Catalogue 121

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1. [ACROBATS AND EQUILIBRISTS.] A Drury Lane playbill announcing “Gymnastic Exercises” in the pantomime Harlequin, Jack of All Trades, 26 January, 1825. Very good. $55
This Boxing Day performance featured “Il Diavolo Antonio on the corde volante; Signor, Signora, and Signorina Valenti, the Venetian Equilibrists; Monsieur and Madame Robert, the French Jugglers; and Mr. Pack, the English Posture Master.” The pantomime also incorporated “a panoramic display, entitled Naymetabolia, comprising the adventures of a ship at war.”

2. [ADAM, Adolphe.] A Covent Garden playbill for Farley and Adam’s His First Campaign, 5 October, 1832. Pale blue stock; minor dusting and wear at head. $25
The third night of the military spectacle founded on an incident in the early life of John Churchill, Duke of Marlborough, composed during Adam’s political exile in London. The evening’s bill opened with Rossini’s opera Cinderella.

3. [AERIALISTS AND ACROBATS.] A broadside bill for the McKendree Athletes, Lebanon [Illinois], 3 June, 1869. 6 1/4” x 18”; horizontal folds; location in blue pencil at foot. $150
The entertainment featured a dumb-bell act, a pantomime, a double-trapeze performance, a juvenile trapeze act, tumbling and horizontal-bar acrobatics, “finale and grand finale drops, [and] the newest and most fearful sensation, The Flying Man of the Air; or, Ratcliff in his Aerial Leap.”

4. [ALLEN, Maude.] An illustrated souvenir for Adams at the Teck Theatre, Buffalo, from 2 November, 1916. 7” x 10 1/2”; halftone portrait to front and eight halftone vignette portraits to text; central horizontal fold; a bit of wrinkling. $40
A four-page souvenir for Allen’s ill-fated second American tour, under her own management, with Ernest Bloch conducting her 40-piece symphony orchestra. The bulk of the text is an essay (about 1,500 words) entitled “Maud Allen and Her Art.” With eight images of the dancer.

5. [ANONYMOUS.] FUN UPON FUN; or The Humours of the Fair, Giving a Description of the Curious Amusements in Early Life: Also An Account of a Mountebank Doctor and His Merry Andrew. Glasgow: J. Lumsden & Son, n. d. [c. 1820]. 24mo; original publisher’s plain gray wrappers; manuscript title in ink to upper cover; eight engraved plates (printed in sanguine) five with double illustrations, on one side of leaf only; title-page and final leaf pasted to inside of wrappers; oval woodcut vignette to title-page; wood-engraved vignette illustrations to text; t.e.g.; internally clean and crisp; a fine copy. $450
A pleasant Lumsden chapbook relating numerous pleasures of a fair, with illustrations of Merry Andrew, Mr. Punch, Wheel of Fortune, Mountebank Doctor, [a Harlequin] Assembling the People, and two amusement rides. The oval woodcut on the title-page varies, in this instance a harnessed horse is depicted. The illustrations have been attributed to Thomas Bewick, they certainly show his influence, and have conceivably originated in his workshop. §Roscoe 72. Toole-Stott 298. Toole-Stott (Conjuring) 306.

6. [No Item]

7. [BARNUM, Phineus T.] A die-cut, chromolithographed scrap, “P. T. Barnum,” [c. 1885]. 4 1/4” x 4 1/4’’ fine and bright. $40
This fine scrap consists of a central bust portrait in an oval, draped either side by the flags of the U. S. and Canada held up by a spread-wing eagle.

8. [BARNUM, Phineus T.] An engraved complimentary ticket for “Barnum’s New and Greatest Show on Earth, Season of 1879.” 6 1/8” x 3 5/8”; engraved both recto and verso; portrait to recto; signed by Barnum and completed in another hand; very good. $350
The left of the recto is taken up with a bust portrait of Barnum, admits Mr. Dickson and Lady “good only for 1879,” and is signed by Barnum to the lower right. The text to the verso announces the opening in New York on 12 April, lists seven Connecticut stops in May, and states the ticket may be retained as a souvenir, but must be punched at the ticket office. This ticket is unpunched.

9. [BARNUM AND BAILEY CIRCUS.] OFFICIAL PROGRAMME OF THE PARADE, BARNUM & BAILEY GREATEST SHOW ON EARTH. [London: n. p., 1899 (?).] Oblong small 12mo album; color-printed self wrappers; two leaves of text and nine blue-halftone illustrations folded concertina style; gentle vertical crease; foxing to head of a few pages. $100
A penny souvenir of a British tour of the Barnum and Bailey Circus, featuring nine blue-halftone images (after photographs) of the circus parade.

10. [BARTHOLOMEW FAIR.] An ink-and-watercolor illustration, titled in pencil, “The Humours of Bartholomew Fair,” [c. 1800 (?)]. 8 1/4” x 6 3/4”; laid to early album paper; colors bright. $325
A charmingly naive depiction of the “humours” and debaucheries of Bartholomew Fair at the tail-end of the 18th century (later suppressed on account of public disorder). Amongst the distractions are a costumed monkey pulling the ears of a camel, a showman with a dancing bear, three costumed dancing dogs surrounding a hurdy-gurdy player, mischievous youths throwing a cat (balloons or fans tied to its paws) from an upper-story window, and a further showman with his performing birds (one of which lets off a miniature cannon into the legs of a pedestrian). One building is marked “Pye Corner”, one edge of the destruction of the Great Fire of London.

11. [BAYLY, Thomas Haynes.] A three-page autograph letter, signed, from Bayly to I. Lodge. Boulogne sur Mer: 14 October, 1833. 4to; thin stock; closed tear to fore-edge of first leaf; original folds. $65
Bayly answers a request by Lodge for help in writing an opera and discusses some of his recent work for the stage.

12. [BELLAMY, Claxson and H. PAULTON.] A pair of broadsides, “Erminie Gas & Light Plot” and “Erminie Stage Carpenters Plot,” [c. 1888]. 10” x 15”; a bit of creasing; marginal wear; minor foxing. $50
Unusual backstage plots for Bellamy and Paulton_s comic opera, presumably for a traveling production. Ermine was first produced at the Birmingham Grand in October 1885 (and two weeks later in London at the Comedy).

13. BELLAMY, George Anne. AN APOLOGY FOR THE LIFE OF GEORGE ANNE BELLAMY. Late of Covent Garden Theatre. Written by Herself. To which is annexed, Her Original Letter to John Calcraft, Esq.; advertised to be published in October 1767, but which was then violently suppressed. The Third Edition. London: for the Author, 1785. 5 vols. 12mo; uniformly bound in modern boards; paper labels; half-title of first volume frayed at edges and laid down; pages completely untrimmed, causing minor fraying to a few corners; dusting to some fore-edges, else contents clean and fresh. $225
Bellamy was one of the more popular actresses of the mid-18th century, performing mainly in tragic roles. She was a great beauty and for a time the darling of society, becoming involved in numerous affairs. Her fortunes and career declined with her looks and by 1785 she was in very reduced circumstances and a decayed mental state. This memoir was produced, with the assistance of Alexander Bicknell, as an attempt to raise funds. §LAR 2435.

14. [BERNHARDT, Sarah.] A holograph sentiment, signed, and dated (1900). To an autograph album leaf, very good. $95
A fine bold autograph.

15. [BERNHARDT, Sarah.] A pair of chromolithographed portraits, “Mme. Sarah-Bernhardt dans La Tosca, Rôle de Floria Tosca.” Paris: Martinet, [c. 1890]. 8” x 12”; margins trimmed; one lower corner creased. $65
Bernhardt is shown full length, standing, in costumes from the first and second acts of Sardou’s drama (Théâtre de la Porte Saint-Martin, 1887).

16. BORDAT, Denis and Francis BOUCROT. LES THEATRES D’OMBRES. Histoire et Techniques. Paris: L_Arche, 1956. Stiff pictorial wrappers; spine faded; profusely illustrated. $20
This remains a standard text, covering several forms of shadow theatre. It includes samples of dialogue, histories, and more than 100 illustrations.

17. [BULLOCK’S MUSEUM.] An etched satire, “A Scene at the London Museum Piccadilly, or, A Peep at the Spoils of Ambition, taken at the Battle of Waterloo -- ... A Swarm of English Bees hiving in the Imperial Carriage!! -- Who would have thought it!!!” London: H. Humphrey, 1816. 14 1/2” x 10 1/2”, plus margins; short tears to margins, only one touching inside platemark and most reinforced with archival tape to reverse; two small points of light foxing; mounting traces to verso corners; image very good. $250
A George Cruikshank caricature. An interior scene at Bullock’s Museum with crowds of incredulous visitors swarming over the principal exhibit of Napoleon’s specially commissioned bulletproof carriage. Fashionably dressed trippers clamber in and out of it, while on the right William Bullock exhibits items of the Emperor’s personal baggage and clothing found in the carriage when captured. The carriage was taken to London as one of the spoils of war and subsequently purchased by Bullock, proprietor of Bullock’s Museum, Egyptian Hall. He put it on display where it drew huge crowds (realizing the enormous sum of £35,000). In 1843 the carriage was sold to Madame Tussaud’s for £168.

18. BURGOGYNE, [John]. RICHARD COEUR DE LION. An Historical Romance. Dublin: for William Jones, 1794. Disbound; untrimmed; light dampstain to head of a few leaves. $35
A melodrama, taken from the play of Sedaine, featured music by Grétry adapted by Thomas Linley. It premiered at Drury Lane in October 1786.

19. [BURNABY, William.] THE LADIES VISITING-DAY. A Comedy. With the Addition of a New Scene. London: for Peter Buck and Geo. Strahan,1701. First Edition. Small 4to; disbound; trimmed close affecting a few letters of title-page, some catchwords, and occasionally the last line at the foot of a page. $200
Classed by Nicoll as part of a movement towards so-called genteel comedy which flourished in the first years of the 18th century. Quite scarce.

20. [BURR, Charles C.] LECTURES OF LOLA MONTEZ (Countess of Landsfeld). Including Her Autobiography. New York: Rudd & Charleton, 1858. First American Edition. Decorative cloth; slight wear to extremities; engraved frontisportrait; one signature strained; contents very good. $150
The infamous Montez was Irish by birth, the daughter of a Scottish officer and a Creole mother, but she toured Europe as a genuine Spanish dancer. Her colorful career, incorporating political intrigue and sexual scandal, has ensured her a permanent, if rather eccentric, place in the history of dance. Besides the autobiographical chapters, this work contains Montez’s lectures on “Beautiful Women”, “Gallantry”, “Heroines of History”, “Comic Aspects of Love”, “Wits and Women of Paris”, and “Romanism.”

21. [BURR ROBBINS CIRCUS.] An illustrated trade card for the Burr Robbins American & German Allied Shows, [1883]. 4 1/2” x 3 1/4”; margins very slightly trimmed; chromolithographed illustration to recto; text to verso; mounting traces to verso, affecting a few letters of text; colors fairly bright. $65
The color illustration shows a pair of trapeze aerialists. The text heralds the attractions in the single ring, featuring the $30,000 hippopotamus.

22. [CHRISTY’S MINSTRELS.] The sheet music, “Hop De Dooden Do Polka,” Composed by Carl Müller. London: Davidson, [c. 1858]. Folio; removed; pictorial duotone lithographed cover; three pages of music. $75
A “popular song sung by the Christy Minstrels.” The cover shows a minstrel performer, full length, standing, holding a banjo downwards in his left hand.

23. CIBBER, C[olley]. THE LADY’S LECTURE, A Theatrical Dialogue, Between Sir Charles Easy and his Marriageable Daughter. Being an Attempt to engage Obedience by Fillial Liberty: And to give the Maiden Conduct of Virtue, Chearfulness. London: W. Lewis, 1748. First Edition. Disbound; lacking half-title; toning to title-page; publisher’s advertisements to verso of terminal leaf, stained; final three leaves loose, chipped at head of gutter (not affecting text), and dust soiled; edges of terminal leaf quite frayed, but excising no text; minor dusting to some leaves. $200
A little dialogue, dedicated to the adventuress Elizabeth Chudleigh (who Cibber met in the company of Samuel Richardson), on the subject of choosing a husband. “Reaching back to The Careless Husband, he revived the elegant and experienced Sir Charles Easy and gave him a clever nineteen-year-old daughter. If, as seems likely, it reflects Cibber’s views on the rearing of daughters, he was indeed a most unorthodox parent, for Miss has evidently been given a good deal of freedom and banters with her father as on equal (Koon).” Richardson thought it too “cheerful” and not at all respectful enough of parental authority. Quite scarce, OCLC lists two copies only.

24. CIBBER, Colley. A LETTER FROM MR. CIBBER TO MR. POPE, Inquiring into the Motives that might induce him in his Satyrical Works, to be so frequently fond of Mr. Cibber’s Name. The Third Edition. Glasgow: for W. MacPharson, [1742 (?)]. Disbound; lacking frontispiece; owner’s name and date (1815) in ink to head of half-title; dust soiling to half-title and terminal leaf; short, marginal tear to lower fore-edge of both half-title and title-page; brief marginalia to a few pages. $95
Cibber was the focus of a number of attacks by Pope (The Art of Sinking Poetry and The Dunciad were both barbed against Cibber and several slights appeared in periodicals) over the period 1718 to 1742. Cibber parlayed only once, and then meekly, in his Apology (1740). His coronation as the King of Dunces in The New Dunciad ultimately proved to be too much. Cibber retaliated with this pamphlet. He began in polite tones, but eventually made his way to what has been called “a deliciously vulgar story of how England’s greatest poet was saved from the clap.” The first Scottish edition, apparently the same year as the first publication. This copy carries the ownership inscription, dated 1815, of the stage historian John Genest and some of his notations and brief marginalia. §LAR 2575

25. [CIRCUS.] The sheet music to “Circus Day in Dixie,” lyric by Jack Yellen and music by Albert Gumble. New York and Detroit: Remick, 1915. Orange pictorial cover; four pages of printed music. $10
The cover depicts a large clown, vignettes of circus scenes, and the vocalist Blossom Seeley.

26. [CIRCUS.] The sheet music to “Prestissimo Galop” by Emile Waldteufel. London: Hapgood and Crew, [c. 1877]. Folio; removed; chromolithographed pictorial cover; five pages of music; early ink inscription to upper fore-corner of cover; overall near fine. $200
The handsome color cover incorporates an image of a trick equestrian vaulting through a paper hoop held up by a clown standing on the edge of a circus ring. The piece itself is one of the most famous pieces of dance music by the renowned (and popular) French composer and conductor, Waldteufel.

27. [CIRCUS JUVENILE.] VISIT TO THE CIRCUS. New York: McLoughlin Bros., [c.1885]. 4to; chromolithographed stiff wrappers, pictorial front covers a bit frayed at spine; four tears, with minor loss, to fore-edge of rear cover; previous (juvenile) owner’s name erased from head of rear cover; backstrip stitched in black thread; chromolithographed pictorial pages throughout; contents leaves very good. $95
A juvenile in McLoughlin’s Circus Stories series, with fine chromolithographed illustrations of circus horses, trick equestrians, jugglers, and clowns. The text is in verse and made up of words no longer than two syllables – “Trick-Horses at Dinner,” “Tournament Entree,” “The Chinese Juggler,” and eleven other poems. “McLoughlin’s juveniles are always worth collecting and are becoming very scarce (Toole-Stott).”

28. [CLIFFORD’S SPANISH SERENADERS.] An illustrated program for Marie Clifford’s Spanish Serenaders at the Bow & Bromley Institute, London, from 26 December, [1891]. 4to; decorative covers; some overall toning. $35
The performances featured Clifford’s group of “novel instrumentalists... in magnificent Spanish costume” and Dr. Seaton “the well-known Crystal Palace illusionist, thought reader, and plate, dish, and pan manipulator.” The lithographed covers depict both acts.

29. [CODY’S WILD WEST] BUFFALO BILL’S WILD WEST AND CONGRESS OF ROUGH RIDERS OF THE WORLD. [Buffalo: Courier Litho.], 1898. Small 4to; die cut; stapled; chromolithographed pictorial wrappers; 1 1/2” torn from fore-edge of front cover; printed in color throughout; numerous halftone illustrations (also in color). $350
A program for Cody’s Wild West show in Indianapolis, 24 May, 1898. The unique shape is that of a buffalo head. It contains a series of brief articles and a number of illustrations. Amongst the featured performers are Cody, Orapeza, and Oakley. With the exception of the small edge-piece torn from the front cover, an absolutely splendid copy.

30. [COLLINS, Lottie.] The sheet music to “Ta-Ra-Ra-Boom-De-Ay, Lottie Collins’s Greatest Creation.” London: Charles Shepard & Co., [1892]. Folio; removed; chromolithographed pictorial cover; printed text to inner wrappers; three pages of music. $70
The favorite music hall song, “by Richard Morton, arranged by Angelo A. Asher, Sung Nightly by Miss Lottie Collins at the Gaiety Theatre.” The color cover depicts Collins singing and in her celebrated Kick Dance. Two versions of the lyrics are printed to the inner wrappers, the original English version and a “version for Gentlemen.” Press notices for Collins appear on the cover and inner rear wrapper.

31. [CONJURING/VENTRILOQUISM.] A copper token for the conjuror Professor King, 1875. 3/4” diameter; bright. $80
The obverse states: “Professor King is the Best Ventriloquist Living.” The obverse states: “King the Great Prestidigitateur and Modern Samson.”

32. [COOKE, George Frederick.] An etched portrait, “Mr. Cooke, From a Drawing in the possession of Thos. Harris Esq.” [London]: Dighton, 1800. 8 3/8” x 10 3/4”, plus full margins; colored by hand; light dusting, mostly to margins; tipped to later light card. $100
A handsome Dighton etching, with very good color, of Cooke. He is depicted full length, in the costume of Richard III, a truncheon grasped in his right hand.

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

34. [DEBACH, Laura and Christophe.] An illustrated broadside bill for the Cirque Olympique at the Tummelplatze, Prague, 25 January, 1835. 10 1/2” x 17”; large wood-engraved illustration at head; six minute stitching holes to (blank) left margin; minor creasing; overall near fine. $475
The program featured several scenarios incorporating trick equestrianism, most with a military theme. The DeBachs were the foremost Continental family of equestrians of the period. Mlle. DeBach’s performances were said to be phenomenal in their artistry – “this lady presented one of the most beautiful scenes of female courage, skill, and classic beauty ever witnessed (Dingess).” The large comic illustrations is of a bounding horse biting at the shoulder of a caricatured soldier.

35. [DEULIN, Nicola.] A tall broadside playbill announcing Deulin at the Adelphi Theatre, Edinburgh, 28 June, 1849. 7” x 17 1/2”; some gentle creases; original posting hole near head. $50
The clown and equilibrist Deulin is announced “for the first time, go[ing] through his extraordinary performaces on la corde tendue.”

36. [DREW, Frank.] The sheet music, “Pat Malloy.” New York: Wm. A. Pond, 1865. Folio; lithographed pictorial cover; three pages of music and text; stitching holes to gutters; upper cover loose; rather foxed and thumb soiled. $50
“Originally sung with Immense Success by Mr. Dan Bryant, in his inimitable Character of The Irish Emigrant, at Wallack’s Theatre. Words by Dion Boucicault.” The cover shows Drew, in character, seated on a trunk painted with “Pat. Malloy Irish Kilkenny.”

37. [DRURY LANE.] An unused complimentary ticket for Drury Lane, 1838. 4 3/4” x 2 1/2”; engraved text and coat-of-arms, printed in red; some light foxing; laid to light card. $95
A ticket to the boxes, printed in red, the blanks to be filled in.

38. DRYDEN, John. THE RIVAL LADIES. A Tragi-Comedy. London: for Henry Herringman, 1675. Small 4to; disbound; stain to foot of first signature; minor offsetting. $200
The third edition of Dryden’s first published play, but the second to be performed. With the important dedication to the Earl of Orrery in defense of “rhyme.” §Wing D2348. Macdonald 67c.

39. [EFROS, Avram.] [KAMERNY TEATR I EGO KUDUDOSHNIKI XX.] 1914-1934. [Moscow: All Russian Theatrical Society], 1934. Tall 4to; original dark-red cloth (with the anniversary device of the theatre stamped on front cover); lettered tan dustwrapper; decorative color-printed half-title; frontispiece; 195 black-and-white and color plates (from photographs and works of art); half-page tissue guards lettered in red opposite plates; other illustrations to text; very good; signed inscription to front flyleaf. $900
A major survey of the work of Tairoff and his Kamerny Theatre (founded in 1914). A 47-page illustrated essay by Efros is followed by the nearly 200 plates of actors, costumes, and stage designs. The designs are by Exter, Vesnin, Kusnetsov, the Shtenberg brothers, Soudekine, Lentulov, Gonchorova, and others. As such the designs represent the major trends of contemporary Russian art: Symbolism, Expressionism, Neo-Primitivism, Cubo-Futurism, and Constructivism. The plates are divided out by production, each of which is introduced by a half-page tissue guard giving the title, author, artist, and date.

40. [ELLISTON, Robert William.] A juvenile drama portrait, “Mr. Elliston as Don Felix in the Wonder.” London: Hodgson & Co., 1823. Trimmed to image; fine. $40
A whole-length portrait of Elliston standing, in costume, right arm extended out (half raised in gesture).

41. [ENGLERT, Karl.] JUGENDTHEATER. Illustrierte. Taschenbücher für die Jugend. Stuttgart: Union Deutsche Verlagsgesellschaft, n. d. [c. 1910]. 12mo; decorative purple light boards; light rubbing and soiling to covers; decorative endpapers; 63 illustrations; contents near fine. $80
A guidebook for performing (and constructing theatres and figures) with hand puppets, shadow puppets, shadowgraphs, “chromotropen,” magic lanterns, toy theatres, and hand shadows. Well illustrated.

42. [EQUESTRIAN DRAMA.] A double-page Drury Lane playbill for Dibdin’s Lodoiska, London, 30 March, 1824. Minor toning of edge; else very good. $35
The last night of the equestrianized musical romance, with a notice at the head announcing “each of the equestrian pieces... produced this season will be performed before Easter, being the last four nights of the engagement of the horses.” The other piece on the bill was The Merry Wives of Windsor. The second leaf, printed in red and black, announces music under the direction of Boscha and three Kean performances.

43. [EQUESTRIAN DRAMA.] A chromolithographed trade card for “The Great Sporting Drama,” A Run of Luck, at the Boston Theatre, [c. 1887]. 5 1/4” x 4”; illustration to front; printed text to reverse. $18
The chromolithographed front is of the scene of Daisy’s elopement in Pettit and Hariss’ spectacle. The text announces a “great racing scene with real thoroughbred running horses [six of them, and an] ... English hunting scene with real hounds.”

44. [EXETER CHANGE MENAGERIE.] An illustrated feature, “The Elephant as he laid dead at Exeter Change,” to a complete issue of The Every-Day Book, London, 9 March, [1826]. Small 8vo; disbound; signatures separating; text in double columns; three engraved illustrations. $120
Forty-four of the periodical’s 46 pages are devoted to Chunee the Indian elephant, the demise of the animal, “Visit to Mr. Cross--Proprietor of the Elephant,” and numerous accounts of elephant in general, just a week after the tragedy at the Exeter Change menagerie. With two half-page illustrations (the deceased Chunee observed by group of men and “the den of the elephant at Exeter Change”) by George Cruikshank.

45. [EYRE, Edmund John.] THE MAID OF NORMANDY; or, The Death of the Queen of France. A Tragedy.... As Performed at the Theatre Wolverhampton. London: T. N. Longman, 1794. First Edition. Disbound; light dusting to title-page and terminal leaf. $45
A four-act historical drama, featuring the characters of Charlotte Cordé and Marie Antoinette, as well as Marat and Robespierre, by the actor Eyre “of the theatres Worchester, Wolverhampton, and Shrewsbury.”

46. [FAIRGROUNDS.] A set of 25 different cigarette cards of fairground toy models, issued by Cope’s Kenilworth, [c. 1925]. Each measures 2 1/2” x 2 3/4”; printed in color; fine. $50
The toy models are designed to be cut out, folded, and tabbed to be free standing. Amongst the figures are a Punch and Judy booth, a carousel, performing donkeys, a Galanti show, an acrobat, the theatre, and the fat-lady’s tent.

47. [FAIRGROUNDS.] A construction sheet, “A Merry-Go-Round.” [Boston]: Sunday Post, 1905. 19 1/2” x 8 1/2”; chromolithographed to recto; one central vertical crease (away from images); very good. $45
A chromolithographed construction sheet to assemble a model of a tented merry-go-round. The pieces include the base (7 7/8” x 7 1/8”), a background with tent and numerous fairgoers; and nine tabbed figures of carousel buckets and animals (all but one ridden by children, the giraffe carries three Brownies).

48. [FARREN, William.] The sheet music, “The Old English Gentleman.” London: R. T. Purday, [1834]. Folio; removed; lithographed portrait and text to cover; two pages of music and text, plus a third page of text; some dusting and finger soiling; early reinforcement to spine and one portion of cover fore-edge; early ownership inscription to upper corner of cover. $50
An “old ballad sung by Mr. W. Farren in character, the music and words written by Charles H. Purday.” The text includes two alternative verses sung by Farren. The portrait to the cover shows Farren in character, standing, supporting himself on a cane held in one hand.

49. [FAUCIT, Harriet.] An oversized juvenile drama portrait, “Mrs. Faucit, As the Empress Elizabeth in The Exile.” London: J. Smart, 1821. 8 3/4” x 12”; colored by hand, bright. $175
One of the very few large portraits published by J. Smart, this example boasting superlative coloring . Faucit is depicted full length, standing on a decorative carpet before a cloak -- draped thrown and looking to the left. She is costumed in royal robes and holds emblems of state. Reynolds’ opera, The Exile, was first performed in 1808. Smart portraits are particularly well executed and as the firm published juvenile drama sheets for only one year they are scarce as well, these large portraits in particular as there may have been as few as four produced. Not in the Harvard catalogue.

50. [FAWCETT, John.] An illustrated song sheet, “Baron Donder-Dronk-Dickdorf and Miss Quoltz.” London: Laurie & Whittle, 1810. 9” x 10 1/2”; trimmed to platemark; illustration 8 1/2” x 6”; light toning; three short, closed tears to outer right edge; text in two columns at the foot. $100
“Sung by Mr. Fawcett, with unbounded Applause, in the popular Drama called The Free Knights, or The Edict of Charlemagne, written by J. F. Reynolds.” The Cruikshank caricature at the head shows a misshapen little man sitting atop a chimney-piece, held there by his strapping young wife, while a servant enters from the side carrying a tray. The lines of the song, referencing marriage, are in English verse with German refrains. Reynolds’ operatic drama was first played in February 1810, Fawcett being Christopher.

51. FIELDING, Henry. DON QUIXOTE IN ENGLAND. A Comedy. London: for J. Watts, 1754. Disbound; some cockling; signatures loosening; dusting and a bit of foxing; printed music to text. $80
The second printing only (the first being 1734) of one of Fielding’s best ballad operas, perhaps closer in spirit to his novels than any of his other plays. It includes 15 songs, among them “The Roast Beef of Old England” (salvaged from The Grub-Street Opera, with revisions) and “The Dusky Night Rides Down the Sky,” sometimes cited as the finest poem Fielding ever wrote. With printed music for each of the songs.

52. [FISKE, Minnie Madden.] An autograph sentiment, signed by Fiske. Toronto: n. d. [c. 1900]. One leaf; very good. $40
The American actress writes, to hotel stationery, “Be Kind to dumb animals, defend and protect them.” Included are a contemporary playbill for Fiske in Becky Sharp and Pillars of Society and a photographic postcard of the actress in costume.

53. FOOTE, Samuel. THE NABOB; A Comedy. London: for T. Cadell, 1778. Disbound; lacking half-title; minor stain near gutter of title-page; else very good; publisher’s advertisement to last page. $25
A “severe satire on the greater part of those gentlemen who acquired wealth in the East-Indies (Johnson).” The first authorized edition, preceded by a pirated one. It premiered at Foote’s theatre in the Haymarket in June 1772.

54. [FORREST, Edwin.] An autograph note, signed, from Forrest to Joseph Hedges. Philadelphia: 12 December, 1844. 4to leaf, folded; embossed initials to upper page; original folds; mounting traces and embrowning to verso of both pages. $120
A bold (with flourishes) signature to this note on Forrest’s embossed-monogram letterhead.

55. FORREST, Edwin. ORATION Delivered at the Democratic Republican Celebration of the Sixty-Second Anniversary of the Independence of the United States, in the City of New York, Fourth of July, 1838.... New York: J. W. Bell, 1838. First Edition. Disbound; some foxing. $45
The transcript of a patriotic speech given by the great American tragedian as principle speaker at the Democratic Party’s Fourth of July rally at the Broadway Tabernacle.

56. FOSTER, Stephen C. The sheet music to “Old Dog Tray.” New York: Firth, Pond & Co., [c. 1854]. 4to; removed; decorative cover; three pages of music; short, closed tear to one fore-edge; neatly repaired; minor thumb soiling to margins. $25
Foster’s Melodies. No. 21.

57. [FOX, George.] THE WONDERFUL ADVENTURES OF HUMPTY DUMPTY. Illustrated by Thos. Nast. New York: McLoughlin Bros., n. d. [c. 1875]. 4to; chromolithographed stiff wrappers, a bit marked and dusty; crease to lower fore-corner of upper cover; illustration to upper cover; backstrip perished; stitching loose; variable foxing and offsetting to text; 12 full-page chromolithographed plates; two line illustrations to text; with the exception of the final color plate, all printing to a single side of each leaf; unobtrusive wear to some margins. $250
The combined edition of the first and second parts of this anonymous work based on Fox’s popular pantomimes. The story is set out in verse and is accompanied by several illustrations by Nast based upon scenarios featuring Fox. Scarce and desirable.

58. FRÉJAVILLE, Gustave. AU MUSIC HALL. Paris: Editions du Monde Nouveau, 1923. Cloth; original pictorial upper wrapper bound in; frontisportrait and plates after photographs; previous owner’s ink stamp to front flyleaf; contents very good. $85
“A fine, concise history of every aspect of the French music-hall and circus (Toole-Stott).” The 16 chapters cover music hall, revues, operettas, vaudeville, pantomime, dance, cabaret, singers, acrobats, clowns, circuses, equestrian exhibitions, trained animals, fairs, and side shows. With several plates after photographs. Amongst Toole-Stott’s 100 Best Circus Books. §Toole-Stott 286.

59. [FRENCH, G.] A hand-colored and tinseled juvenile drama portrait, “Mr. G. French as Harlequin.” London: J. Redington, [c. 1865]. Approximately 7” x 9”; colored by hand; tinsel applied; cloth behind cutaways; colors and tinsel fairly bright; in an early gilt and grain-painted frame; a few points of knicking to extremities of frame; glazed; three (or more) small tinsel pieces loose. $325
A tinsel- and cloth-decorated portrait of the pantomime performer in costume and mask. He is shown full length, legs apart, one hand on his hat and the other holding a slapstick to his side. The tinseling and cloth behind the cutaways of the motley costume are fairly elaborate.

60. [FRENZ, Louis.] An etched portrait, “The French Giant.” [London: n. p., c.1822.] 9" x 11 1/4"; margins trimmed; light staining and paper toning. $325
A very rare portrait of the French Giant, Louis Frenz, who seeking his fortune in Britain, exhibited himself between 1822 and 1828. He is depicted full length, standing, and dressed in a stylized adaptation of a uniform. He extends one arm over the head of a partially caricaturized dandy and is observed by a fashionable woman and amused child.

61. FREYTAG, Gustav. FREYTAG'S TECHNIQUE OF THE DRAMA. An Exposition of Dramatic Composition and Art.... Translation by Elias J. MacEwan. Chicago and New York: Scott, Forseman, 1894. Patterned cloth; gilt titles and decoration. $20
This was an authoritative treatise on technique at the end of the 19th century, made rather obsolete by the demands of modern stage art. Nonetheless, it “applies to the great dramas of the past from which Freytag takes his illustrations, such as the works of Sophocles, Shakespeare, Goethe, and Schiller (Baker).”

62. [GILLETTE, William.] A silver plate souvenir cup and saucer for Gillette’s Secret Service, 1897. Cup 3 1/4” diameter; saucer 4 3/4” diameter; engraved inscription to cup; slight tarnishing; very good. $100
The cup is inscribed “Garrick Theatre, 100th Performance Secret Service Monday, Jan. 11th, 1897.”

63. GOETHE, [Johann Wolfgang von]. JERY UND BÄTELY. Ein Singspiel. Leipzig: Georg Joachim Göschen, 1790. Small 8vo; period stiff, red decorative wrappers; spine sunned; text slightly foxed and creased; unstitched and untrimmed; in a modern portfolio. $100
The first edition of Goethe’s revised one-act singspiel, with “zuruck tretend” on p. 52 in two words. This piece was first performed, with music by Carl Siegmund von Seckendorff, at Weimar on 12 July, 1780. §Sonneck, p. 662. Hagen 97. Goedeke IV/III 239.55.

64. [GREEN, Fred and Harold.] An illustrated business card of the Greens, trapeze artists known as the LaVans, [c. 1889]. 3 3/4” x 2 1/4”; one color lithographed illustration and text to recto; verso blank, with one minor mounting trace. $60
The sepia-printed recto incorporates two oval portraits of the gymnasts, an illustration of the pair crossing each other to trapezes in mid-air, and the etched titled “The LaVans Marvelous Flying Men. The brothers performed individually with a number of circuses from 1877 (Fred in Europe, 1882-8), before uniting as the double flying act the LaVans in 1889 (Ringling Brothers).

65. [GRIMALDI, Joseph and William Charles MACREADY.] A Covent Garden playbill announcing Grimaldi in Harlequin & Friar Bacon and Macready in Morton’s The Slave, 20 January, 1820. $50
The casts also included Liston, Blanchard, and Barnes.

66. [GRIMALDI, Joseph S.] An etched portrait after I. R. Cruikshank, “Mr. J. S. Grimaldi as Vanderdecken in The Flying Dutchman.” [London: c. 1840 (?).] 3 5/8” x 6 1/4”, plus wide margins; one paper fault and some creasing to outer corners (margins only). $35
Grimaldi is shown, full length, standing, in costume, a sword (pointing down) in his right hand. His belt buckle displays a skull and crossbones.

67. [GUIGNOL.] A pictorial postcard, “Romeo et Juliet - Guignol,” [c. 1906]. Correspondence to blank portion of front; address to reverse; franking marks and smudges to both sides. $25
The illustration, after a design by J. Coulon, depicts the puppets Guignol and Laïde in a garret window, and le Pont de la Guillotière et l’Hôtel-Dieu Lyon.

68. [HAINES, John T.] THE RYE-HOUSE PLOT, or, The Malster’s Daughter. Founded on the Romantic Drama, as performed at the Theatre Royal, Sadler’s Wells, with great success. Tales of the Drama. London: E. Lloyd, [c. 1838]. Small 4to; unbound; engraved illustration to first page; text in double columns; a hint of foxing and dusting. $40
One of a series of Tales of the Drama, prose synopses of contemporary plays, this of Haines’ spectacle which premiered at Sadler’s Wells in June 1838. The illustration depicts the “assassination of Master Goodenough by Colonel Rumsey.”

69. [HEILBRON, Marie.] A chromolithographed portrait, “Mme. Heilbron dans Manon Lescaut, Rôle de Manon.” Paris: Martinet, [c. 1890]. 8” x 13 1/4”; margins trimmed. $30
The singer is shown full length, in costume, as she appeared at the Opéra Comique, Paris.

70. [HENGLER'S CIRCUS.] A large broadside playbill for Hengler’s Grand Cirque, Hull, 22 October, 1877. 10” x 20”; engraved illustration at head; large decorative border; two columns of text; some folds and creasing. $300
The numerous entertainments, outlined in a plethora of typefaces, included the automaton Phampillion, a variety of trick-equestrian acts (one a “great characteristic scene on horseback entitled Oliver Twist impersonating Bubble the Beadle, Fagin the Jew, [and] The Artful Dodger”), equilibrism by Carolla, and the fairy spectacle Cinderella. The illustration is of a clown and acrobats.

71. [HILL, Aaron.] ZARA. A Tragedy. London: J. Wenman, 1778. Later brown wrappers; text in double columns; engraved frontisportrait. $16
The prologue was written by Colley Cibber. The fine frontisportrait depicts Mrs. Yates as Zara.

72. HOADLY, [Benjamin]. THE SUSPICIOUS HUSBAND. A Comedy. Distinguishing Also the Variations of the Theatre, As Performed... at Drury Lane. London: for John Bell, 1776. 12mo; modern marbled boards and leather label; folding frontispiece. $25
The folding frontispiece depicts Garrick as Ranger and Abington as Clarinda.

73. HOOD, Thomas. PRECOCIOUS PIGGY. (Indestructible Edition.) Philadelphia: J. B. Lippincott, n. d. [c. 1865]. Small 4to; treated cloth covers with printed illustrations and text; text and illustrations printed to 16 treated-cloth pages; spine restitched; covers rubbed, faded, creased, and lightly stained; wrinkling, variable soiling, foxing, and corner folding throughout; some illustrations naively colored by an early juvenile hand. $80
A cloth juvenile, printed entirely to treated linen. The text is accompanied by 19 illustrations by the poet’s son and tells the tale of Piggy’s perambulations in which he dresses up, goes driving, does some landscape gardening, takes to drinking at a pub, goes to a grand ball, visits a fair, and falls to his fate when the butcher approaches. Of the fairground scenes, one vignette shows a pantomime clown and the full-page illustration has Piggy watching the “celebrated Pig Toby” counting out cards in a raised booth.

74. [HUNTLEY, Francis.] A juvenile drama portrait, “Mr. Huntley as Edward the Black Prince.” [London: A. Park, 1826.] Trimmed to image; colored by hand; mounted to an early album leaf. $45
A well-executed and brightly colored equestrian portrait. Huntley, in Henry VI, wears a caped costume, armor, and a plumed helmet and is mounted on a rearing war horse. Not in the Harvard Catalogue.

75. IBSEN, Henrik. LOVE’S COMEDY. Translated, With an Introduction and Notes, by C. H. Herford. London: Duckworth, 1900. Original pale cloth, dusty; front hinge starting. $30
The first English edition of Ibsen’s modern verse satire based on the abandoned prose comedy Svanhild.

76. IBSEN, Henrik. THE PILLARS OF SOCIETY, AND OTHER PLAYS. Edited, With an Introduction, by Havelock Ellis. London: Walter Scott, 1888. Small 8vo; publisher’s cloth, soiled; paper label, sunned; short tear to one leaf; contents very good. $70
The first of Ibsen’s dramas to appear in book form in English. The plays are Pillars of Society, Ghosts, and Enemy of Society. The first two works are translations by William Archer, and the third by Eleanor Marx Aveling (daughter of Karl Marx).

77. [IRVING, Henry and Ellen TERRY.] A Lyceum Theatre program for Irving and Terry in Macbeth, March 1889. Small 4to; printed in sepia; minor wear to backstrip (removed from a bound volume). $15
Irving appeared as Macbeth and Terry as Lady Macbeth. The overture, preludes, and incidental music were composed expressly by Arthur Sullivan. The scenery was by Hawes Craven.

78. [ITINERANT PLAYERS.] An etched print, “The Coming of ye show Folks,” [London (?): c. 1740’s]. 9 1/2” x 6 1/4”; lacking margins; loss of surface to upper-left corner tip; mounting traces to corners of verso; image very good. $300
An anonymous British image -- an itinerant show troupe arrives in town, and is greeted by an innkeeper. A performing monkey is perched on the back of a woman’s horse, while another player (at the rear of the group) has a bugle slung over his shoulder. Below the image are the title and four lines of descriptive verse.

79. [JUVENILE DRAMA.] A large-theatre sheet of “Pollock’s Scenes in Cinderella. No. 2.” London: B. Pollock, [c. 1900]. $15
A foreground scene of palm trees and dense forestation, the center to be cut away.

80. [JUVENILE DRAMA.] A sheet, “Pollock’s New Pantomime Characters, No. 6.” London: B. Pollock, [c. 1890]. Colored by hand; a bit of wear to margins. $20
A two-pence sheet, with bright colors, of 10 figures (Clowns, Policemen, Columbine, and Harlequin).

81. [JUVENILE DRAMA.] A sheet, “Redington’s New Foot Soldiers, No. 10.” London: J. Redington, [c. 1860]. Very good. $18
A total of 16 men-at-arms, plus horses, caisson, and cannon, in two columns. The top are French chasseurs and the bottom British flying artillery.

82. [JUVENILE DRAMA.] A chromolithographed large toy-theatre curtain, “Aurora,” printed on linen. [Esslingen]: J. F. S[chreiber], [c. 1890]. 17” x 13 3/4”; near fine. $65
A multicolored drop curtain with a large central depiction of Aurora and putti summoning the dawn. This one of the examples printed to linen to lend it weight and facilitate rolling during performance.

83. [JUVENILE DRAMA.] A half-penny sheet of “Skelt’s Characters in Jack Sheppard. Plate 2.” London: M. & B. Skelt, [c. 1845]. Slight dusting; tear to lower left corner. $16
Ten figures, each, with a caricature-like face, including three of Jack Sheppard and one of Jonathan Wild.

84. [JUVENILE DRAMA.] A half-penny sheet, “Skelt’s Wings in Lodoiska.” London: M. Skelt, [c. 1835]. Two pinholes to left margin; else very good. $14
The burning of the castle in Dibdin_s melodrama.

85. [JUVENILE DRAMA.] A penny sheet of “Skelt’s Characters in Timour the Tartar.” London: M. & M. Skelt, [c. 1840]. Mild toning; corners chipped; a couple nicks to margins, well away from images. $20
Nine figures, including a reclining Zorilda and the mounted Georgian chief, in Lewis’ famous equestrian drama.

86. [KEAN, Edmund.] A stipple-and-line engraved portrait of Kean [“In the Dress presented to and worn by him on the occasion of his being chosen a Chief and Prince of the Huron Tribe by the Name of Alanienouidet._”][London: William Kenneth, 1827.] 8 3/4” x 11 3/8”; trimmed to within platemark and excising title and imprint; colored by hand; some creasing and mild discoloration to decorative border only; image itself very good. $150
An unusual portrait of Kean, engraved by G. F. Storm after the painting by Frederick Meyer, Jr. Kean is portrayed full length, standing. He wears the ceremonial dress presented to him when he was elected a Huron Chieftain at Quebec in October 1826.

87. [KEAN, Edmund.] A review of Kean as Cardinal Wolsey in a complete issue of The Literary Gazette, London, 25 May, 1822. 4to; text in columns; light staining to foot. $15
The review is one of the theatrical notices in this 16-page “journal of belles letters, art, sciences, etc.”

88. [KEMBLE, John Philip.] A Drury Lane playbill announcing Kemble as Jaques in As You Like It, 9 July, 1784. Printed without headline (naming theatre); toning and a bit of foxing. $85
The comedy’s cast also included S. Kemble, Farren, and Quick. The other two pieces on the bill were The Gentle Shepherd and Yeo Yea. The later concluded with “a view of the rock of Gibraltar, an exact representation of the destruction of the floating batteries, and Spanish gunboats, by the well-directed fire of Elliotts’ Red-Hot Balls.”

89. [KING, Matthias.] A juvenile drama portrait, “Mr. King as the Emperor Charlemagne (at Drury Lane).” [London]: J. Fairburn, 1838. Minor dusting and wear to margins; hand colored. $50
The clown and actor is shown full length in crown, long cloak, and armor, in left profile. His right arm is raised and in his left he grasps a spear.

90. [KIRBY, Hudson.] A tall playbill announcing Kirby in Kenny’s Ella Rosenberg and Jones’ The Carpenter of Rouen at the Adelphi, Edinburgh, 3 July, 1845. 7 1/4” x 17 5/8”; moderate toning; central horizontal crease. $30
The “celebrated American tragedian” was joined in the cast by Bedford and Wyndam. The bill also featured a pas de deux from La Sylphide and a double Cachoucha dance.

91. [LEGRAND, Mare-Antoine.] LA NOUVEATE; Comedie. [Paris: n. p., c. 1760 (?).] 16mo; disbound; a few leaves crudely opened at a fore-edge; light dampstaining to final leaves. $15
A one-act comedy by the actor and dramatist, first performed at the Théâtre Français in January 1727. Removed from a collected volume.

92. [LENO, Dan.] A collotype program for Leno at the London Pavilion, 23 November, 1891. Tri-fold; 13 3/8” x 9 1/4” (open); color illustrations to one side, the other printed in black and red; minute stitching marks to one fold; very good. $30
Besides Leno, the bill included several comics, vocalists, the Alfred Lion Troupe (Risley performers), and Mdlle. Alma (“Wonder on the Golden Globe”).

93. [LISTON, John.] An aquatint portrait, “Mr. Liston in the Character of Dominie Sampson in Guy Mannering.” [London: Thomas McLean, 1826.] 7 1/4” x 11; trimmed to platemark; 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, wearing a hat, a large book in his left hand and a stick in his upraised right hand.

94. [LISTON, John.] A Covent Garden playbill for Liston as Dorus in Garrick’s Cymon, 24 November, 1815. Mild foxing, primarily to right margin. $25
Nearly half of the playbill is taken up with details of Noble and Bishop’s “Arcadian Ballet” in the first act.

95. [LOTTERY TOKEN.] A half-penny Middlesex Conder token advertising Richardson Goodluck & Co’s lottery, 1795. 1 1/4” diameter; even dark brown color with plenty of gloss; neat die crack running across obverse; light cabinet rubbing to reverse; overall very good. $75
A beautiful and interesting token. The obverse depicts Fortune standing between two lottery wheels. Above her reads “Nothing Venture, Nothing Have.” The reverse legend announces the shared winnings (£30,000) of a previous lottery.

96. [LUCIER’S MINSTRELS.] A handbill for Lucier’s Consolidated Minstrels. N. p., c. 1900. 4 3/4” x 10 1/2”; some wrinkling and toning. $18
The highlights of the performance included a set resembling the drawing room of France’s Charles X, a “champion tambourine spinner,” a contortion act by Scott the Frog Man, a slack-wire juggler, and the blind actor-manager J. R. Lucier.

97. [LYLY], John. THE DRAMATIC WORKS OF JOHN LILLY (The Euphuist). With Notes and Some Account of His Life and Writings by F.W. Fairholt.... London: John Russell Smith, 1858. First Collected Edition. 2 vols. Small 8vo; contemporary tree calf; spine elaborately gilt to compartments; slight rubbing to extremities; joints a bit dry; morocco labels, gilt; decorative gilt borders and dentelles; a.e.g.; internally fine. $125
The first collected edition of Lyly’s dramatic works (preceded only by a selection of comedies, edited by Edward Blount, published in 1632).

98. [MACALLISTER, John M.] A handbill for Macallister’s Soirees Magiques et Mysterieuses at Andrews Hall, Boston, [April 1864 (?)]. 4 3/4” x 8”; slight offsetting and creasing; very good; dated in pencil at foot. $200
The bill lists a program of a dozen acts, including “Neptune’s Basins,” “The Cataleptic Couch,” and “The Mysteries of the Box of Goblins (... invented by the late Prof. Macallister).”

99. [MACREADY, William Charles.] A scene-room ticket stub, signed by Macready. [London: June 1843.] 5 3/4” x 3/4”; stiff card stock; printed both sides; very good. $95
Signed by Macready to the verso. Offered along with the original envelope, addressed by Macready to the recipient at “Sec. 7 of Legation of U.S. of A. Grosvenor Place.” A second hand adds, in part, “Ticket of admission to Drury Lane, Sent me by Mr. Macready...”

100. [MACREADY, William Charles.] THE REPLIES FROM ENGLAND, ETC. To Certain Statements Circulated in this Country Respecting Mr. Macready. New York: Stringer & Townsend, 1849. Original printed yellow wrappers, somewhat dusty; three upper corners of covers chipped; minor fraying to extremities; stitched; internally very good. $200
The sole edition of a scarce pamphlet. Compiled two days prior to the Astor Place Riot, it primarily consists of testimonials solicited from Macready’s friends and allies to be used in his defense -- part of a five-year sparring match with Edwin Forrest. These letters came from, amongst others, Edward Bulwer-Lytton, the theatre manager John Mitchell, Macready’s lawyers, and the comedian Charles Boss. Macready prepared a forward, stating it had been his intention to have the pamphlet issued privately (and held by his legal advisors). However, the outrages against him on stage the previous Monday made it necessary to make them public. Also reprinted were Macready’s Card to the Public of the previous November and several of Forrest’s statements to the press. This unfortunately timed pamphlet did little to aid Macready’s cause, rather it did much to revive the antagonism of his enemies and detractors.

101. [MAGIC LANTERN.] A chromolithographed trade card, “Laterne Magique,” [c. 1890]. 3” x 4 1/4”; chromolithographed illustration to recto; text to verso; near fine. $40
The illustration shows a group of children viewing an image of Polichinelle projected form a magic lantern. The reverse advertises a Paris children’s shoe shop.

102. MARSOLLIER, [Des Vivetières, B. -J.] EDMOND ET CAROLINE, ou La Lettre et la Réponse, Comedie . Paris: M. -N. Barba, 1819. Disbound; foxing to title-page, terminal leaf, and head of some leaves. $35
The libretto to a one-act comic opera, the music by Frédéric Kreubé, first performed at the Opéra-Comique in August 1819. The cast list is printed.

103. [MATHEWS, Charles.] A notice, “Mr. Mathews at Home,” for an appearance at Edinburgh, 21 October, 1819. 8” x 11”; minor dusting; two horizontal creases. $70
Mathews announces his Mail Coach Adventures and ‘his celebrated Mony-Poly-Logue, descriptive of La Diligence.”

104. [MATTHEWS, John T.] A juvenile drama portrait of Matthews as Clown. [London]: A. Park, [c. 1860]. Trimmed at foot, affecting a few letter of title; two minute stitching holes near head. $22
The pantomime clown Matthews stands with bowed legs and hands in his pockets.

105. [MENKEN, Adah Isaacs.] A carte-de-visite photograph of Menken. [Paris: Disderi, c. 1867.] 3/8" abrasion to lower left corner; to a new card mount. $95
A full-length portrait of the actress, seated, at the height of her fame in Paris.

106. [MIDGET.] A pictorial postcard of “Princess Nouma-Hawa, with Buffalo Bill’s Wild West,” [c. 1907]. One corner creased; unused. $15
The midget is shown in a formal gown with lengthy trail.

107. [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.”

108. [MURDOCH, James.] A tall broadside playbill for Murdoch in Sheridan’s Pizarro and Centlivre’s The Wonder at the National Theatre, Cincinnati, 7 November, 1851. Decorative border. $30
Murdoch is heralded as the “Distinguished American Actor.” Marie Duret appeared with him in both plays.

109. [MUSIC HALL.] A pictorial program for the Alhambra Theatre, London, 9 July, 1892. 4to; two-color pictorial cover. $25
The bill included comics, vocalists, a juggler, “human eels,” equilibrists, and two pantomimic ballets.

110. [MUSIC HALL.] A collotype program for the Paragon Theatre of Varieties, Mile End, London, 28 November, 1892. Tri-fold; 14 3/8” x 9 1/4” (open); color illustrations to one side; creasing to one edge; else very good. $25
The bill included comedians, vocalists, equilibrists, jugglers, and “Mile End Favourites.”

111. [NEWCOMBE, Bobby.] The sheet music to “Waiting for a Broadway Stage.” New York: C. H. Ditson, 1867. Folio; removed; lithographed portrait and decorative text to cover; three pages of music and text; light finger soiling and offsetting. $50
A song in three verses as sung by Newcomb “with immense success at the San Francisco Minstrels, Broadway, New York.” With a bust portrait of the minstrel star to the cover.

112. [OSBALDISTON, David.] A half-penny juvenile drama portrait, “Mr. Osbaldiston as Hardy Knute.” London: M. & B. Skelt, [c. 1860]. Light ink stamp to reverse; very good. $22
The actor is shown in Harlequin Hardy Knute, the Knight, and the Wood Demon, full length, standing, a sword in his right hand and the left hand extended. The pantomime debuted at the Marylebone Theatre on Boxing Day 1848.

113. [OTWAY, Thomas.] A line-engraved portrait of Otway, “in the possession of Gilbert West, Esq.” London: n. p., 1785. 7 3/4” x 11 1/4”; gentle creases to corners. $40
This portrait depicts the playwright half length. His right elbow sits on a table, the hand supporting his head. An oval image within a decorative rectangular frame.

114. [PALMIERI, Maria.] A one-page autograph letter, signed, from Palmieri to a Signore Marcheti. Turin: 17 February, 1865. 8vo leaf; original folds; very good signature. $75
A very good letter from the noted Italian soprano, signed in full.

115. [PANTOMIME.] A lithographed plate, “Pantomime.” [Philadelphia: Ledger Job, c. 1870.] 6 1/2” x 5”, plus margins; in a modern mat. $45
A trade catalogue specimen image for a larger show poster. It shows a comical scene incorporating five black-face characters. The text at the foot gives the title and price for theatre managers to order.

116. [PANTOMIME.] The sheet music, “Tippitywitchet and Hot Codlings, Sung in all the Pantomimes.” The Symphonies and Accompaniments by Alfred Mullen. London: B. Williams, [c. 1860]. Folio; removed; lithographed pictorial cover; tape to backstrip; margins trimmed; date and name in ink to upper right of cover; two pages of music and text. $80
Two pantomime songs of four verses. The pictorial cover is a full-length portrait of a pantomime clown.

117. [PANTOMIME.] THE CHRISTMAS PANTOMIME. London [and] New York: Frederick Warne, n. d. [1889]. Large 4to; stiff chromolithographed pictorial wrappers; slight wear to edges of covers; early cloth reinforcement to backstrip; chromolithographed illustrations to each page; moderate finger soiling to margins; stitching loosening. $225
A 14-page juvenile picture book, chromolithographed throughout, depicting 22 scenes in various Christmas pantomimes. These include Sleeping Beauty, Robinson Crusoe, Cinderella, Dick Whittington, Puss in Boots, and Jack and the Beanstalk. Clown, Pantaloon, Policeman, and Harlequin are well represented. The double-page plate to the center shows “The Butterfly’s Ball.” Quite scarce, OCLC lists two copies only (none in North America).

118. [PEPPER'S GHOST.] A chromolithographed plate, “Unknown Ghost, Used for Ghost Show.” [Philadelphia: Ledger Job, c. 1870.] 6 1/2” x 5”, plus margins; in a modern mat. $45
A trade catalogue specimen image for a larger show poster. It depicts a group of characters frightened by a ghost rising from a lake. The text at the foot gives the title, size, price, and color availability.

119. [PERFORMING ANIMALS.] A tall illustrated broadside bill announcing performances by H. Simpson and his animals at Wolverhampton, 10 February, 1823. 7 1/2” x 17 1/2”; trimmed at head, excising a portion of the headline; two large wood-engraved illustrations; minute stitching holes to left margin; overall very good. $500
A benefit for H. Simpson, the “proprietor of the bear and dogs.” The evening’s performances were Philip Quarl, “in which the dog Blucher, bear, and monkey will perform [and]... a grand combat of six with the destruction of pirates”; and The Treacherous Indian; or The Sailor and his faithful Dog “[with]... a grand combat between Carlo and the ferocious chief, to save the Infant from destruction [and] likewise preserves the child from an enormous serpent.” The upper of the large illustrations shows Simpson, with upraised scimitar, protecting a child from an attacking bear. The lower illustration is of a heavily tattooed Simpson, hatchet in hand (as the “treacherous Indian”) rushed by the dog.

120. [PHILLIPS, Louisa Anne.] A juvenile drama portrait, “Miss Phillips as Claudia in Rienzi.” [London: M & M Skelt, c. 1837.] Trimmed at foot, touching imprint; some dusting to upper margin; two pinholes to upper (blank) margin; image near fine. $50
A handsome portrait of the actress as the heroine of Mrs. Mitford’s tragedy, her most famous role. She stands in a brocaded gown, right hand extended to her side, a scarf in her left hand.

121. [PIDCOCK’S MENAGERIE.] A copper farthing token for Pidcock’s Zoological Exhibition. [London: c. 1810]. 7/8” diameter; some rubbing; slight crimp to outer edge. $125
An interesting token -- obverse: an elephant and the legend “PIDCOCK’S EXHIBITION” and reverse: “EXTER CHANGE STRAND LONDON.” Pidcock was proprietor of the Exter Change Menagerie and an importer of exotic animals. This token shows the ill-fated elephant Chunee to the obverse and a two-headed heifer (first exhibited about 1791) to the reverse. These trade tokens advertising the menagerie also passed for small change in circulation.

122. [POOL, Thomas.] A column advertisement for Pool’s equestrian exhibition, in a complete issue of the Pennsylvania Packet, 24 August, 1785. Folio; mildest of toning; gently creased to quarters; four small, early stains, one minute one to the Pool ad. $300
A lengthy notice for a performance of, as heralded at the head, “the first Equestrian Feats of Horsemanship.” It announces Pool has erected a menage “at a very considerable expense, with seats convenient for Ladies and Gentleman” and goes on to detail numerous feats and acts. A clown and several musicians assisted in entertaining the patrons. This exhibition may be regarded as the second performance of any native-born circus rider in America, preceded only by Pool’s premier earlier in the week.

123. [POWER, Tyrone.] A Covent Garden playbill for Power in Peake’s The £100 Note, 12 June, 1830. Central horizontal crease; original posting hole near center; lower (blank) corners trimmed. $30
Tower played O’Shocknessy and Foote appeared as Miss Arlington. The other piece on the bill was Rossini’s Cinderella.

124. [PULLMAN AND DINGESS CIRCUS.] An illustrated trade card for “The Great and Only Jackleys,” [c. 1885]. 3 1/4”x 4 1/2” ; margins very slightly trimmed; chromolithographed illustration to recto; text to verso; mounting traces to verso, affecting some text. $65
The color illustration shows the Jackley troupe of 15 acrobats vaulting, balancing, and tumbling from a tower of nine tables. The text advertises Pullman, Dingess, & Co.’s Great London Sensation and Colossal College of Trained Animals.

125. [PUNCH AND JUDY.] A decorative sachet envelope depicting Punch, Judy, and Toby, [c. 1880]. 2 1/4” x 4”; embossed and gilt decorations to both front and back; chromolithographed illustration window mounted to oval (1 1/2” x 2 1/4”) at center of front; folded tissue to interior; near fine. $50
A handsome sachet with color image of Punch and Judy sharing a punch bowl, a drunken Toby (belly up) sleeping in the foreground.

126. [PUNCH AND JUDY.] An engraving, “Russell Square, and Statue of the Duke of Bedford,” [c. 1830]. 6 5/8” x 5”; very good. $40
The print, after T. Hosmer Shepherd, shows a view of the London square, the statue on the left. A group of people gather to watch a Punch and Judy show on the right and towards the edge of the crowd is the outside man beating his large drum.

127. [PUPPETRY.] A lithograph, “Polichinelle.” Paris: Roche, [c. 1865]. 9 5/8” x 6 1/4”, including margins (image 7 1/4” x 6 1/4”). $95
A tinted lithograph showing a group of well-dressed children gathered to watch a countryside puppet show. To the left a fiddler accompanies the performance, Punch and a cat on the stage of the puppet booth.

128. PURTON, P. A. THE STORY OF PUNCH AND JUDY (Not Forgetting Dog Toby). [London: R. A. Publishing, c. 1930.] Oblong 8vo; color pictorial wrappers, a bit rubbed; stapled; penciled summation problem to rear cover; color illustrations. $20
An 18-page booklet containing a brief history of the Punch and Judy show, a story of the play for children, and a show script. Unfortunately wanting the working model construction.

129. [RAVEL, Jérome.] A holograph theatre pass, drafted and signed by Ravel. Boston: 20 March, 1858. 4 1/4” x 2 5/8”; thin stock; vertical folds, one with 3/4” closed tear at foot. $125
Boldly inscribed and signed, “Boston Theatre/Admit Two/ Jérome Ravel,” above the holograph date. Jérome was the author of many of the scenarios performed by the Ravel family of pantomimists, acrobats, and dancers.

130. [THEATER DER REITKUNST.] An illustrated broadside for the Theater der Reitkunst, [Munich (?)], 10 February, 1835. 11” x 17”; decorative border; six minute stitching holes to (blank) left margin; 4” x 2 3/4” engraved illustration near head; mildest of toning, else near fine. $400
A handsome broadside playbill, illustrated with a cut of a costumed equestrian standing astride two horses. The central third outlines four specific reit=exercitian and the bottom third details a pantomime.

131. REUSS, Prince Heinrich XLV (Editor). JAHRBUCH DES REUSSISCHEN THEATERS. Gera-Ruess: Reinhold & Blau, 1923. Original cloth-backed boards; fore-corners of boards a bit bruised; small ink stamp to title-page; sepia plates at the end. $40
1/550 numbered copies to fine paper. The 14 essays and dramatic pieces include Thomas Mann’s “Kino. Romanfragment” and “Opernregie” by Hans Muzenbecher. The plates at the end reproduce 12 settings for productions of 1921 and 1922.

132. [ROSSINI, Gioacchino.] A Drury Lane playbill for a performance of Rossini’s Hofer, 18 December, 1831. Pale-blue stock; three horizontal creases. $20
The cast included Phillips, Webster, and Faucit.

133. [SELLS BROTHERS_ CIRCUS.] A color pictorial trade card for “Cyrene the Great” with the Sells Brothers’ Circus, [c. 1885]. 3 1/2” x 6”; chromolithographed illustration to recto; text to verso; minor age marks to verso. $80
The illustration is of Cyrene, the “Emotional Spanish Dancer Appearing in Long Skirts Only.”

134. [SHAKESPEARIANA.] A Covent Garden playbill for The Two Gentlemen of Verona, 30 November, 1821. Wide side margins; very good. $30
This staging of the play introduced four additional scenes into the fourth act (set in a Milan carnival, the Palace of Pleasure, an artificial mountain, and the Temple of Apollo) and a dozen sonnets, poems, and selections of dialogue (from other plays) by Shakespeare set to music by Bishop.

135. [SMITH, Albert.] A brass farthing token by Smith’s, Middlesex, for the Egyptian Hall Museum, 1860. 7/8” diameter; fine. $100
The obverse shows a bust portrait of Albert Smith (to the right) and to the reverse is the legend “EGYPTIAN HALL MUSEUM 1860” in four lines. This memorial medal was struck the week following Smith’s death to commemorate his long-standing association with the Egyptian Hall. §Bell 2820.

136. [SOTHERN, Edward A.] An illustrated silk playbill for the fiftieth representation of Byron’s The Crushed Tragedian, or, The Prompter’s Box, with Sothern, at New York’s Park Theatre, 22 October, 1877. 7 1/2” x 11”; illustration and design to center; pale blue-green silk; decorative edges at head and foot; some wrinkling; clean. $125
The illustration is a caricatured portrait of Sothern as DeLacy Fitzaltamont, “tragedian of the Snaggleton Circuit.”

137. [STRATTON, Charles and Lavinia.] The sheet music, “Fairy Wedding Waltz,” by J. W. Turner. Boston: Ditson, 1863. Folio; removed; decorative cover; three pages of music; a hint of marginal foxing and finger soiling. $40
The cover carries a dedication “To Mr. & Mrs. Cha. S. Stratton, Gen. Tom Thumb & Wife.”

138. [THEATRICAL CARICATURE.] An etched caricature, “The Overflowing of the Pitt.” [London]: S. Sledge, 1772. 10 1/4” x 13 3/4”; trimmed unevenly close to platemark; 1” corner tear to (blank) lower right; image and inscription near fine. $400
A social satire, after an original drawing by Samuel Hieronymous Grimm, depicting a group of eight men and women tumbling out of a door leading to the pit of Drury Lane as the boxkeeper and ticket seller look on. The bill posted to one wall announces Much Ado About Nothing (with Garrick) and The Ladies’ Frolick. Below is a line from Pope’s Rape of the Lock. Not in BM Cat.

139. THRIEPLAND, Stewart. LETTERS RESPECTING THE PERFORMANCES AT THE THEATRE ROYAL, EDINBURGH, Originally Addressed to the Editor of the Scots Chronicle, Under the Signature of Timothy Plain, And published in that Paper during the Years 1797, 1798, 1799 and 1800. Edinburgh: for G. Gray, 1800. First Edition. Small 8vo; half calf and decorative boards, a bit rubbed; later leather label to spine; upper third of front flyleaf torn away; contents very good. $350
The sole edition of Thriepland’s detailed criticisms of performances of the prominent company of the Theatre Royal, Edinburgh. Thriepland was a leading advocate in that city. He is sharply critical, particularly of the manager Stephen Kemble. Scarce. §LAR 1961.

140. TISSANDIER, Gaston. LES RÉCREATIONS SCIENTIFIQUES OU L’ENSEIGNEMENT PAR LES JEUX. Deuième Édition Entièrement Refondue. Paris: G. Mason, n. d. [c.1880]. Tall 8vo; decorative blind-stamped green cloth; lightest of rubbing to extremities; decorative gilt stamp to upper cover; a.e.g.; frontispiece; 220 engraved plates and illustrations; one full-page plate in color; scattered light foxing; else near fine. $175
Tissandier’s famous guide to scientific amusements, puzzles, games, and trickery. Amongst the subjects touched upon are optical illusions, hand shadows, chromographs, “chimie apliquée a la prestidigitation,” mechanical and steam toys, whimsical inventions, Robert Houdin’s clock, rope tricks, and performing fleas. Handsomely bound and profusely illustrated.

141. [TRAINED DOGS.] A brass merchant token for “H. B. West’s Famous Trained Dogs,” [1853]. 1 1/8” diameter; minor rubbing; very good. $200
The obverse carries the legend for West’s trained dogs and shows the dogs Tray and Troy pulling a man in a wagon. The reverse depicts New York’s Crystal Palace. An unusual ante-bellum American token.

142. [VAMP, Hugo.] The sheet music, “Kynge Rycharde ye Thyrde -- Hys Historie.” London: Davidson, [c. 1855]. Folio; chromolithographed pictorial cover; lacking back cover; six pages of printed music and text; signs of removal to spine. $70
One of “Hugo Vamp’s Comic Dramatic Shakespearean Scenes, Versified, Vocalized & Sung in His Own Entertainment, Sung Also by. Cowell, R. Gliddon, & Others.” This one with music by J. Harrow and introductory address, is “as literally per-verted from the text of Shakespeare.” The cover shows Vamp within an oval with five Shakespearian burlesque scenes below.

143. VANBRUGH, John. PLAYS.... London: for C. Hitch [and others], 1759. 2 vols. 12mo; full period calf, gilt; covers worn; double morocco labels; covers of Vol. I detached; hinges of Vol. II starting; engraved frontisportrait to first volume. $65
Nine plays.

144. [VESTRIS, Lucia.] A brass snuff box, “Buy a Broom,” depicting Vestris as the Dutch broom girl, [c. 1826]. 1 1/2” x 2 3/4”; raised figure and title to hinged lid; very good. $450
An unusual theatrical souvenir associated with the broom-girl craze of 1826. For Liston’s Haymarket benefit of 18 September, Vestris appeared as a Dutch girl and sang Alexander Lee’s arrangement of “Buy A Broom” (from the old Bavarian air “Augustine”). The ballad immediately captured popular attention and was called for each time Vestris played, and the character was represented in prints, porcelains, and a variety of commemorative objects. When Vestris’ benefit took place on 6 November, Liston dressed as the boom girl and they sang the ballad as a duet. The juxtaposition of the dainty Vestris and the ludicrous comedian proved irresistible and both performances often repeated the piece at subsequent benefits.

145. [VESTRIS, Lucia.] A Covent Garden playbill announcing Vestris as Lorenza in O’Keefe’s The Castle of Andalusia, 27 May, 1829. Frayed at head, affecting some letters of the notice. $15
Vestris also performed a number of songs in “A Musical Melange” along with Madame Celini (from the Italian Opera, Paris). The evening was a benefit for the Printers’ Pension Society and included Keeley speaking an “address in the character of printer’s devil written expressly for the occasion by T. W. Moncrieffe.”

146. WARGAS, Christoph. NEUES MARIONETTEN=THEATER. Nach Italienischen, Spanischen, Farnzösischnen und Deutschen Orginalien. Erster Theil. Augsburg and Leipzig: Jenisch und Stage, n. d. [1826]. Period blue wrappers, stained and worn; backstrip nearly perished; restitched; engraved frontispiece; 2”-3” tear from gutter of upper wrapper, frontispiece, and first signature (touching some text); dampstaining to lower gutter of same leaves; several corners dogeared; some foxing and variable soiling; uncut. $60
This first volume (of two) contains the text to three multi-act plays from the early puppet repertoire. All include Hanswurst and the third, adapted from the Italian, features Columbine, Pantalon, and Salome. With a comic frontispiece.

147. WEISSMANN, Adolf. DIE PRIMADONNA. Berlin: Paul Cassirer, 1920. First Edition. 4to; cloth-backed boards; some dampstaining; pictorial front cover; light soiling to covers; front hinge starting; hand-tinted frontisportrait; five hand-tinted plates; several other plates to text; all plates to heavy stock; illustrations to text. $40
Amongst the 13 chapters are: “Das Erotische,” “Farinelli,” “Catalani und Pasta,” “Der Tenor,” “Die Garcias,” and “Die Operettendiva.” The plates include portraits of Arnould, Catalani, Colbrand, Elsler, Kemp, Lind, Malibran, Marchesi, Pasta, Patti, and Rubini.

148. WHITEHEAD, William. CREUSA, QUEEN OF ATHENS. A Tragedy. London: for R. and J. Dodsley, 1754. First Edition. Disbound; light foxing, primarily to margins, of some leave. $50
The first edition of the Poet Laureat’s tragedy, borrowing much from Euripedes’ Ion. It premiered at Drury Lane in April 1754 with Barry, Pritchard, and Garrick featured in the cast.

149. [WILDE, Oscar.] A Haymarket program for Wilde’s A Woman of No Importance, [1893]. Decorative cover; text printed in sepia; 1/2” tan-paper mounting strip to fold of cover and back; some wrinkling and foxing. $45
The first run of Wilde’s “play of modern life,” first performed in April 1893.

150. [WORRELL, Jennie and Sophie.] A pair of carte-de-visite photographs, one of each sister. Boston: Black and Case, [c. 1866]. Albumen photographic prints on card mounts; a bit foxed and faded. $75
Whole-length portraits of the noted burlesque actresses done about the time they opened up their management of the Worrell Sisters’ New York City Theatre.



Acrobats & Equilibrists: 1, 3, 21, 27, 35, 46, 58, 64, 70, 92, 96, 109, 110, 124, 129.

Animal Acts & Menageries: 10, 21, 27, 44, 46, 58, 78, 119, 121, 124, 141..

Autographs & Manuscripts: 8, 11, 14, 52, 54, 99, 114, 129.

Cabaret: 58.

Caricature & Satire: 10, 17, 24, 50, 53, 128, 142.

Conjuring & Allied Arts: 5, 28, 31, 73, 98, 118, 140.

Dance & Dancers: 4, 20, 26, 58, 94, 129, 133.

Early American Stage & Performers: 36, 54, 55, 56, 90, 98, 105, 108, 111, 122, 129, 137, 141, 147, 150.

Equestrian & Canine Drama: 26, 27, 34, 42, 43, 58, 70, 74, 85, 105, 119, 122, 130.

Exhibitions: 5, 17, 58, 60, 141.

Fairgrounds: 5, 10, 46, 47, 58, 73.

Human Anomalies: 46, 58, 60, 106, 137.

Juvenile Drama: 40, 41, 49, 59, 74, 79-85, 89, 104, 112, 120.

Juveniles: 5, 27, 57, 73, 117, 140.

Magic Lanterns: 41, 101.

Military Spectacles: 1, 2, 17, 34, 81, 88.

Minstrelsy: 22, 56, 96, 107, 111, 115.

Museums: 17, 135.

Music: 22, 25, 26, 28, 30, 36, 48, 51, 56, 111, 116, 137, 142.

Opera: 2, 11, 12, 51, 58, 63, 102, 123, 131, 132, 147.

Pantomime: 1, 3, 5, 57, 59, 65, 73, 80, 104, 109, 112, 115, 116, 117, 129, 130.

Puppetry & Shadowgraphy: 5, 16, 41, 46, 67, 125, 126, 127, 128, 140, 146.

Shakespeariana: 32, 42, 61, 67, 77, 88, 134, 138, 142.

Singers: 25, 28, 30, 48, 50, 58, 69, 109, 110, 114, 147.

Stage Design & Mechanics: 12, 39, 118, 131.

Tickets: 8, 37, 99, 129.

Tokens: 31, 95, 121, 135, 141.

Vaudeville & Music Hall: 25, 28, 30, 58, 92, 107, 109, 110.

Wild West Shows: 29, 106.