Authors "U, V, W, X, Y" and "Z" Selections from Stock


[VAILLARD'S CIRCUS.] A broadside bill announcing Carl Vaillard and his troupe at the Amphitheater in Scheissgraben, Augsburg, 15 and 16 August, 1829. 10" x 15 3/4"; well margined; two gentle horizontal creases; one minute hole to lower quarter; minimal dusting and creasing; text within a decorative woodcut border. $300
The troupe featured the performances of the strongman Vaillard, his wife and juvenile son, and several performers recently arrived from Italy. The latter included the Micheletti family of trick equestrians and a group of tumblers, rope dancers, and pantomimists.


[VAN AMBURGH, Isaac.] A later impression of the engraving, “Van Amburgh and the Lions,” after Landseer. London: Virtue & Co, [c. 1860]. 14” x 10 1/4”, including margins; stiff stock. $35
Van Amburgh is shown in Roman costume, standing in a cage with leopards, lions, and a tiger -- as he appeared at Vauxhall Gardens in 1848 -- controlling the wild cats through his gaze, without recourse to his training whip.


VANBRUGH, John. PLAYS. London: for J. Tonson and M. Wellington, 1719. 12mo; early full calf; extremities bumped and rubbed; neatly rebacked; morocco label; light stain to head of a few leaves; slightly shaken. $200
The first collected edition, with six comedies.


[VANBRUGH, John.] THE RELAPSE; or, Virtue in Danger: Being the Sequel of the Fool of Fashion, A Comedy.... London: for Richard Wellington, 1708. Small 4to; disbound; sporadic foxing; publisher’s advertisements to terminal leaf and (unusually) foot of title-page; early ink excisions to two leaves. $85
The third edition of the author’s first play, written as a sequel to (and mirthful protest to the rank improbabilities of) Cibber’s Love’s Last Shift.


[VANDENHOFF, John M.] A lithographed portrait of Vandenhoff as Adrastus in Talfourd’s Ion. [London: J. Mitchell, 1839.] 8 1/2” x 11 1/2”; slight edge wear; image near fine. $40
Vandenhoff is shown half length, to the right, in costume and wearing a crown. With a facsimile autograph and three lines of dialogue.


[VAUGHAN, Kate.] An autograph note, signed, from Vaughan to Robert Reece. [London]: n. d. [c. 1879]. 8vo; original central fold. $10
The dancer/actress sends an invitation.


[VERMEL, Samuil.] [ALKIMIYA TEATRA.] [Berlin]: Academia, 1923. First Edition. Small 4to; original decorative stiff wraps, slightly embrowned at edges; decoration to head of each leaf of text; fore-edges toned and somewhat fragile. $100
The first edition of Vermel’s Theatrical Alchemy, a miscellany of notes from his Studio Theatre work, 1915-20. The decorations to the cover and head of each page are by A. Arnstam.


[VERNEIUL, Louis.] KARUSEL. [Moscow: Russian Theatre Society], 1923. Original decorative wraps; early tape reinforcement to spine; stapled; contents well preserved for being pulp paper. $450
A Russian translation of Verneuil's three-act comedy (Carousel) by R. and S. Kalbmens. This copy is signed by Konstantin Stanislavsky to the title-page.


[VESTRIS, Caroline Ronzi.] A stipple engraving, "Madame Ronzi Vestris, of the Italian Opera." London: W. McDowall, 1827. 9 1/2" x 13 1/4", plus margins; moderate surface soiling. $40
Vestris is shown full length, dancing, arms crossed on her breasts and her face turned to the left, a wreath of flowers in her hair.


[VESTRIS, Lucia.] A group of three issues of The Theatrical Observer listing vocal performances by Vestris, London, 1823. 8vo; removed; minor dusting to margins. $25
These issues of the theatrical periodical include reviews, notices, and bills for the London theatres.

[VESTRIS, Lucia.]  The illustrated sheet music to "Love from the Heart, or, Yes, I will leave my Father's Halls, As Sung by Madame Vestris." Boston: C. Bradlee, [c. 1833]. Folio; lithographed pictorial upper cover; two pages of engraved music; archival tape to backstrip; very good. $30
The music was composed by Sidney Waller. The lithographed cover depicts Vestris in a wood, dressed in a hunting outfit and plumed hat, a guitar in her left hand.

[VESTRIS, Lucia.] A Covent Garden playbill announcing Vestris as Eglantine in Dimond’s The Nymph of the Grotto, 16 January, 1829. Three horizontal and two vertical creases. $30
The opera was followed by the pantomime Harlequin and Little Red Riding Hood (with J. S. Grimaldi and incorporating Roberts’s moving panorama of the Russian army’s march to Turkey).


[VESTRIS, Lucia.] A tall broadside playbill announcing Vestis in the first night of Planché’s The White Cat, Covent Garden, 28 March, 1842. 9 7/8” x 20”; one horizontal crease near foot; a bit of creasing to lower right margin. $40
Vestris appeared as Prince Paragon in the “fairy extravaganza” as well as in the name role of Milton’s Comus (“music principally selected from the works of Handel, Purcell, and Arne”).

[VESTRIS, Lucia and Tyrone POWER.] A Covent Garden playbill for Vestris in Arne’s Artaxerxes and Morton’s The Invicibles, joined by Power in the latter. Very good. $25
The bill also included a performance of Moncrieff’s The Somnambulist.


[VESTRIS, Lucia and Tyrone POWER.] A Covent Garden playbill announcing Vestris and Power in Morton’s The Invincibles, 12 March, 1829. Slight dusting and creasing to side margins. $35
Vestris was seen as Victoire and Power as O’Slash. Vestris also appeared as Elizabeth in the same author’s The Sublime and Beautiful.

VOLTAIRE, Francis M. A. de. LA ZAYRE... Augmentée de l'Epitre Dédicatoire.... Paris [i.e. London]: Jean-Baptiste Bauche, 1733. Small 8vo; disbound; title-page dusted; some signatures separating; stab holes to gutters; engraved head- and tail-pieces. $150
The first printing in England of the French text; first published earlier the same year in Rouen by Jore (twice) -- with an identical false Paris imprint. The printing may be identified as English on the basis of typography and ornaments (one headpiece has the initials "S. A.", possibly Samuel Aris). Zayre, a work generally considered Voltaire's tragic masterpiece, was first performed in November 1732. It is also of note because the text introduced an abrupt change in French spelling, with "ai" substituted for "oi", so such words as "anglois" became "anglais", to conform to the pronunciation of the period. The innovation took hold and within 50 years was universal.


VON BOEHN, Max. DER TANZ. Berlin: Wegweiser, 1925. Maroon quarter leather; marbled paper over boards; light wear to extremities; numerous halftone plates. $20
A well-illustrated survey of dance history by the art critic Von Boehn. The second half consists of selections in prose and poetry on the dance by various authors.


[WAINWRIGHT, Marie.] A photogravure portrait of Wainwright as Viola. [New York]: Gebbie, 1889. 8 1/2" x 11 1/2", plus wide margins; mild foxing to margins. $10 


[WALLACK, Henry and James.] A Drury Lane playbill announcing the Wallacks in Osbaldistone’s The Brigand and Payne’s Clari, 24 March, 1831. Pale blue stock; gentle horizontal folds; minor creasing to side margins; very good. $20
Besides the American stars, the playbill also announces the final exhibition of Stanfield’s diorama.


[WALLACK, Henry and James.] A Drury Lane playbill announcing the Wallacks in Osbaldistone’s The Brigand, 17 November, 1831. Pale-blue stock. $20
Besides the Wallacks, the bill announces the Woods in Arne’s Artaxerxes. The notices include one for the continued performances of the wild-animal trainer Henri Martin in the spectacle Hyder Ali.


[WALLACK, J. Lester.] A gravure, "J. Lester Wallack as Benedick. Much Ado about Nothing." [New York]: Gebbie, 1888. 11 1/2" x 10 1/2", plus margins; blue tone; a hint of foxing to edges. $15
Wallack reclines on a bent-wood bench in a forested grove.


[WARDE, James Prescott.] An engraved portrait of Warde as Rob Roy. Dublin: McCleary, [c. 1825]. 8 3/4" x 13 3/4"; colored by hand; small hole to upper edge; lower left corner frayed; other corners thumbed. $50
The actor is shown full length, in costume, standing. He grasps the hilt of a dagger with his right hand, holding the sheath with his left. Not in the Harvard Catalogue.


[WARDE, James Prescott.] A lithographed portrait of Warde as Caspar in Der Freischutz, 1827. 11” x 15”; minor dusting to outer edges; very good. $30
The actor is depicted full-length, standing, turned and looking to the right, a small rifle held in his gloved hands. Not in the Harvard Catalogue.


[WARREN, William.] A photogravure portrait, "Warren as Herr Weigel in the comedy of My Son." [New York]: Gebbie, 1888. 8" x 12 1/2", plus full margins; mild toning and wear to foot; image very good. $10


[WEBER, Carl Mario von.] A playbill for performance of Weber's Preciosa at Königliches Hof-Theater, Stuttgart, 14 March, 1830. 6 1/4" x 7 3/4"; heavy stock; near fine. $25
This Romantische schauspiel mit Musik, with libretto by P. Wolff (founded on Cervantes' La Gitanella) and music by Weber, was first performed in 1821. The singers of this production included Dobritz, Pauli, and Fossetta.

WEEKS, Harry. PENELOPE. A Farcical Comedy.... [New York: n. p., 1896.] 4to; self wraps, titled in ink; brad bound; covers chipped and torn at edges; carbon typescript text (to rectos of leaves only); front cover and first leaf loose; contents very good. $30
A carbon typescript of Weeks’ one-act comedy.


WEISMANTEL, Leo. VATERLÄNDISCHE SPIELE. Erneuert alte Puppenspiele. Mit Spielanmerkugen und Schattenbildern. Frankfurt: Bühnenvolksbundes, n. d. [1924]. First Edition. 12mo; boards; color pictorial upper cover; five illustrated plates. $30
The texts to five shadow-puppet plays, each illustrated with a plate. These include “William Tell,” “The Battle of Birkfeld,” and “The Ring.” Weismantel was a prolific writer (including several Expressionist plays), educator, and editor (of Fastnachspiels by H. Sachs and a variety of puppet plays).

WEISMANTEL, Leo. DAS WERKBUCH DER PUPPENSPIEL. Frankfurt: Bühnenvolksbundes, 1924. Decorative boards; covers slightly dust soiled at edges; joints rubbed; numerous line illustrations. $30
An illustrated volume showing how to make a variety of puppets and puppet stages, as well as producing plays, including shadowgraphy and rod-technique. Weismantel was a prolific writer (including several Expressionist plays), educator, and editor (of Fastnachspiels by H. Sachs and various puppet plays).


[WELCH, Rufus.] A complete issue of the “New York Clipper,” 10 March, 1883. Folio; engraved portrait to front page; illustrated advertisements. $30
This issue of the “oldest American sporting and theatrical journal” features a portrait and biographical sketch of the circus manager Rufus Welch, as well as numerous notices for theatres, performers, vaudeville and circus acts, etc.

[WESTERN DRAMA.] THE PLAY PICTORIAL. No. 66. [London: 1908.] 4to; color pictorial wraps; stapled; spots of discoloration around staples; profusely illustrated. $25
This issue is devoted to the western drama A White Man at the Lyric Theatre, with Lewis Waller, Nora Lancaster, and Dorothy Dix, in January 1908. The color cover depicts Waller in full western regalia, including six-shooter, hat, and buffalo chaps. There are 41 plates or illustrations, after photographs, of the production -- several of Dix as Nat-u-ritch.


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.


WICKSTEED, Philip H. FOUR LECTURES ON HENRIK IBSEN. Dealing with His Metrical Works. London: Swann Sonnenschein, 1892. First Edition. 12mo; patterned "alligator" cloth; photographic frontisportrait. $35
One of the earliest critical works in English, by Ibsen's translator Wicksteed. The subjects dealt with are Poems, Brand, Peer Gynt, and the Social Plays. A contemporary review stated "the strong personality of Ibsen is given full value in the analysis of the moral intention of these works." §Firkins, p. 36.


[WILLIAMS, Barney and Maria.] A broadside for the Williams at Niblo’s Garden,12 November, 1859. 9” x 24”; some creasing and wear to margins; central horizontal fold. $35
The pieces were Buckstone’s Irish Lion, In and Out of Place, and Coyne’s Latest from New York.


[WILLIAMS, Bransby.] A cabinet photograph of Williams, inscribed, signed, and dated. London: Hana, [c. 1900]. Light spotting; minor wear to mount corners. $50
A head-and-shoulders portrait, turned to partial profile, of the actor. Williams, known as the “Irving of the Music Halls,” was noted for his portrayals of characters from Dickens (Mr. Micawber, Scrooge, Uriah Heep, Bill Sikes, and Fagin). With a bold autographed inscription.


WILLSON, Wingrove (Editor). MORE ADVENTURES WITH BUFFALO BILL. London: Aldine, n. d. [1930]. Large 8vo; decorative red boards; color pictorial onlay to upper cover; extremities rubbed; front hinge slightly cracked; light to moderate spotting throughout; four color plates; black-and-white illustrations to text; text in double columns. $20
Twenty-one adventure tales related to Cody. Well illustrated. §Toole-Stott 1610.

[WOOD, Joseph.] A juvenile portrait, “Mr. Wood as Ivanhoe, in The Maid of Judah.” London: M. & M. Skelt, [c. 1837]. Very minor dusting and a couple points of spotting; overall very good. $55
A handsome portrait of the dramatic singer, in armor and plumed helmet. He holds a battle-ax down in his right hand and a shield on his left arm.


[WOOD, William.] A juvenile drama portrait, “Mr. Wood as Conrade Marquis of Montserrat.” [London]: M. & M. Skelt, [c. 1838]. Colored by hand; laid down to light card. $65
A full-length portrait of Wood in armor, standing with legs apart, a banner grasped in his left hand, with a large dog springing at his chest. The scene is presumably in a canine-drama adaptation of Scott’s The Talisman.

[WOODHOUSELEE, Alexander F. (Translator).] THE ROBBERS. A Tragedy. Translated from the German of Frederick Schiller. The Second Edition, Corrected and Improved. London: for G. G. and J. Robinson, 1795. Disbound; some dusting to half-title; small light stain to head of a few leaves; embrowning to terminal leaf. $40
Lord Woodhouselee’s translation, the first in English, including an eight-page preface. “A French translation of this tragedy appears in the Theatre Allemond... by Friedel and DeBonneville. The English translator’s opinion of that version is, that it is perhaps as good as the language of the translation will admit of, but as the French language in point of energy is far inferior to our own tongue, and very far beneath the force of the German, he owns he is not without hopes that his translation may... convey a more just idea of the striking merits of the original.”


WOTTON, M[abel] E. H. B. IRVING, AN APPRECIATION. With Twenty-One Illustrations. London: Cassell, 1912. First Edition. Red cloth; leather spine label; original pictorial wrappers bound in; portrait plates. $15
A compact account of the actor’s life and career, with several portrait plates and a chart of roles and premiers.


[YOUNG, Charles Mayne.]  A stipple engraving, "Mr. C. Young as the Stranger in the Play the Stranger," after N. W. Sharp. [London]: H. Berthould, 1822. 6" x 9 1/2", plus margins; mild dusting and foxing, mostly to margins. $25
Young is shown seated, in costume, a book held in his left hand.

YOUNG, Edward. THE WORKS OF EDWARD YOUNG, LL. D. To which is prefixed The Life of the Author. London: for J. Dodsley, 1798. 3 vols. Original gray boards and buff-paper spines; hand-inked titles to the spines; some creasing and chipping to backstrips; extremities chafed; text fresh; bindings tight; untrimmed. $100
A pleasingly unsophisticated set. The second volume contains Bursis, King of Egypt; The Revenge; and The Brothers.


[YUREV, Yu M.] A photographic postcard of the actor in costume, inscribed and signed, [c. 1910]. Some edge wear; pin hold to head of card (well away from portrait or signature); foxing to reverse; unused. $45
The actor, associated with the Alexandrinsky and Gorky theatres, is pictured in military dress uniform and powdered wig. With a very good signature and inscription.


ZIEGLER, F[riedrich Julius] W[ilhelm]. SYSTEMATISCHE SCHAUSPIEL-KUNST in ihrem ganzen Umfange. Für die Freunde der dramatischen Kunst und ihre Schüler. Wien: Anton Pichler, 1820. Small 8vo; original pictorial wrappers; covers darkened and a trifle creased; lightly foxed. $125
The first edition. Ziegler began his career (as a young actor) in 1783 at Vienna’s Burgtheater where he served for the next 40 years. He was also the author of more than 60 plays. This book, published just before his retirement, was his attempt to establish tenants of the actor’s art and to pass on his knowledge as an actor to students, devotees, and “allen Freunden der dramatischen Kunst.” Ziegler also wished to clarify certain concepts and in his foreword states: “Oft hab’ ich als Schauspieler in dem technischen der Kunst qeirrt, im psychologischien gestrauchelt, bis mich ein würdiger, gelehrter Mann überzeugte, dass die dramatische Kunst in der Seele des Menschen ihren Ursprung habe, und dass nur in ihren Tiefen dramatische Wahrheit zu finden sey, denn sie ist eine psychologische Kunst.” An uncommon title. §Wurzbach 40, #48. Mayer 4510.