarce, privately printed work limited to 150 copies (hand numbered and signed by Waters). It includes 441 entries for theatres, circuses, and music halls (with brief histories of 27 places of public amusement); 401 for pleasure gardens, exhibitions, shows, menageries, museums, panoramas, and curiosities (some with brief histories); 119 gambling and lottery tokens; and more than a thousand other pieces.

 

50. [DENMAN, William.] A one-page autograph letter, signed, to James Winston. [London]: 9 June, [1814]. 4to leaf, bifolum; minor dusting; light residue from wax seal; original folds for posting. $35
The bass-singer writes Winston at the Haymarket, inquiring about an engagement and salary (explaining what arrangements he has with the Pantheon). Denman was a popular vocalist at Vauxhall Gardens, the Pantheon, and the patent houses.

 

51. DENT, Edward J. FOUNDATIONS OF ENGLISH OPERA. A Study of Musical Drama in England During the Seventeenth Century. Cambridge: Cambridge University Press, 1928. Red cloth; mild dampstaining to head of covers; spine sunned; musical notation to text. $40
Despite it’s early date this work, now scarce, is still a standard -- elegant and wide ranging. It deals with, amongst other topics, court masques, amateur productions, plays with music, the influence of French modes, and chamber opera. From the library of Eva Le Gallienne with her bookplate and the inscription “To the Lyrical Julie G.D. W. 1931.”

 

52. DORVIGNY, [Louis-François]. ON FAIT CE QU’ON PEUT, NON PAS CE QU’ON VEUT. Proverbe a Deux Acteurs.... Amsterdam and Paris: Ballard, 1780. First Edition. Disbound; wood-engraved vignette to title-page. $40
This piece premiered at the Variétés-Amusantes in November 1779.

 

53. DOW, Alexander. ZINGIS. A Tragedy. London: for T. Becket and P. A. DeHondt, 1769. Disbound; very good. $45
Dow’s first play, the story “taken from the Tarich Mogutistan, or History of the Mogul Tartars, written in the Persian language.”

 

54. [DRURY LANE.] A tall Drury Lane playbill for King Henry IV, Part the Second, 14 May, 1834. Pale green stock; wrinkled; some foxing; torn at foot with loss of about 2 1/2”. $25
This was the first time Shakespeare’s play was performed at Drury Lane, the cast featuring Macready and Cooper. However, what makes this a performance of particular note is the never-to-be-repeated scale and pageantry of the Grand Coronation scenes. A form of Gesamtkunstwerk with an orchestra of “above 300 performers” and the vocal and thespian talents of Grisi, Ivanhoff, Rubini, Tamburini, Crouch, Braham, and many more.

 

55. [DRURY LANE.] A bronze admission token for Drury Lane, 1684. 1” in diameter; portraits to obverse; text to reverse; quite rubbed (especially affecting the portraits). SOLD
Conjugate busts of Charles II and Catherine of Braganza on the obverse and “Upper Gallery 1684” on the reverse. Worn, but a rare 17th-century survival.

 

56. [DRURY LANE.] A two-page autograph letter, signed, from James Aspinall to Richard Peake. [London]: 10 January, 1801. Folio leaf, bifolum; minor dusting; light residue and small tear to integral leaf from wax seal; original folds for posting. $45
Aspinall writes Peake, treasurer at Drury Lane for nearly 40 years, inquiring about payment demands for the singer and actress Camilla Dufour and arrears due Herries and Farquhar on their renters’ shares in the theatre.

 

57. [DRURY LANE.] A hand-colored engraving, “Drury Lane Theatre, Westminster.” [London]: W. J. White, [c. 1830]. 6” x 4”; modern hand coloring; matted; fine. $20
A view of the front, stage entrance, and hoardings of Drury Lane before the fire of 1809.

 

58. [DRYDEN, John.] EXHIBITION OF FIRST AND OTHER EDITIONS OF THE WORKS OF JOHN DRYDEN (1631-1700), together with a few engraved portraits and two oil paintings -- commemorative of the two hundredth anniversary of his death. Exhibited at The Grolier Club... March 8th to 24th, 1900. [New York: De Vinne Press, 1900.] 12mo; original wrappers; printed in red and black; ends of backstrip chipped; upper cover nearly loose; contents fine. $30
A chronological listing in three sections: original works, plays, and contributed and translated works. Each entry indicates the form of the title-page and description of the item; some include an annotation or historical comment.

 

59. DYER, Robert. NINE YEARS OF AN ACTOR’S LIFE. London: Longman [and others] and [Plymouth]: Edward Nettleton, 1833. Original green cloth; black paper label (rubbed); toning to rear endpapers. $200
The sole edition of the lively autobiography of the provincial actor Dyer, “late of the Theatres-Royal Plymouth, Worcester, Derby, Nottingham, Taunton, Barnstable, &c., &c.” With an uncommon Plymouth imprint.

 

60. [EDEN MUSÉE.] CATALOGUE OF THE EDEN MUSÉE. New York: R. G. Holman, [1884]. Original pictorial pink wrappers; mounting traces to one edge of rear cover; illustrations; supplemental handbill tipped to front cover; soft vertical crease; very good. $75
The Eden Musée was New York’s most elegant dime museum. This “temple of art” was primarily a waxworks gallery. Amongst the tableaux mentioned in this catalogue are world rulers, literary and artistic groups (including Patti, Wagner, Bernhardt, and Langtry), a scalping, a beheading in Morocco, survivors of the Jeanette Expedition, and the abolition of slavery in the United States. Tipped to the front is a supplementary program for the “special engagement of Morley’s Fata Morgana, a series of superb, colored, and mechanical dissolving views” listing more than 50 views (one “Heller’s Greatest Success -- Wheel of Life”).

 

61. EFIMOVA, Nina. ADVENTURES OF A RUSSIAN PUPPET THEATRE. Including its Discoveries in Making and Performing with Hand-Puppets, Rod-Puppets and Shadow-Figures, now Disclosed for All. Translated by Elena Mitcoff. Illustrated by Ivan and Nina Efimova. Birmingham: Puppetry Imprints, 1935. 4to; yellow cloth, with text and illustration in red; covers a bit marked and dusty; backstrip dulled and frayed at ends; lightest of dampstains to head and tail of text block; color frontispiece; title-page in red and black; numerous vignette illustrations to text. $125
The first edition in English, 1/1000 copies. “How Efimova and her husband... weathered the Russian revolution of 1917 traveling with a puppet theatre, and how they continued their work.., produced their shows, devised their plays, and made hand-puppets, rod-puppets, their own combination of the two types, and shadow figures.” Illustrated with more than 50 line designs and plates after photographs. The author and artist, Efimova, was along with Goncharova, Popova, Exter, and Rozanova, one of the so-called Amazons of the Avant-Garde. “A fascinating story as well as technical and theoretical material of importance (Miller).” §Crothers, p. 268. Miller 112. Dana, p. 45.

 

62. [ELLISTON, William Gore.] An autograph note, signed, from Elliston to Shuter. [London]: 9 December, [1817 (?)]. 8vo leaf; original folds. $25
Elliston writes, in part, “You see I liked your hint of Bertram, and have accordingly had it cast & printed . . . .” A postscript concerns complimentary boxes.

 

63. [EQUILIBRIST.] A chromolithographed plate, “Female Tight-Rope Dancer.” [Philadelphia: Ledger Job, c. 1870.] 6 1/2” x 5”, plus margins; in a modern mat. $60
A trade catalogue specimen image for a larger show poster. It depicts a scantily attired ropedancer in an extended pose, en-pointe on the rope; a painted scene behind her. The text at the foot gives the title, price, and color availability.

 

64. [EQUILIBRISTS.] A Drury Lane playbill for the Christmas pantomime Harlequin & Cock Robin, 1 February, 1828. Very mild toning; else very good. $55
One scene in the pantomime incorporated “Herr Cline, on the corda tesa; the phenomena Ching Lauro and Sigr. Garcia; and the inimitable Blackmore.” Also on the bill was Dimond’s Isidore de Merida with Braham and Feron.

 

65. [EQUILIBRISTS.] An engraved picture sheet of 20 captioned illustrations of equilibrists. Paris: Basset, [c. 1790]. 9 1/2” x 12 3/4”, plus margins; three horizontal and one central horizontal crease, quite soft; paper fault to (blank) upper right corner; minute private collection stamp to verso. $1250
Each of the 20 illustrations is a vignette scene of a costumed ropedancer with a descriptive caption. An appealing picture sheet with wide vertical margins.

 

66. FARQUHAR, George. THE BEAUX’S STRATAGEM, A Comedy. Boston: Wells and Lily [and] New York: A. T. Goodrich, 1822. 16mo; disbound; light foxing or offsetting to a few leaves uncut. $12
With three pages of prefatory remarks.

 

67. [FELIX, Rachel.] A photogravure portrait, “Rachel as Phaedra.” [New York]: Gebbie, 1887. 8” x 12”, plus wide margins. $20
A full-length portrait of the actress in costume, standing, leaning back against a pedestal, a scepter in her arms.

 

68. FERRARI, Octovi[o]. DE PANTOMIMIS ET MIMIS Dissertatio . . . . Cum duabus epistolis una Iacobi Facciolati, alerta Io. Phil. Slevogtii, & Io. Fabricii ad non neminis dubia de Orthographia latina Responsionibvs. Wolffenbvtletii: [Godfried Freytag], n. d. [1714]. Early boards; later paper label, titled in ink; some foxing, primarily to fore-edges; uncut. $550
One of the earliest essays on mime and pantomime. Rare. §Magriel, p. 179.

 

69. FIELDING, Henry. OLD MAN TAUGHT WISDOM: or, The Virgin Unmask’d. A Farce. The Fourth Edition. London: for J. Watts, 1749. Disbound; contents loose; dust and age stains; some cockling; tear to edge of two leaves, affecting a few letters of text; printed music to text. $30
A ballad opera produced in 1735 as a device for Kitty Clive. This is the revised version with a reduction in text and songs (12, down from 20). With printed music for each of the songs.

 

70. [FLEA CIRCUS.] A handbill for “Kunstreiche Flöhe,” [c. 1865]. 6 5/8” x 5 1/4”; central vertical fold; stitching holes to left margin; slightly wrinkled and lightly foxed. $125
The company of fleas, under the direction of J.C.E. Ave of Hamburg, operated a carousel, pulled a chaise and a cart, performed acrobatics, and walked a tight rope.

 

71. FORREST, Edwin.] A Tremont Theatre playbill announcing Forrest’s benefit, 3 October, 1838. Folds; rather embrowned. $65
Forrest appeared as Melnotte in Bulwer-Lytton’s Lady of Lyons and the name role of Knowles’ William Tell.

 

72. [FRENCH DRAMA.] RÉPERTOIRE GÉNÉRAL DU THÉATRE FRANÇAIS. Tome Vingt-Septième. Tragedies. 4. Paris: Menard et Raymond, 1813. Small 8vo; original calf-backed boards, worn; scattered foxing. $16
This volume contains Saurin’s Spartacus and Blanche et Guiscard, and Belloy’s Le Siége de Calais, Gaston et Bayard, and Gabrielle de Vergy.

 

73. [GARCIA, Eugenia.] A large broadside playbill announcing Garcia as Elvira in Bellini’s I Puritani, at the Princess’ Theatre, 1 April, 1843. 9 1/2” x 20”; a bit of horizontal and marginal creasing; a trifle frayed at extreme head and foot and central crease; early price in pencil to upper left corner; laid down to a piece of light framer’s board. $75
The soprano was joined in the cast by Templeton, Burdini, Weiss, Jones, and Severn.

 

74. [GARRICK, David.] A copper token commemorating Garrick, [1773]. 1” diameter; minor rubbing; very good. $85
The obverse is a bust portrait of Garrick facing left; the reverse is “D. Garrick Esquire 1773.” A token given to subscribers to the Sentimental Magazine.

 

75. GAUTIER, Théophile. THE ROMANTIC BALLET As seen by Théophile Gautier. Being His Notices of All the Principal Performances of Ballet Given at Paris During the Years 1837-1848. Now First Translated from the French by Cyril W. Beaumont. London: C. W. Beaumont, [1947]. Blue cloth; in clipped and worn dustjacket; plates. $15
The revised edition of Beaumont’s text.

 

76. GAY, [John and George COLMAN]. ACHILLES IN PETTICOATS. An Opera. With Alterations. The Music entirely new by Dr. Arne. London: for W. Strahan [and others], 1774. Disbound. $40
Achilles was the last of Gay’s three ballad plays, falling into the category of “classical” operas. It appeared at Covent Garden in February 1733, about two months after Gay’s death. It was altered by Colman in 1744, when it appeared, as here, as Achilles in Petticoats, with the new music by Arne.

 

77. [GLOBE THEATRE.] A program for Boston’ Globe Theatre, [February 1884]. 8vo leaf, folded; decorative border to covers; three pinholes to one fore-edge. $20
This four-page program lists performances of the burlesque Robin Hood, a harlequinade with C. Ravel, artistic performances by the Leotards, and of Naomi (“plate spinning, knife juggling, and marvelous performances with live goldfish”).

 

78. [GRANT, George.] AN ESSAY ON THE SCIENCE OF ACTING. By a Veteran Stager. London: Cowie and Strange, 1828. First Edition. Contemporary half calf and marbled boards; decorative gold tooling to spine; boards and extremities somewhat rubbed; engraved frontisportrait; brief, early marginalia (in pencil) to a few leaves; a.e.g. $300
The sole edition. “The chief design of this work is to consider the art of acting and the duty and qualifications of actors.” It is also an anecdotal history of the histrionic art (particularly contemporary practitioners) with substantial footnotes and “asides.” Grant also touches upon the drama, stage practices, and stage scenery. With a handsome engraved frontisportrait of John Philip Kemble. From the collection of the dramatist Percy MacKaye. Uncommon. §LAR 728. Jaggard, p. 120.

 

79. [GRIMALDI, Joseph.] A Covent Garden playbill for Harlequin and the Sylph of the Oak; or, the Blind Beggar of Bethnal Green, 14 January, 1817. Early mounting traces to corners of verso, causing some bleed-through to recto; creased to quarters. $50
Grimaldi played Justice Baldynoodle (afterwards Clown), Joseph Bologna Tom Wilford (afterwards Harlequin), and Master Grimaldi played Flytrap. The evening’s first piece was The Slave with Macready and Liston.

 

80. [GRIMALDI, Joseph.] A pen-and-ink and watercolor design of Grimaldi as Clown in the pantomime Harlequin and Padmanaba,c. 1812. 9 1/2” x 6”; trimmed to platemark; retaining bright colors; near fine. $400
A fairly accomplished watercolor after the caricature by William Heath. It portrays Grimaldi in pantomime motley Clown (accessorized by a cape and inverted-bowl headgear). He is seated in a carriage (created out of a wicker cradle, a coal shovel, sausage stuffer, a fireplace fender, and four cheeses) pulled by a dog. He brandishes a ribboned stick in his left hand (which also holds the dog’s reins) as he blows a toy trumpet held up in his right hand. From the carriage peek the heads of a cat and a pig. A satire on both the equestrian spectacles of the time and the notorious curricle of Roman Coates. The pantomime premiered at Covent Garden on Boxing Day 1811.

 

81. [GUGLIELMI, Pietro.] The sheet music, “Why With Sighs My Heart is Swelling.” Philadelphia: G. E. Blake, [1808]. Large 4to; removed; four pages of engraved text and music; some offsetting. $30
The music and words (both English and Italian) of a rondo “sung by W. H. Webster (of Philadelphia’s Chestnut Street Theatre). ”

 

82. [HARTLEY, Elizabeth.] An engraved portrait, “Mrs. Hartley in the Character of Hermione.” [London]: Bell, 1775. 4 1/4” x 7 1/4”, plus narrow margins; a bit of dusting and toning. $10
A full-length portrait of the actress, standing, right profile, left elbow resting on a pedestal and hands supporting her chin. She wears a long cloaked dress and a transparent shawl trailing from the back of her head. Hartley acted Hermione only once, at Covent Garden on 12 March, 1774.

 

83. HAZLITT, William. LECTURES ON THE ENGLISH POETS [with] LECTURES ON THE ENGLISH COMIC WRITERS. From the Third London Edition, Edited by His Son. New York: Wiley and Putnam, 1845. 2 vols. in 1. Small 8vo; half green calf and marbled boards; rubbing to extremities; gilt to spine; some foxing. $30
The second work focuses more on the drama, studying comedy from Shakespeare to Sheridan. Hazlitt evolves a detailed taxonomy of the subject beginning with the merely laughable, through the ludicrous, to the ridiculous, and the realm of satire (the highest degree of comedy in Hazlitt’s estimation).

 

84. [HELLER, Robert.] A program for Heller’s Wonders at the Horticulture Hall, Boston, the week of 29 October, 1877. 4to leaf, folded; soft vertical crease; one pinhole to upper corner; else very good. $175
The “third programme of the entertainment by... the world-noted magician, pianist and humorist, assisted by Miss Heller, the astounding Helleric-Force Phenomena.”

 

85. [HILL, Aaron.] THE TRAGEDY OF ZARA. The Second Edition. London: for John Watts, 1736. Disbound; lacking frontispiece; title-page in black and red; faintest of dampstaining to fore-edges; publisher’s advertisement to final page. $40
Adapted from Voltaire’s Zaire (1732). Hill had met Voltaire on the latter’s visit to England. Hill explains in the preface that, as an experiment, he gave the parts of the hero and heroine to two relatively unknown performers. The untried actress was Susannah Cibber (this was her debut in a dramatic role) who would go on to become the greatest London actress of the mid-century.

 

86. [HOLCROFT, Thomas.] HE’S MUCH TO BLAME, A Comedy . . . . Third Edition. Dublin: Brett Smith, 1798. 12mo; disbound; signatures loosening; some foxing. $16
An early Dublin edition of Holcroft’s comedy, owning something to Goethe’s Clavigo.

 

87. [HYDERABAD.] A small handbill program for a concert by the band of Nawab Salar Jung at Hyderabad, 29 May, 1865. 6 5/8” x 4; decorative printed border; very gently creased to quarters. $65
The program included pieces by Kuhner, Donizetti, and Doppler. Salar Jung I, the Nizam’s indispensable Prime Minister, served in office 1853-83. He was knighted by the British and was ever a supporter of the Crown (this handbill carries the subscription “God Save the Queen”).

 

88. [IBSEN, Henrik.] A DOLL’S HOUSE. A Play. Translated from the Norwegian by Henrietta France Lord. New York: D. Appleton, 1889. 12mo; white cloth and green boards; decorations to upper cover; some soiling to covers; untrimmed. $25
The first American publication of the drama, with an introductory “Life of Henrik Ibsen” (24 pages) by Lord. §Halversen, p. 58.

 

89. [IBSEN, Henrik.] A Vaudeville Theatre program for Ibsen’s Hedda Gabler, the week of 20 April, 1891. Oblong 8vo-size; green stock; one central crease; 1” closed tear to head of first leaf. $50
A four-page program for “Ibsen’s last play... for the first time in England by special arrangement with Edmund Gosse and W. H. Heinemann.” It had premiered in Munich the same year.

 

90. [IRVING, Henry.] A carte-de-visite portrait, after a photograph, of Sir Henry Irving, [c. 1885]. Slightly faded. $20
A half-length portrait of the actor.

 

91. [IRVING, Henry.] A printed invitation to a Lyceum Theatre dinner from Irving to Sir Frederick Pocock. [London]: 1882. 4to leaf, bifolum; text and decoration to conjugate page; completed in manuscript; original central horizontal fold for mailing. $50
Pocock is invited to the dinner in honor of the 100th representation of Romeo and Juliet, 25 June, 1882.

 

92. [IRVING, Henry.] A Lyceum Theatre program for Irving as Brewster in Conan Doyle’s A Story of Waterloo and Master Quixada in Wills’ Don Quixote, 4 May, 1895. Small 4to; printed in two colors; short, closed tear to one fore-edge; minor dusting. $25
This was the first performance of Wills’s comedy and the London premier of Conan Doyle’s drama (it was first mounted at the Prince’s Theatre, Bristol seven months earlier). The evening commenced with Pinero’s Bygones.

 

93. [ITINERANT PLAYERS.] A lithographed plate of “Les Artistes en Plein Air,” after Baptiste, 1825. 11” x 8”; minor dust soiling. $30
A small group gathers to watch two itinerant performers on a plank-and-sawhorses stage. A banner showing Polichinelle hangs from their tent (into the side flap of which peer two mischievous boys).

 

94. [JOHNSON, Richard (?).] A NEW THEATRICAL DICTIONARY. Containing An Account of All the Dramatic Pieces That Have Appeared from the Commencement of Theatrical Exhibitions to the Present Time. Together with Their Dates when Written or Printed, where Acted, and Occasional Remarks on their Merits and Success. To Which is Added, An Alphabetical Catalogue of Dramatic Writers, with the Titles of All the Pieces they have Written... And Also A Short Sketch of the Rise and Progress of the English Stage. London: for S. Bladdon, 1792. First Edition. 12mo; modern cloth and endpapers; one signature loosening; much of the text printed in double columns; very good. $150
The sole edition of this annotated guide, covering more than 6000 dramas, operas, interludes, orations, masques, and dramatic poems and novels; a list of some 400 dramatic authors; and a brief history of the English stage. §LAR 40. Stratman, Play Lists, 36.

 

95. [JORDAN, Dorothea.] A Drury Lane playbill for a Royal Command performance featuring Jordan as Corinna in Vanbrugh’s The Confederacy and Little Pickle in Bickerstaffe’s The Spoil’d Child, 16 November, 1790. Impression light to a few letters; minor toning to left half. $70
Eliza Farren was also seen in the first piece.

 

96. [JULIAN, (?).] A juvenile drama portrait, “Miss Julian as Maid Marian.” London: M & M Skelt, [c. 1840]. Upper corners trimmed. $30
A halfpenny portrait of the actress standing (in a large plumed hat), looking to the left, an arrow held up in an extended hand, a bow held against the ground in her other hand. A tent and an archery target are in the background.

 

97. [JUMBO.] A pair of glazed pottery figures of children riding Jumbo, [c. 1882]. Each 3” high; white; original overglaze, gilding and coloring worn; one tiny firing flaw on boy’s hat brim; else very good. $200
One figure is of a girl upon Jumbo and the other of a boy riding Jumbo -- souvenirs produced in Britain at the time of Jumbo’s transfer from the London Zoo to Barnum’s circus in the U. S. The figures are rubbed, but are free of chips and cracks.

 

98. [JUVENILE DRAMA.] JACOB FAITHFUL. A Drama… Written expressly for, and Adapted to Skelt’s Characters & Scenes in the same. London: M. & M. Skelt, n. d. [c. 1840]. 12mo; original printed gray wrappers; ends of backstrip rubbed; frontispiece; contents very good. $50
The playbook to a three-act, juvenile drama adaptation of Haines’ melodrama. With a charming frontispiece of the final scene.

 

99. [JUVENILE DRAMA.] A sheet, “Skelt’s Characters in Timour the Tartar.” London: M. & M. Skelt, [c. 1840]. Chipping to corners, with very minor loss to upper right. $20
This sheet has 26 small figures, most in the procession (two equestrian) but also including a small scene.

 

100. [JUVENILE DRAMA.] A large-format backdrop of Notre Dame cathedral. Vienna: Trentsensky, [c. 1860]. 17 1/2” x 13 1/2”; laid to light board; light soiling and wear to margin at foot; minimal dusting and spotting. $20
These Trentsensky sheets furnish an important record of designs for theatre and opera in Vienna in the middle years of the 19th century.

 

101. [JUVENILE DRAMA.] A sheet of “favorite fours” portraits. London: W. G. Webb, [c. 1860]. Faint deaccession stamp to lower corner of verso. $30
The sheet, No. 4, has portraits of Mr. J. T. Johnson as Gobertz, Miss Wolfe as Joe Jessamy, Miss Daly at the Ladies Highwayman, and Mr. N. T. Hicks as the Lion King. The latter shows “Bravo Hicks” with his foot on the shoulder of a prostate lion and a knife in an upraised hand.

 

102. [KABUKI.] A large banzuke poster for Takogunki Chosen-no-Maki Katakinchi Takata-no-Baba at the Kabuki-Za theatre, Tokyo, [c. 1891]. 27” x 18”; numerous illustrations; gentle folds; red ink stamps to verso; 1” tear to lower margin; overall near fine. $125
The dozen illustrations, attributed to Tori Kjyomitsu, depict scenes in the drama. These are bordered by descriptive text. Kabuki-Za opened, under the management of the playwright Fukuchi Ochi, in 1889. It was notable for having an exterior in Western style and interior in pure Japanese style.

 

103. [KACHALOV, Vasili I.] A Russian portrait postcard of Kachalov as Charsky in Griboyedov’s Woe from Wit, [c. 1912]. Very minor soiling; brief inscription to verso. $22
Kachalov was the Moscow Art Theatre’s leading actor after Stanislavski. Here he is shown in the role of Griboyedov’s great restless hero. The inscription to the reverse is dated 1923.

 

104. [KEAN, Edmund.] A Drury Lane playbill for Kean as Jaffier in Otway’s Venice Preserved, 20 June, 1823. A bit of creasing and toning; original posting hole near head. $50
The cast also included Young and Powell.

 

105. KEENE, Donald. BUNRAKU. The Art of the Japanese Puppet Theatre. Photographs by Kancko Hiroshi. With an Introduction by Tanizaki Junichro. Tokyo; Kodansha, 1965. Large folio; blind and gilt-stamped black cloth; tipped-on color frontispiece; ten tipped-on color plates; 360 illustrations, mostly after photographs; flexi-disc in rear pocket; decorative endpapers; near fine. $95
This work stands as the most authoritative and penetrating study of the Bunraku puppet theatre to appear in English -- with a plethora of illustrations, a list of plays, chronology, bibliography, 4pp. musical score, and a flexi-disc recording.

 

106. [KEMBLE, Frances Anne and Tyrone POWER.] A Covent Garden playbill for Kemble as Mrs. Beverley in Centlivre’s The Gamester, 11 March, 1830. Frayed at head, affecting letters of headline; two short, closed tears to the right side. $25
Power was also seen in the name role of Rodwell’s Teddy the Tiler.

 

107. KLEIST, Christian E. von. DES HERRN CHRISTIAN EWALD VON KLEIST SÄMMTLICHE WERKE. Wein: Joh. Thom. Edl. v. Trattnem, 1784. 2 vols., in l. Small 8vo; early decorative boards; engraved frontispiece; engraved title-page to each volume; ownership inscriptions cut from head of front flyleaf and preliminary blank; leather label; text fine. $35
Seneka, Ein Trauerspiel, is included in the second volume.

 

108. [LAMBERT, Daniel.] A handbill announcing, “Exhibition. Mr. Lambert of Leicester, The heaviest Man that ever lived.” [London]: Nichols, [c. 1806]. 4 3/4” x 7 1/4”; margins presumably a bit trimmed; laid down, with scrapbook and mounting traces to verso. $300
Lambert is advertised as “weighing upwards of 50 stone.., more than 87 stone London weight.” He saw company at his Leicester Square apartments for a one-shilling fee.

 

109. [LANGTRY, Lillie.] A chromolithographed trade card depicting “Mrs. Langtry, The Jersey Lily.” New York: Burrow-Giles, [c. 1882]. Advertising text to verso, somewhat obscured by an old adhesive mark. $15
A card for Brown’s Iron Bitters showing Langtry as Hester Grazebrook in Taylor’s An Unequal Match, issued about the time of her American debut.

 

110. [LAWRENCE, James.] DRAMATIC EMANCIPATION, or Strictures on the State of the Theatres, And the Consequent Degeneration of the Drama; On the Partiality and Injustice of the London Managers; On Many Theatrical Regulations; And On the Regulations on the Continent for the Security of Literary and Dramatic Property. Particularly Deserving the Attention of the Subscribers for a Third Theatre. [London: for the author], 1813. 8vo; disbound. $95
A pamphlet against the monopoly of the Patent Houses. The project of a theatre was much discussed between 1810 and 1813. A bill was introduced into Parliament, but the efforts of Samuel Whitbread saw it defeated. It also touches upon authors’ rights and dramatic property. §LAR 200.

 

111. [LEE, Thomas Lavater.] A lithographed portrait, “Mr. Lavater Lee, The Great Trampoline Leaper, Still Vaulter, Rider & Herculean Wonder in His Feats of Strength.” [London]: Wrench, [1862 (?)]. 9 1/4” x 10 1/4”; trimmed unevenly along margins; some dusting and creasing. $300
A rare portrait showing the circus star full length, standing, in costume, arms out at his sides. Behind him in the ring are a succession of weights. Two vignette illustrations, left and right at the head, show him lifting weights (in his hands and mouth) and in a trick equestrian feat. A member of one of the most notable of 19th-century circus families, born in Valparaiso, Chile, he made his first appearance at the age of four. During the middle years of the century he was associated with numerous leading circuses and performed on five continents.

 

112. [LEVERD, Jeanne.] A hand-colored, lithographed portrait, “Melle. Leverd, Artiste Sociétaire du Théâtre Français, Rôle de Célimène dans le Misanthrope.” Paris: Noel et Cie, [c. 1825]. 10 1/2” x 15 1/2”; original hand coloring; light foxing and marginal smudging. $50
A full-length portrait of the actress, seated, a fan clasped in her left hand.

 

113. [LISTON, John.] An aquatint portrait, “Mr. Liston in the Character of Lubin Log in Love, Law & Physic.” London: Thomas McLean, 1826. 6 3/4” x 11 1/2”; margins trimmed; colored by hand; window mounted to later album leaf. $95
A whole-length portrait of the actor in character. He stands, looking to the right, hands in trouser pockets. Quotation at the foot. With fine hand coloring.

 

114. [LISTON, John.] A playbill for Liston in Planche’s The Legion of Honour, 14 June, 1831. Pale-blue stock; stitching holes to outermost left margin. $15
Liston was also seen in The Illustrious Stranger and Turning the Tables.

 

115. [LISTON, John.] A Covent Garden playbill for Liston as Karl in Pocock’s The Miller and His Men, London, 4 December, 1813. Very good. $20
The first piece on the bill was Sheridan’s The Duenna with Blanchard and Faucit.

 

116. [LISTON, John.] A one-page autograph letter, signed, to William Macready. Bath: 27 March, 1822. 4to; bifolum; in fair condition, on lightly aged and worn paper; seal cut away from second leaf; bold signature. $100
Liston addresses the actor-manager Macready at the Theatre Royal, Bristol, stating, in part, “he has received a negative to [his] application for further leave of absence from Covent Garden” and thus must postpone his visit to Bristol. In a postscript he gives his London address. Macready’s entry in the DNB states “His years in Bristol -- with less successful forays to Bath -- brought him the respectability and relative prosperity which, Micawber-like, he had always expected to turn up.”

 

117. [MACKLIN, Maria.] A line-engraved portrait, “Miss Macklin in the Character of Helena.” [London]: Bell, 1775. 4 1/4” x 7 1/4”, plus narrow margins; a bit of foxing and toning. $10
A full-length portrait of the actress in a revival of All’s Well That Ends Well (Drury Lane, 1756). She is shown full-length, standing to her right, one arm extended, in gown and hair set in long curls.

 

118. [MAGIC LANTERNS.] A trade catalogue, “C. Blunt, Optician & Mathematical Instrument Maker.” [London: n. p., 1813.] Minor fraying to gutter from removal; minimal foxing. $150
A four-page catalogue consisting of an announcement of Blunt’s move to Covent Garden; a “List of new and improved Mathematical, Philosophical, and Optical Instruments” (with descriptions of a Camera Obscura and several magic lanterns and Phantasmagorias); a featured advertisement for the “Improved Magic Lantern”; a “List of new and original Subjects, Arranged, designed, painted, and published.... for the Improved Magic Lantern” (with price list); and a prospectus for A Descriptive Essay on the Instrumental Vulgarly Termed the Magic Lantern, with Many Plates and Wood-Cuts.

 

119. [MALIBRAN, Maria and Edmund KEAN.] A Drury Lane playbill for Malibran and Kean both appearing for Farren’s benefit night, 17 May, 1830. Modest creasing and offsetting. $100
This was the “first and only appearance this season” for Malibran, singing “Di tanti palpiti” and “Una voce poco fa.” Kean played Mortimer in Colman’s The Iron Chest, joined in the cast by Farren, Wallack, Vestris, and Faucit.

 

120. [MARGOLIN, S.] [PERVY RABOCHI TEATR MOSKOVSKOGO OBLATASTNOGO PROLETKULTA.] [Moscow: Teakinopechat], 1930. Small 8vo; two-color decorative wrappers; 14 plates. $375
A rare early Soviet title outlining the theory and development of the First Theatre of Proletarian Culture, Moscow District. Organized in 1922 and managed by Sergei Eisenstein, the theatre’s objective was to radically transform the stage for a new society of workers. This was to be expressed in travesty, acrobatics, pantomime, and clowning. The theory was the circus was older and closer to the masses than theatre. With 14 plates illustrating staged works.

 

121. [MATHEWS, Charles.] An engraving, “Mr. Mathews Studying four of his most celebrated Characters.” London: Bentley, 1838. 5 1/2” x 7 1/4”; duplicate stamps to foot of verso. $20
Mathews sits at the right, looking at four full-length sketches of himself as Fond Barney, Wiggin, a drunken ostler, and an idiot. From the Garrick Club painting.

 

122. [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.

 

123. [MCCOY, Millie-Christine.] A complete issue of “Le Trombiniscope” devoted to Millie-Christine. [Paris: F. Debons], November 1873. 4to; engraved decorative title and caricature to front; signs of removal from a bound volume to left edge. $175
A four-page biography of the young African-American conjoined twins by “Touchetout,” headed by a caricature by G. Lefosse. They provoked much discussion when first exhibited in Paris (1873).

 

124. [MENAGERIE.] An illustrated handbill for the exhibition of a traveling menagerie in Moscow, March 11, 1834. 9 1/4” x 5 1/2” (including very wide margins); two wood-engraved vignette illustrations; fine. $400
An unusual handbill, with a brief description of the attractions and a pair of wood-engraved illustrations -- a snake swallowing a rabbit and a crocodile ingesting a large fish.

 

125. 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.

 

126. [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.

 

127. [MURPHY, Arthur.] THE WAY TO KEEP HIM. London: for P. Vaillant, 1760. First Edition. Disbound; engraved frontispiece; contemporary owner’s name to title-page. $50
An afterpiece which featured the performances of Garrick, Macklin, and Clive. “Genteelly comic -- a dramatization of Pope’s society poems (Bevis).” The frontispiece portrays Garrick in a scene from the piece.

 

128. [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.

 

129. [OSBALDISTON, David.] A juvenile drama portrait of Osbaldiston as Hofer in Fitzball’s Hofer, the Tell of the Tyrol. London: A. Park, 1837. Colored by hand; bright. $60
Osbaldiston stands, legs apart, arms upraised, a fusil grasped in his left hand. A mountainous vista as background. Fitzball’s operatic drama (with music arranged from Rossini’s Guillaume Tell) was first performed at the Surrey in 1831. Not in the Harvard Catalogue.

 

130. [PALMYRE, (?).] A hand-colored lithograph portrait, “Mme. Levesque... Rôle de Milady Adermale dans le Remords.” Paris: Noel, [c. 1825]. 10 1/2” x 15 1/2”; colored by hand; very light foxing and offsetting. $40
The Ambigu-Comique actress is depicted full length, standing, in a feathered headdress and a gown with a train.

 

131. [PANTOMIME.] A group of three Drury Lane playbills for pantomimes, London, 1813 and 1814. Minor dusting; else very good. $50
The three Christmas pantomimes are: Valley of Diamonds, or, Harlequin Sinbad; Harlequin and Humpo and Harlequin Harper, or, A Jump from Japon. Amongst the performers are Kirby, Barnes, and Neylerini.

 

132. [PANTOMIME.] A Drury Lane playbill for Davy Jones; or, Harlequin and Mother Carey’s Chickens, London, 20 January, 1831. Very good. $20
The new Christmas pantomime was invented and produced by Barrymore with music composed by Hughes.

 

133. PEMBERTON, T. Edgar. ELLEN TERRY AND HER SISTERS. With Twenty-Five Illustrations. London: C. Arthur Pearson, 1902. First Edition. Red cloth; corners bumped; extremities scuffed; frontisportrait and plates; t. e. g. $35
An account of the theatrical careers of the Terry sisters: Ellen, Kate, Marion, and Florence. It also encompasses many sidelights on their acting partners and stage history.

 

134. [PHELPS, Samuel.] A large-paper, proof-sheet juvenile drama portrait of "Mr. Phelps as Brutus, Sadlers Wells Theatre." London: C. Morrish, [c. 1840]. 8 1/2" x 11 1/2", plus extra-wide margins; unassociated stenciling to blank verso; near fine. $150
A fine proof-sheet portrait of Phelps to large paper by an obscure publisher of the juvenile drama. Unusual.

 

135. [PIDCOCK’S MENAGERIE.] A copper farthing token for Pidcock’s Zoological Exhibition. [London]:1801. 7/8” diameter; plain edge; fine.$175
Arguably the least-common Pidcock’s token, listed by Dalton & Hamer as “Scarce.” The obverse has a lion cradling a dog, with the legend: “PIDCOCK’ EXTER CHANGE LONDON” and the reverse a beaver, with the legend: “THE BEAVER 1801” Pidcock was proprietor of the Exter Change Menagerie and an importer of exotic animals. The lion should be a lioness -- Pidcock’s lioness lost her cub and was given a puppy to rear and suckle in place of her own offspring. These trade tokens advertising the menagerie also passed for small change in circulation. An interesting token in nice collectable condition.

 

136. PLANARD, [Eugène]. LE MARI DE CIRCONSTANCE, Opera-Comique…. Paris: Masson, 1813. First Edition. Disbound; dust soiling to edges; overall very good. $35
A one-act comic opera, with music by C. H. Plantade, which premiered at the Théâtre Impérial de l’Opera-Comique in March 1813. The cast list is printed.

 

137. POCCI, Franz. KASPERL IST ÜBERALL. Ein Schattenspiel. Munich: Georg Callwen, [1911]. Decorative red wrappers; stapled; vignette illustration to text. $35
The playscript of a one-act shadow-puppet piece by the well-loved 19th century puppeteer and author of children’s stories. It is illustrated with eight silhouettes.

 

138. POLUNIN, Vladimir. THE CONTINENTAL METHOD OF SCENE PAINTING. London: Dance Books, 1980. 4to; publisher’s cloth; pictorial dustwrapper; frontispiece and plates. $15
A reprint of the 1927 edition (edited by Cyril Beaumont). It is “both anecdotal and technical, including a practical discussion of the technique of painting on the floor (Stoddart),” as well as remarks on his 15 years of experience designing for the Ballet Russes, the Chauve Souris, and other companies. Illustrated by designs, diagrams, and models of sets.

 

139. [POWER, Tyrone.] A Covent Garden playbill for Power in the name role of Rodwell’s Teddy the Tiller, 5 June, 1830. Pale blue stock. $30
The evening’s bill opened with Rossini’s opera Cinderella.

 

140. [PROLOGUES.] A COLLECTION AND SELECTION OF ENGLISH PROLOGUES AND EPILOGUES, Commencing with Shakespeare, and Concluding with Garrick. London: for Fielding and Walker, 1779. 2 vols. (of 6). 8vo; early boards, very worn; spines perished; one line excised from each title-page; untrimmed. $35
Volumes I and III of the set. The first encompasses prologues from Shakespeare to Southerne, the third prologues from Dennis to Garrick. §Jaggard, p. 526.

 

141. [PUPPETRY.] A hand-colored lithograph, “Gioco di Burattini,” after G. Dura. [Naples]: Gatti e Dura, [c. 1840]. 9 1/4” x 7 1/2”; a bit of dusting; two full-page creases; colors very good. $65
A well-colored image showing a crowd of Neapolitans standing before a boulevard puppet booth, the figures of Polichinella and one other hand puppet in performance.

 

142. [QUINAULT, Philippe.] PERSÉE, Tragedie. Anvers: Henry van Dunwaldt, 1685. 12mo; disbound; light dampstaining to gutter of several leaves. $85
The libretto to Quinault’s five-act tragic opera, music by Lully, first performed in April 1682.

 

143. [RANELAGH GARDENS.] A hand-colored vue d’optique engraving, “A View of the Canal Chinese Building, Rotunde in Ranelagh Gardens, with Masquerade, &c.” Paris: n. d., [c. 1770]. 17” x 10”, plus margins; original color, bright; pinholes to margins; early holograph title to upper margin. $175
This handsome and brightly hand-colored print was intended to be used with a boîte d’optique. It depicts various masquerade revelers around the Chinese building (the Rotunda in the background) at the London pleasure gardens.

 

144. REYNOLDS, Frederick. THE BLIND BARGAIN: or, Hear It Out; A Comedy.... London: for Longman, Hurst, Rees, and Orme, 1805. First Edition. Disbound; title-page embrowned and stained; scattered foxing to text. $20
Kemble, Fawcett, and Emery were in the cast for the play’s premiere at Covent Garden in September 1804.

 

145. [ROSSINI, Giocchino.] A Covent Garden playbill for Rossini’s Cinderella, 4 May, 1830. Pale blue stock. $25
The cast included Paton, Keeley, Cause, and Hughes. The second piece was the premiere of the anonymous farce The Colonel (with Diddear and Foote). The notices include ones for Fanny Kemble.

 

146. [RYLEY, Samuel W.] A one-page letter to Ryley, presumably from James Winston, unsigned. [London]: 19 March, 1818. to leaf; original folds. $50
The correspondent writes on behalf of a theatrical board, regretfully declining “any further assistance to Dramatic entertaining at other Theatres in London,” but giving him the liberty to ask for support from theatres 20 or 30 miles away from the capital. Ryley was the author of the extraordinary autobiographical novel, The Itinerant, based on his experiences as a strolling player.

 

147. [SAINT-PRIX, Jean-Amable.] An autograph testimonial by Saint-Prix, recommending Mons. Dubois, signed by Saint-Prix and Antoine Granger. Paris: 1822. Original folds (to quarters); slight dusting. $60
Saint-Prix and Granger sign as professors at l’Ecole Royale de Déclamation.

 

148. [SALA, George Augustus.] MADAME TUSSAUD’S EXHIBITION CATALOGUE. [London: n. p., c. 1918.] Pictorial wrappers, a trifle worn and soiled; stapled. $20
A 40-page guide to Tussaud’s waxworks with descriptions of more than 300 figures, tableaux, and displays.

 

149. SARDOU, Victorien. LA SORCIÉRE (The Sorceress). The Story in English and French by Charles Alfred Byrne. New York: F. Rullman, 1905. Printed wrappers; stapled; moderate wear to covers; closed tear to one leaf. $10
A dual-language synopsis of the drama “as represented by Mme. Sarah Bernhardt and company.”

 

150. SCHELLING, Felix E. ELZABETHAN DRAMA 1558-1642. A History of the Drama in England from the Accession of Queen Elizabeth to the closing of the theatres, to which is prefixed a Résumé of the Earlier Drama from its Beginnings. Boston and New York: Houghton Mifflin, 1908. 2 vols. Publisher’s cloth; very minor fraying to head of each spine; else very good. t. e. g. $50
A principal history which traces the development of dramatic types and classifies a great number of dramas according to type, to the place of each in relationship to other dramas, and to the general trend of the period.

 

151. SHAKESPEARE, [William]. SHAKESPEARE’S PLAY OF KING HENRY THE FIFTH, Arranged for Representation at the Princess’s Theatre, With Historical and Explanatory Notes, By Charles Kean. London: Chapman and Co., n. d. [c. 1859]. Original printed tan wrappers, slightly dusted. $40
This version was first performed on 28 March, 1859 with Charles Kean and Kate Terry amongst the cast. §Jaggard, p. 338.

 

152. [SHERIDAN, Richard Brinsley.] THE PLAYS AND POEMS OF RICHARD BRINSLEY SHERIDAN. Edited with Introductions, Appendices and Bibliographies by R. Crompton Rhodes. New York: Macmillan, 1929. 3 vols. Royal 8vo; cloth; minor fraying to extremities; paper labels; internally very good. $85
The most authoritative edition with variorum text, critical introductions, appendices, extensive bibliographies, etc. This edition also includes the previously uncollected Poems.

 

153. [SHERIDAN, Richard Brinsley.] The sheet music, “Had I A Heart.” New York: Wm. Dubois, [c. 1818]. Large 4to; two pages of engraved music and text; marks of removal to gutter; mild foxing; early music seller’s stamp to head at first page. $30
An early American printing of the song from Sheridan’s Duenna (music by Linley) “as sung by Mr. Phillips.”

 

154. [STRATTON, Charles and Livinia W.] A carte-de-visite photograph, “General Tom Thumb and Wife.” New York: Anthony, [c. 1880]. Minor wear to mount corners; near fine; inscribed to the verso. $45
A studio portrait of the pair, standing. The reverse is inscribed: “Compliments of Charles S. Stratton Lavinia Warren Stratton.”

 

155. [TAILLADE, Paul-Félix.] A complete issue of “Le Trombinoscope” devoted to Taillade. [Paris: F. Debons, 1874.] 4to; engraved decorative-banner title and caricature to front; three stitching holes to left margin; a hint of foxing and dusting. $45
The entirety of this four-page satirical periodical is given over to an account of Taillade. The first page is illustrated with a caricature of the actor.

 

156. [THEATRICAL LEGISLATION.] A printed Lord Chamberlain’s license completed in manuscript and signed. [London]: n. p., 1849. Folio; coat-of-arms at head; holograph additions; early folds; docketed to reverse. $75
A license for a “manuscript entitled Touch Not the Queen, being an opera in Three Acts,” made out to the manager of the Grecian Saloon and signed by Earl Breadalbane Lord Chamberlain. The opera was an adaptation of Scribe’s Ne Touches pas à la Reine. It seems it was not produced until February 1853, but was seen at the Grecian.

 

157. [THEATRICAL NOTICES.] Three lengthy theatrical notices in a complete edition of London’s Morning Advertiser, 4 September, 1799. 4pp; light toning; creased to quarters; some fraying to edges; red revenue stamp to first corner. $30
The notices are for Sighs, a musical pasticcio (Tars at Torbay), and The Castle of Sorrento at the Haymarket; galas, music, fireworks, and other amusements at Vauxhall Gardens; and at Astley’s Amphitheatre a “nautical divertissement,” Atkins the ventriloquist, and a pantomime.

 

158. [THEATRICAL SATIRE.] A handbill headed “Theatre Royal, Southampton,” [1863]. 7 1/2” x 9 3/4”; creased to eighths; laid down to an early album leaf; margins trimmed, unevenly and very close to text. $100
A satirical appeal to the “Mobility, “Gent”ry, and Inhabitants of Southampton... that however ridiculous the performance of any pathetic Pieces, such as Hamlet, Richelieu, etc. laughing will, on no account, be tolerated, and any Gentleman so offending, even though endeavoring to perform the charitable act of diverting the attention of the evidence from any too ridiculous port will be remonstrated with...” It later states “respectable tradesmen in the town” will check demonstrations of bad taste and “deprive the animals of their innocent amusement.” Printed in a surfeit of typefaces.

 

159. VAN AMBURGH’S CIRCUS.] A color pictorial trade card of “Quedah, Only Living Specimen of the Supposed Extinct Mammoth” to be seen with the Van Amburgh, Chas. Reiche & Bros. Railroad Shows, [c. 1885]. 6” x 3 1/2”; chromolithographed illustration to recto; text to verso; one mounting trace, touching a very few letters of text, to printed verso. $95
The illustration shows that capture of the so-called mammoth and baby in the Malay mountains. The texts provides details of Quedah, “the rarest of all rarities” exhibited with the “American and Japanese Circus, Museum, Aquarium and Menagerie.”

 

160. VAN DER HORST, Adrien. ORLANDO FURIOSO. Tragédie Burlesqué de Chevaliers, de Megiciens, de Dragons, de Brigands, de Diables et de Damoyselles pour les Marionnettes. Adaptation Françoise de Paul Jeanne. Illustrations d’Adrien Van der Horst. Paris: Très Illustre Compaigne des Petits Comédiens de Bois, 1929. Original orange pictorial wrappers; printed to heavy stock and in sepia throughout; illustrated. $90
1/152 copies only, this one of 10 copies on “papier blanc Ingres d’Arches” and out of series. The introductory essay is on Amsterdam’s puppet theatre DeKangeroe. Scarce, we have encountered only one other play from this series.

 

161. [VESTRIS, Lucia.] A playbill for the first night of Jerrold’s Hearts and Diamonds, with Vestris as Phoebe Lebanon, at the Olympic Theatre, 23 February, 1835. A bit of fraying to edges; minor creasing. $35
Vestris also appeared in the burletta Why Don’t She Marry? Liston was seen in Hearts and Diamonds and Name the Winner.

 

162. WEWITZER, Robert. A THEATRICAL POCKET BOOK, or Brief Dramatic Chronology, From the Earliest Periods of History: With a List of British Dramatists, And of Actors, &c. On the London Stage, From the introduction of Theatrical Entertainments into England. London: for the Editor, 1814. First Edition. 12mo; original blue boards; re-spined; rubbing to extremities; moderate foxing; untrimmed. $125
Wewitzer was himself an actor (called by George Colman “the best representative of comic Jews and foreigners that ever was or will be”). His book was largely based on word-of-mouth information (Wewitzer supposedly asked his favorites “What character would you like to have named as your first?”). A scarce title, in original condition. §LAR 45.

 

163. WHITEHEAD, W[illiam]. THE ROMAN FATHER, A Tragedy. The Second Edition. London: for R. Dodsley and M. Cooper, 1750. Disbound; lacking half-title. $30
The Poet Laureate’s tragedy owes much to Corneille’s Horace. It premiered, with Garrick as Horatius, at Drury Lane in February 1750.

 

164. [WILD WEST.] A brass advertising token for the Wild West spectacle The Frontier Queen,[c. 1910]. Just under 1” diameter; very good tone. $70
An English token, the obverse reads, “Chas. H. Lester as Galloping Dick Novel Torture Scene by Indians” enclosed within “The Frontier Queen. Tortured by Vitriol.” ; the reverse, “Indians-Cowboys. See the Splendid Cowboy Band.”

 

INDEX 

Acrobats & Equilibrists: 1, 9, 30, 36, 37, 48, 63, 64, 65, 77, 111, 128.

Animal Acts & Menageries: 30, 36, 39, 49, 70, 97, 101, 124, 128, 135, 159.

Autographs & Manuscripts: 15, 35, 50, 56, 62, 116, 146, 147.

Caricature & Satire: 80, 83, 123, 126, 155, 158.

Conjuring & Allied Arts: 7, 19, 48, 60, 77, 84, 125, 157.

Dance: 3, 9, 19, 32, 36, 41, 42, 45, 48, 75, 138.

Dioramas & Panoramas: 12, 49, 60.

Early American Stage & Performers: 30, 66, 71, 81, 126, 153.

Equestrian & Canine Drama: 9, 10, 29, 32, 49, 99, 111, 128, 157.

Exhibitions: 12, 19, 49, 65, 70, 108, 111, 123.

Fairgrounds: 65, 124.

Human Anomalies: 108, 123, 154.

Juvenile Drama: 16, 46, 96, 98, 99, 100, 101, 134.

Music: 14, 51, 69, 81, 87, 105, 126, 153.

Opera: 15, 42, 51, 69, 73, 76, 94, 136, 139, 142, 145, 156.

Pantomime: 64, 68, 79, 80, 120, 131, 132, 162.

Pleasure Gardens: 49, 50, 143, 157.

Puppetry & Shadowgraphy: 17, 61, 105, 137, 141, 160.

Shakespeariana: 5, 40, 49, 54, 82, 83, 91, 94, 117, 122, 140, 150, 15, 162.

Singers: 14, 15, 24, 58, 50, 51, 54, 56, 60, 64, 73, 81, 119.

Stage Design: 3, 4, 31, 44, 78, 100, 138.

Tokens: 10, 49, 55, 74, 135, 164.

Waxworks: 60, 148.