120 résultats
181962578Los Angeles CA: Richard H. Sloan The Literary Theater ca. 1918-1923. Oblong 4to. 11.25 x 7.25 in. 62 pp unpaginated. on thick black paper stock. With 94 original silver gelatin mounted photographs sized from 3 x 4.5 in up to 7 x 9.5 in. 1 photo laid-in 2 blue colour-tinted nearly all w/ neat white ink cursive manuscript lettering and 1 small newspaper clipping tipped-in. Flexible black ribbed cloth post-binder punch-sewn at gutter margin w/ black braid manufacturer’s label for “Hanson†out of Chicago IL on rear pastedown minor bumping to couple corners edgewear couple scuff marks still VG exemplar. A nicely self-curated photo album visually tracing the acting and design aspirations of a young California actor and bookstore salesman from just after World War I into the Roaring 20’s. The album opens with a striking series of photographs depicting the many different costumes worn and designed by young Sloan for Literary Theater productions in Los Angeles CA including “The Wandering Jew;†as a Chinese artist & potter in “Busted Blossoms†captioned “with apologies to D.W. Griffith†-- adapted from the Griffith’s 1919 extravagant melodrama starring Lilian Gish & Richard Barthelmess as Cheng Huan the Chinese potter; The Melon Thief as a Greek immigrant jst landed on Ellis Island; his poster and costumes for “Her Husband’s Wife†Lars in Ibsen’s “When we dead awaken†as well as roles of Wilhelm II Hamlet a pirate and Dr. Jekyll & Mr. Hyde. He worked as the stage manager for the Literary Theater and also was set designer and prop builder including backdrops and dioramas. The second half of the album is almost entirely devoted to his window displays and bookstore book release displays many featuring dioramas and miniature stage dioramas for various themes. These include stained glass window backdrops for the elaborate Book Window and Stationery Window for Easter 1921 the 1920 book release of Angela Ashford’s stories “Daisy Ashford†including stories dictated by the young precocious 8-year-old; an architectural window in April 1921 featuring iconic Southern California Arts & Crafts architectural titles such as “California Gardens†and Wilson’s “California Bungalows.†Also included are the elaborate diorama featuring thatched palm-tree hut and display additions for Fredrich O’Brien’s “Mystic Isles of the South Seas;†Elk’s Lodge stationery & books in purple & white Humpty Dumpty & House that Jack Built in celebration of the 1921 Children’s book Week E. Philip Oppenheim’s Great Prince Shan filled with Asian iconography; as well as elaborate display for multiple illustrated editions of the Rubaiyat of Omar Khayyam including photo of actors in costume for theatrical production and stacks of copies of Zane Grey’s Wanderer of the Wasteland released January 1923. Fowler Brothers bookstore was at one time the oldest family-owned bookstore in Los Angeles operating from 1888 to 1994 and finally closed due to pressures from large chain stores and subway construction in the 1990’s. Originally founded as a religious and Sunday School supply house it eventually survived six different downtown locations and was originally founded by brothers J.W. Fowler and Robert A. Fowler of South Pasadena. Siegfried Lindstrom grandson of J.W. Fowler was still running the shop when it closed. Sloan 1899-1993 would leave Los Angeles before 1930 and moved to San Francisco where he became longtime window dresser and display artist for the iconic Nathan Dohrmann Department Store noted for their stock of china glassware lamps and art goods. Richard H. Sloan, The Literary Theater, hardcover
18083349<p><i>Theatre Organisation</i></p><p>THEATRE. Capitolare sistematico e parti relative che contengono le regole e discipline dell'Accademie Proprietaria del Pubblico Teatro Berico di Vicenza. Vicenza Gio. Battista Vendramini Mosca 1808.</p><p>4to pp. 28; printed on heavy paper; nineteenth century boards spine label; a fine copy with recent heraldic book-plate of Clementi to front pastedown.</p><p>First and only edition of this document outlining the internal organisation of the Teatro Berico in Vicenza founded in 1799 as the theatre of the Accademia del Teatro and financed by subscription i.e. by selling permanent rights to seats or boxes. To avoid competition with the recently constructed local opera house Teatro Eretenio the Teatro Berico is not to be open during the time of the carneval.</p><p>All academicians named in the first section are entitled to vote on internal affairs; the offices of president and financial chancellor are regulated and the compensation of the office of 'custode' or janitor is outlined. Various additions to the original founding documents are listed.</p><p>The final section covers the financial accounts of the Academy with incoming funds from seat sales offset against the outgoings. Individual productions were apparently financed independently by impresarios.</p><p>Uncommon OCLC lists a copy at Harvard only.</p> Mosca,
1892218409東京. Tokyo.: 福田熊治良. Fukuda Kumajiro. Meiji 25 1892. Three colour woodblock prints a triptych panels loose each 24 x 35.4cm Japanese text in red identifying the actors and in yellow identifying the roles in the upper left of two panels and program title in the top right of the third panel further text within in a red fish-shape in the lower right of the third panel some offsetting of red ink on the first panel but not affecting the main image slivers of affixing tape to the verso of each print some surface wear and abrasion mainly to the verso but the three images in very good bright condition. Dramatic depiction of the famous Kabuki actors Onoe Kikugorō V 1844-1903 as Yosaburô and Onoe Matsusuke IV 1843-1928 playing the role of Kômori Yasu in the 1892 staging of "Yowa Nasake Ukina no Yokogushi" commonly called "Kirare Yosa". <br> <br>Images such as these were collected by Kabuki fans of the day who bought woodblocks of their favourite actors and then had the prints made up into albums so that they could be enjoyed much in the way poster books and other fan memorabilia of famous movie stars is enjoyed today. <br> <br>The artist Toyohara Kunichika 1835-1900 was acclaimed as one of "The Three Greats of Meiji Ukiyo-e". Many stories surround him including his boast that he had moved 100 times which appears unlikely but this claim combined with his hard drinking womanising lifestyle and overall "live for the day" attitude all contributed to his colourful reputation. His work was very popular during his lifetime with his use of bright imported chemical dyes and his technique of focussing the image on the actors face combining to make up his individual style. see 'Time Present and Time Past: Images of a Forgotten Master' by Amy Reigle Newland. <br> <br>From the collection of the late John Caiger lecturer in Asian studies ANU. . 福田熊治良. [Fukuda Kumajiro]. unknown
1820aa736Paris: Hubert Libraire Palais-Royal 1820. First. Very Good. This very scarce novel written by a popular comic French actress is in red morocco with gilt titles on spines and the gilt monogram of the Empress Marie-Louise on both covers indicating that the volumes are from her personal library. Other volumes from her library with similar bindings are held at Cambridge University and at Princeton.<br /> <p>The set is in very good condition overall. Vol. 1 does have some old water damage to front edges of covers half title and endpapers but the rest of the covers and the text are unaffected with only slight age toning and uneven page edges as is sometimes typical for books of this period. Vol. 2 shows none of the issues of Vol. 1 and has only minor scuffing at the corners. Modest foxing primarily at half title and title pages Both bindings are tight and sound. An internet search yields no other originals currently available just modern print-to-order copies. So the novel itself is scarce but its association with the Empress makes this set unique.</p> <br /> <p>Marie-Anne-Florence Bernardy-Nones 1766 - 1818 known as Mademoiselle Fleury was a Belgian actress active in France Her father Louis-Joseph Nones known as Fleury and mother Marie-Anne-Denise Bernardy daughter of Charles Bernardy were comic actors in the provinces who often appeared in the Austrian Netherlands. Mademoiselle Fleury debuted at the Comédie-Française in 1786 and became a sociétaire in 1791 retiring in 1807.</p> <br /> <p>Marie Louise 1791–1847 was Napoleon's second wife and as such Empress of the French and Queen of Italy from their marriage in 1810 until his abdication in April 1814. She was the eldest child of Francis II Holy Roman Emperor and Emperor of Austria and his second wife Maria Theresa of Naples and Sicily. Despite Napoleon’s abdication her royal parentage was recognized by the Congress of Vienna and she became the Duchess of Parma from 1814 until her death.</p> . Hubert, Libraire, Palais-Royal unknown
190010277AB1900. O.O 1900. 16 : 12 cm. Einführungstextblatt 10 aquarellierte Federzeichnungen mit darunterstehenden Text. Zehn lebhafte Szenen meist mit König Freier und Tochter alle in alten Kostümen. Handelt von einem König der 7 Töchter jeweils an einen Mann namens Mayer verheiratet. Am Schluß die Bemerkung über den Namen Mayer ".So möge den der Himmel den holden Namen Maier und die ganze Mayerei immer weiter verbreiten.und möge sie blühen bis in ewige Zeiten". - Jeweils 2 Blatt zusammengeklebt und alt aufgezogen in Leporelloform. - Bei einer Zeichnng fehlt die linke untere Ecke. unknown
1824AQ25374London: J. Tabby 1824. Single bifolium. 2pp. Separated into two leaves. Stab-stitch holes to gutter margins lightly creased and spotted. An apparently unrecorded playbill advertising an evening of entertainment at the New Theatre Royal Drury Lane including a performance of an anonymous adaptation of Sir Walter Scott's 1771-1832 Waverley novel Kenilworth 1821 and Harlequin and the Flying Chest 'the most successful pantomime ever produced' with elaborate scenery including views of Fonthill Abbey and 'a moving diorama intended to illustrate by a succession of perfectly novel and mechanical panoramic views that great national undertaking the Plymouth breakwater' - a coastal sound then under construction and not completed until 1848. . J. Tabby unknown
1817AQ33185London: s.n. 1817. Single leaf broadside. Some creasing and browning. Inked '65' to head of recto. An early playbill - marking the eighth performance - for Charles Edward Horn's 1786-1849 'Serio-Comick Opera' The Persian Hunters which was first staged just nine days earlier on August 13 1817. Based upon a Persian tale in which a Sultan conceives of the notion of romantic love seeking a partner who was ignorant of his royal station and attracted to him for what the La Belle Assemblee described in a contemporary review as 'his mere person'. The periodical notes that the 'scenery is peculiarly good pleasing and characteristic; the music is appropriate accordance with the scenery characters and story'. The building which later housed the English Opera House had been used to stage exhibitions and performances of various types including at different points those of the Royal Academy and Madam Tussauds since 1765 but was not licensed as a patent theatre until 1809. Rebuilt in 1816 by Arnold it re-opened and operated under this name until 1830 when it burned down and later replaced by the Lyceum Theatre. The summer of 1817 marked a time of great innovation for the London stage; both the Theatre Royal Drury Lane and the English Opera House introduced gas lighting throughout replacing candles - changing the atmosphere of the production and theatre ownership a somewhat safer proposition. The proud inclusion of 'The GAS LIGHTS are now introduced over the whole Stage' as the headline of this playbill demonstrates the marketing emphasis that was put on the endeavour. . Dimensions 190 x 305mm. [s.n.] unknown
1831AQ22321London: J. Tabby 1831. Single bifolium. 2pp. A trifle creased to extremities some marking to gutter split at head. The highlight of this double-page playbill is the detailed 'order of scenery' included for the popular Regency hippodrama Timour the Tartar by Matthew Gregory 'Monk' Lewis' 1775-1818 Gothic novelist and dramatist. Timour which debuted at the Royal Opera House Covent Garden in late April or early May 1811 is believed to be the first play expressly written to feature horses. This performance featured horses from Cooke's Circus which appeared in several different performances at the Theatre Royal in May 1831 and their involvement in three scenes is explicitly detailed here. . J. Tabby unknown
187939629New York: A.S. Seer Theatrical Printer 26 Union Square 1879. Broadside 7-1/4" x 11." Printed on pink silk within a decorative border. Light old crease spot at lower right corner. Very Good.<br /> <br /> The play opened at the Union Square Theatre on 30 November 1878 and closed on 16 April 1879 after 137 performances internet Broadway database on line. A.M. Palmer was the manager and lessee of the theatre. <br /> The broadside lists the cast the synopsis of scenery musical selections and the names of the stage and theatre crew. A.S. Seer, Theatrical Printer, 26 Union Square unknown
190019150United Kingdom. Very Good with no dust jacket. 1900. Non-Book. A COLLECTION OF 76 X POSTCARDS OF EDWARDIAN SINGERS AND ACTORS - These postcards are all in very good condition and the subject is Edwardian singers and actors c1900. Most are franked and used some are not. A few of the postcards are signed by the subject. We will not be separating this collection. Please message us for details. ; 6" x 4" . unknown
19004945Chatel-Guyon France: Imprimerie SUAU 1900. About very good. Broadside 23.5 x 15.75 inches. Old folds light wear and soiling. Slight loss to corners pinholes. A woodblock-printed poster advertising a "Concert of Classical and Modern Songs Negro Spirituals" by the "excellent American singer" Charles Boucher. Charles Boucher is further described here as the winner of the first prize at the St. Louis Opera and also the first prize at the Lille Conservatory. We could locate no historical information on him. Chatel Guyon where the present concert took place is located in central France and is known today as a spa town. Imprimerie SUAU unknown
18591011731859. Paris Renau et Maulde 1859. 11pp. 82 21 items described. Nineteenth century brown half morocco marbled boards. Priced throughout and with some names. "La petite collection que nous présentons aujourd'hui en vente se recommande d'elle-même aux amateurs par son intérêt tout spécial d'actualité. C'est une galerie d'acteurs et d'actrices dans laquelle on voit figurer presque tous les noms aimés du public parisien: Mm Allan qui vient de nous quitter Mme Doche Mlle Georges Frédérick-Lemaître Régnier Mme Ristori et d'autres encore que nous avons applaudis tant de fois avec bonheur.". hardcover
1802AQ29612London: P. Boyle 1802. Single card ticket printed on one side only and signed and numbered in manuscript. A ticket granting admission to the gallery of the Theatre Royal Haymarket for a performance of Shakespeare's Merchant of Venice. Apparently unrecorded unsurprisingly given the ephemeral and eminently disposable nature of the item. . Dimensions 90 x 60 mm. [P. Boyle] unknown
1827AQ25469Doncaster: T. Brooke and Co. 1827. Five single sheets printed on one side only. A trifle creased stab-stitch holes to gutter margins early naive paper repair to verso of one playbill. A clutch of five - apparently unrecorded - playbills advertising dramatic and comedic productions at the Doncaster theatre in October of 1827 including Irish dramatist John O'Keefe's 1747-1833 The Young Quaker 1784 playwright and actor John Poole's 1785/6- 1872 immensely popular three-act farce Paul Pry 1825 and Edward Fitzball's 1793-1873 nautical drama The Flying Dutchman or the Phantom Ship which had debuted at the Adelphi Theatre the year prior. . Dimensions 140 x 220 mm. [T. Brooke and Co.] unknown
182073037London: D. S. Maurice for T. Hughes circa 1820s. Small 8vo. 11 volumes. Bound in a recent quarter calf over marlbed boards with raised bands red and green labels and gilt lettering and ruling to spines. 63 plays with a mixture of tragedies comedies operas and farces by a variety of playwrights including Shakespeare Southerne Dibdin Garrick Sheridan and Brooke. 12.5cms tall. . Very Good. 1/4 Calf. 1820. D. S. Maurice for T. Hughes circa 1820s unknown
1869List3680Boston: Koppitz Prüfer & Co. 30 West St. cor. Mason Street; New York: Wm. A. Pond & Co 1869. Folio lithographed cover with hand-coloring. Stitching removed at margins suggesting this was bound in a larger volume else about fine. Signed by Holt next to the illustration. Near Fine. A finely executed example of post–Civil War American sheet music lithography depicting stage performer Elise Holt in masculine costume top hat and cigar in a style typical of Boston commercial lithographic production of the period. The imagery situates Holt within the established nineteenth-century tradition of theatrical male impersonation or “breeches roles†in which female performers adopted masculine dress and gesture as part of fashionable stage personas. Archival records identify Holt as a ballet dancer who later appeared as a burlesque performer and died while touring in 1873 after contracting typhoid fever.1 She led the Elyse Holt Burlesque Troupe. Photographic evidence held by Digital Commonwealth likewise shows Holt posed in masculine stage attire indicating that male impersonation formed part of her professional repertoire. The song sometimes seen as “Tassels on her Boots†extolls the virtues of women’s clothing. Overall a nice lithographic example of women performing in men’s roles showing a fairly obscure but widely touring performer whose career was tragically cut short by illness. We find two copies of this sheet at BYU and Baylor.<br /> <br /> 1 “Elise Holt ballet dancer turned burlesque star†Kentucky Historical Society Nicola Marschall Collection https://www.kyhistory.com/digital/collection/PH/id/2477/. unknown
1886AQ23260London: W. S. Johson 1886. 8pp. Stitched as issued. Old central horizontal fold a trifle spotted. A programme for a performance of Goethe's Faust on May 10th 1886 at the Lyceum Theatre then under the management of Henry Irving 1838-1905 with Bram Stoker 1847-1912 serving as acting manager. It has been argued that the titular character of Stoker's Dracula 1897 was in part inspired by Irving’s portrayal of Mephistopheles in a production of Faust; and indeed the works of Goethe more broadly were highly influential in particular his poem 'Die Braut von Corinth' 1797 that introduced the vampire to German literature. . Quarto. [W. S. Johson] unknown
1858AQ25652London: Printed by J. W. Peel 1858. Single leaf broadside. numerous old horizontal and vertical folds. A trifle creased and browned. An apparently unrecorded playbill advertising performances at the Theatre Royal Drury Lane of William Leman Rede's 1803-1847 two-act farce His First Champagne and Edward L. Blanchard's 1820-1889 comic pantomime Little Jack Horner or Harlequin A. B. C. and the Enchanted Regions of Nursery Rhymes! The bill rather verbosely described the pantomime as 'Allegorical Beautiful Comical Diverting Educational Fanciful Gorgeous Hyperbolical Intellectual Jovial Keen Laughable Merry Novel Original Peculiar Quizzical Romantic Splendid Transcendent Unobjectionable Volatile Waggish Extravagant Youthful and Zigzaggy'. In the pantomime an entreaty to literacy and knowledge Intelligence sends Proverb to help Jack Horner with his studies Jack fends off Ignorance with the Sword of Perseverance and sent to a 'Fairy Aquarium' with a coral palace to see what can be achieved by Imagination. The spectacular visual scenery provided by William Beverley in particular the 'Fairy Aquarium' was universally praised; indeed even the The Times who dismissed Blanchard's efforts stating that 'People do not expect to be edified and instructed at a pantomime' were effusive in their praise: 'As its wonders gradually revealed themselves and the circumambient air no less than terra firma became peopled with floating nymphs and soaring fairies the applause was vociferous and continuous and a summons first for Mr E. T. Smith the manager and next for Mr Beverley the artist presented the climax of excitement'. . Dimensions 500 x 510 mm. Printed by J. W. Peel unknown
1829AQ22323London: Printed by W. Reynolds 1829. Single leaf broadside edges uncut. A trifle creased and browned. An apparently unrecorded late Georgian playbill advertising an evening's entertainment at the Theatre Royal Covent Garden on 2nd February 1829 including a performance of the juvenile comic pantomime 'Harlequin and Little Red Riding Hood; or the Wizard and the Wolf' starring Joseph Grimaldi 1778-1837 as Granny Rose; but perhaps more remarkably featuring a moving Panorama depicting the progress of Russian forces enroute to the Turkish capital presumably during the then ongoing Russo-Turkish War 1828- 1829. Though apparently unrelated to any of the performances staged on 2nd February this elaborate panorama was produced by the Scottish artist and noted scene painter David Roberts 1796-1864 and clearly a significant enough draw to London audiences to be noted in the billing. . Dimensions 220 x 350 mm. Printed by W. Reynolds unknown
1833AQ25373London: Printed by W. Reynolds 1833. Single leaf broadside two edges uncut. A trifle creased and browned early manuscript note 'turn over' / 'postponed' to head. An apparently unrecorded playbill advertising the debut performance at the Olympic Theatre London of The Bridal Promise an adaptation by John Oxenford 1812-1877 of French composer Ferdinand Herold's 1791-1833 opera comique Zampa ou La fiancée de marbre 1831. As the manuscript note attests the performance was postponed an extant contemporary broadside suggests until June 10th. . Dimensions 200 x 350 mm. Printed by W. Reynolds unknown
1827AQ27774Wakefield: Hurst Printer 1827. Single leaf broadside. A trifle shaved at foot stab-stitch holes to one margin. An apparently unrecorded playbill advertising a performance of Richard Brinsley Sheridan's 1751-1816 perennially popular comedy The Rivals 'by the desire' of the Gentleman's Book Club of Wakefield West Yorkshire. The Rivals premiered at Covent Garden on 17th January 1775. It was universally vilified for its length bawdiness and the poor performance of actor John Lee 1725-1781 in the role of Sir Lucius O'Trigger. Sheridan withdrew the play immediately and over the course of ten days rewrote it extensively. The play reopened on 28th January with a more capable actor in the role of the comic Irishman to significant acclaim and has remained a standard of English theatre ever since. . Dimensions 140 x 220 mm. Hurst, Printer unknown
1825AQ25615Wolverhampton: Smart Printer 1825. Single leaf broadside. A trifle creased top-edge ragged stab-stitch holes to one margin. An apparently unrecorded playbill advertising an evening's entertainment at the Wolverhampton theatre on 4th February 1825 including a performance of actor and playwright William Rowley's 1585-1626 didactic romance A Woman Never Vexed to be followed by 'the highly celebrated comic Pantomime' Harlequin Gulliver; or the Flying Island an elaborate production which had debuted at Covent Garden during the 1817 season loosely based upon Swift's satirical masterpiece and featuring extravagant set pieces including 'the appearance of the flying island' and 'a view of the court yard and royal palace in Lilliput'. . Dimensions 220 x 420 mm. Smart, Printer unknown
1823168037London: New Theatre Royal 1823. An ephemeral playbill for Thomas Dibdin's "The Chinese Sorcerer" a two-act spectacle with characters including the Emperor Qianlong a magician called Whang Fong the head of a "Horde of Tartar Plunderers" and a familiar by the name of Chop-Stick. The play was first performed on 31 March 1823 with this bill promoting the sixth performance. Scenes are set at the imperial court in the faraway reaches of the empire in an enchanted valley and a necromantic tower and inside the "Magnificent Hall of Tien superbly decorated for the Feast of Lanterns". Patrons of the New Theatre Royal could also look forward to a performance of "The Siege of Belgrade" a popular comic opera premiered in 1791. Letterpress broadside 320 x 175 mm. Near-contemporary pencil mark beside the name of the actor Mr. Harley. Sometime roughly cut along edges loss at foot affecting text of advert for another play. A very good example. unknown
189031264København 1890 København 1899. Indb. m. det orig. foromslag til "Hedda Gabler" i ét lidt senere blåt hshirtbd. "Hedda Gabler" m. gl. ejernavn på titelbl. og maginalrestauration til sidste teksblad ellers er begge værker helt rene og friske. <br/><br/><em>To originaludgaver.First editions of both works bound w. the orig. front-wrapper for "Hedda Gabler" in one a little later blue full cloth. Old owner's name to title-page of "Hedda Gabler" and marginal restauration to last leaf otherwise both works are very nice and clean. "Ibsen's influence on the whole course of modern drama may be indicated by the inclusion of his plays in the repetoire of every Anvant-garde theatre of his day - the Théâtre Libre Paris 1887 Die Freie Bühne in Berlin 1887 and The Independant Theatre in London 1891-" Printing and the Mind of Man: 375. </em> hardcover
1822004SEHurst Robinson and Co. London: Ca. 1822. 1822 Twelve Volumes. Engraved illustrations. All edges marbled. Slightly age stained. 12mo. Original full cloth bindings decorated in blind. Gilt lettered spines. Slight loss at head and tail of spines. Hardbound. A large collection of English plays. Each work bound with an individual title page and sometimes an engraved frontispiece. Pagination not continuous. Fascinating collection of early nineteenth century plays. A very nice set. PRICE JUST REDUCED! SET/W56 Language: eng. Hardcover. Very Good. Hurst, Robinson, and Co., London: Ca. 1822. hardcover