1 094 résultats
1973414 Hill Street Berkeley Square London . 'Sunday' 1889 . 4pp. 16mo. In good condition lightly aged and worn. Achurch's entry in the Oxford DNB explains the context: 'In 1889 when she was still only twenty-three she undertook the management of the Novelty Theatre London where on 7 June she appeared as Nora in the first English production of Ibsen's A Doll's House. This was a turning point both in her career and in English critical appreciation of Ibsen.' The letter begins: 'Dear Madam Will you forgive me for writing to you but I should so like to tell you of the intense pleasure you have given my husband & me in “A Doll's House.†We had the pleasure of seeing you in the “Red Lamp†in 1887 & since then have been in India.' On their return home the Hendersons 'made inquiries & to our joy found you were to be in town'. She continues expressing 'the very great pleasure you have given us. I don't expect you can realise what intense enjoyment you give other people'. The Hendersons 'went on the second night & then last week took three friends who enjoyed it as much as we do'. She hopes that 'in a very short time' Achurch 'will have attained the world wide fame which such acting so thoroughly deserves'. She has 'never seen any actress who gratifies my ideal of acting as you do'. 14 Hill Street, Berkeley Square [ London ]. 'Sunday' [ 1889 ]. unknown
21220At head of first page: 'Copy January 16 1894'. A highly interesting letter from a leading Victorian dramatic critic Thomas describes himself in the letter as 'For five & twenty years . theatrical critic of the Daily news & the Graphic' who has 'served under at least thirteen editors' to a leading actor-manager Hare was knighted in 1907 on the subject of alleged editorial pressure on Fleet Street's theatre critics. 4pp 8vo. On four leaves. Aged and worn but with text complete and clear. Thomas has noted on the reverse of the last leaf: 'Letter to Hare about Grundy's Comedy An Old Jew produced at the Garrick Janry 6 1894.' Grundy wrote 'An Old Jew' for Hare who portrayed the main character Julius Sterne. Draft of long letter with numerous minor emendations. He was glad to read Hare's letter despite its 'lingering trace of the languor of the sick room'. 'To me so many years your senior it seems strange indeed to find you speaking of the close of your stage career. I can only say on that head that I hope to live to see you for many more years gathering fresh laurels'. On the subject of Grundy's play he states that he does not believe that 'the journalistic world has any claim to be exempt from the satire or even the extreme caricature which is freely allowed in the case of other classes. Literary cliques & côteries undoubtedly do exist as they existed in the days of Delatouche's Tour de Faveur & Delavigne's Comédiens and Scribe's Camaraderie'. He deplores critics who 'will now fall down & worship certain Scandinavian idols & their crude & offensive methods'. He cannot conceive of 'editors who give instructions to critics to denounce plays contrary to their real opinions'. He can 'only say that I have never met with any such editor. For five & twenty years I have been the theatrical critic of the Daily news & the Graphic & for some years of that time I occupied the same post on The Academy besides writing drama notices occasionally for other journals. Altogether I have served under at least thirteen editors and I can conscientiously affirm that never did any one of these attempt to entice me to speak ill of what I thought or might think a good paly or performance or vice versâ.' After some more observations he concludes: 'Depend upon it the whole thing will be forgotten ere long or remembered only to excite wonder that any sensible journalist of decent standing should have made a fuss about it'. At head of first page: 'Copy | January 16, 1894'. 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
AQ14946London: J. Tabby Printer s.d. c.1830 Single leaf broadside. Central vertical fold. Creased some slight chipping to edges. A rare survival of a double playbill for the Theatre Royal Drury Lane advertising the Christmas pantomime performances of Shakespeare's Othello and The Merchant of Venice and most notably a diorama representing Windsor and surroundings featuring a 'Hydraulic Apparatus.capable of discharging thirty-nine tons of water!' to simulate the falls at Virginia Water. OCLC records a single copy Alberta; COPAC adds no further. . Dimensions 430 x 340 mm. J. Tabby, Printer, [s.d., c.1830] unknown
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
B261337-1N.p. S.n. 1999. 150pp. the last 36 blank. 41 original tipped-in color photographs. Sm. sq. 4to. Boards. Printed on heavy hand-made paper this unique album presents designs for a commemmorative quilt represented by the photographs and with text by the participants. N.p. (S.n.), [1999]. hardcover
WALTER-FILM007297American Ballet Theatre. No binding. Fine. New York: American Ballet Theatre 1970s-2000s. Group of five vintage original 8 x 10" 20 x 25 cm black-and-white glossy print still photos. Photo stamps and blurbs on versos fine. Twyla Tharp b. 1941 is an American dancer choreographer and author who lives and works in New York City. In 1965 she formed the company Twyla Tharp Dance which merged with American Ballet Theatre in 1988. She regrouped the company in 1991. Her work often uses classical jazz and contemporary pop music. She is renowned as an innovative American choreographer known for her unique blending of classical ballet modern dance and popular styles often incorporating elements of jazz social and even street dance. She is also recognized for her Broadway work including choreographing Movin' Out and Come Fly Away and her contributions to film and television. Wikipedia Four photos show the Tony Award-winning choreographer/dancer/writer of American Ballet Theatre in portrait and at work. One is for her ballet How Near Heaven. American Ballet Theatre unknown
B296308-1Roma 1924. 48pp. Prof. illus. Folio. Orig. green wraps. with the avant-garde typography printed in black and gold somewhat worn and foxed. Texts by F.T. Marinetti Enrico Prampolini Vittorio Orazi Gino Gori S.A. Luciani A.G. Bragaglia F. Casavola Fernand Divoire F. Antonio Angermayer Herwart Walden Niklaus Strunke Giuseppe Kodicek V. Huszar. Illustrations by Prampolini Depero Paladini De Pistoris Pannaggi Marasco Dottori Picasso Leger Pitoëff Marcoussis Survage Kiesler Huszar Schmidt Vesnine Exter Tschelischefc Tatlin Feuerstein Strunke Stepanova Puni Boguslawskaya et al. “Noi”’s horizons were considerably broader than Italy. This ‘international review of avant-garde art’ published in Rome between 1917 and 1925 is the chief monument to Enrico Prampolini’s graphic design he was always the editor and to his tireless activity in keeping in touch with various avant-garde circles throughout Europe.” Roma, 1924. paperback
68-6414Paris France: Theatre Sarah-Bernhardt 1921. Program. Folded Card 4 pp. 13.7 x 10.7 cm. Very Good. En Francais. Provenance:Colette Monceau born Nancey 1921-2016. Biographical note: born in Nice in 1921 Colette Monceau was a student of Charles Dullin in the second half of the forties and played in several plays during the same period. At the end of the 1950s she took courses at Pierre Foix's school of graphology in Paris and worked in particular on dance as part of the exam for the Group of Consulting Graphologists of France. Having become a consultant graphologist she also teaches this technique. Particularly interested in the writings of Louis Jouvet and Sarah Bernhardt she wrote three works that remained unpublished as well as several articles. It constitutes a thousand files devoted to actors and actresses as well as personalities from varied backgrounds. Colette Monceau née Nancey 1921-2016. Notice biographique : née à Nice en 1921 Colette Monceau est élève de Charles Dullin dans la seconde moitié des années quarante et joue dans plusieurs pièces à cette même période. À la fin des années cinquante elle suit les cours de l’école de graphologie de Pierre Foix à Paris et travaille notamment sur la danse dans le cadre de l'examen du Groupement des graphologues conseils de France. Devenue graphologue-conseil elle enseigne également cette technique. S'intéressant notamment aux écritures de Louis Jouvet et de Sarah Bernhardt elle rédige trois ouvrages restés inédits ainsi que plusieurs articlesExpertise by Daniel BRUKARZ Expert auprès de la CEA. Paris. Paris, France: Theatre Sarah-Bernhardt, 1921. unknown
1950240868Various 1950. First Edition. Softcover. Play Bill collection from the U.S. and Paris in fine condition overall. Minor dust-dulling as with age. Remains well-preserved overall; tight bright clean and sharp-cornered copies. Physical description; 30 different items which vary from pamphlets pictures postcards invitations news papers ect. Notes; Theatre active in USA and Paris in 1950s. Contents; Playbill: Morosco Theatre Vol. 2 No. 10- Comédie Francaise salle richelieu- New York City Center Advertisement for 15th Anniversary ""The Friends of the City Center"" Carnegie Hall Charles Munch pamphlet- Picture of anonymous musician- Bushnell Prompter January 1 1959 pamphlet- Bushnell Prompter January 1 pamphlet- L'aiglon Théatre Sara-Bernhardt pamphlet- Playbill Happy Hunting- Danton film flyer- Théatre Marigny La peinture Francaise- Mercier Freres pamphlet- Bushnell Prompter February 15- Bushnell Memorial Program Magazine Ballet Russe de Monte Carlo February 16 1952- Sharplace Radio City Music Hall- picture from the R.M.S. Queen Mary- Comédie Francaise The Playbill for the Broadway Theatre- Brackman exhibition flier July 26 to August 30- Concerts Colonne 1956-57- St. Joseph College Alumnae present an outdoor pop concert Tuesda May 29 1956- Showplace Radio City Music Hall May 23 1957- Hildeparde and Ted Straeter advertisement- picuture from the R.M.S. Queen Mary- Post card collection of views of Marymount College Tarrytown-on-Hudson New York- Madeleine Géroy Vous Présente sa Collection- picture from the R.M.S. Queen Elizabeth- Theatre de Paris pamphlet 1957- Zurcher Juustríerte news paper no. 32 August 1927- Souvenir picture from the Chateau Madrid- Happy Hunting Souvenir programme starring Ethel Merman and Fernando Lamas 1956. Subjects; 1950s theatre. USA. Paris. Musicals. Art. Collections. Advertisements. Photographs. Various paperback
12985The five letters from 152 rue Leon-Maurice Nordmann Paris. One from 1980 and the other four from 1982. The first four letters are each 1p. 12mo; and the fifth letter is 1p. 4to. The price list which accompanies the last letter is 2pp. 4to. All items in good condition on lightly-aged paper. In the first letter 4 May 1980 he replies to his correspondent thanking him for a letter 'concernant la representation d'Orphée aux Enfers que vous avez vu à Oxford en 1977'. He declares: 'Je suis très touché et très flatté par votre appreciation au sujet des costumes de ce spectacle et cela m'a fait un très grand plaisir.' He still possesses 'les maquettes originales de ces costumes - et je suis parfaitement disposé éventuellement à en vendre - Je vous indique le prix de ces dessins - 3000FS. la maquette.' In the next letter 28 May 1982 he acknowledges receipt of a cheque for the price of 'la maquette de "Diane" d'Orphée aux Enfers. Je vous en remerci beaucoup et je suis très flatté que vous ayez été seduit par ce costume de Diane et j'espère que la maquette de ce même costume vous plaira de la même façon'. The third letter 7 June 1982 accompanied the 'Diane' maquette. Malclès asks for confirmation of receipt and of the correspondent's satisfaction and informs him that another drawing has been sold. In the fourth and fifth letters 8 and 26 July 1982 concern the sending of photographs of other drawings the latter being accompanied by a numbered list giving the titles and prices of 31 items from '1 planche 4 costumes pour "la Cagnotte" de Labiche. 5000' to '31 Colombe de Jean Anouilh Mde. Alexandra. 4000 la maquettes sic avec 3 danseuses "la Fiancee du Diable". 6000' The five letters from 152 rue Leon-Maurice Nordmann, Paris. One from 1980 and the other four from 1982. unknown
1929155506N.p.: N.p. 1929. Collection of ten vintage route cards advertising the showing schedules of five different traveling theatre shows produced by Cincinnati producer George E. Wintz between 1926 and 1929. <br /> <br /> Among the shows represented in this collection are "Ziegfeld Follies" Irving Berlin's "Music Box Revue" "The Vagabond King" "Rio Rita" and "George White's Scandals." The shows apparently toured primarily in the mid-Atlantic and southern United States. Four cards have postmarks on the verso and are addressed to a Charlie North likely a crew or cast member for Wintz's run of "George White's Scandals" from Harry Cook the props master of Wintz's shows. <br /> <br /> Itinerant or traveling theatre shows gained popularity during the early and mid-1920s with commercial genres such as vaudeville and musical revues finding particular success during Prohibition when jazz cabarets speakeasies and nightclubs would stage elaborate shows in order to hide the fact that audiences were actually flocking in to obtain alcohol. <br /> <br /> Cards range from 3.25 x 5.5 inches to 3 x 5 inches. Generally about Near Fine. N.p. unknown
59124Torino Balbino/Pomba/Fontana.e altri editori date. In 4° cartonati muti non recenti numerose illustrazioni nel testo anche a piena pagina. Disponiamo delle seguenti annate: 1834 anno primo e 1835 rilegati insieme -1836 - 1837 - 1838 alcuni "disegni" a matita - 1839. TUTTI Torino, Balbino/Pomba/Fontana...e altri editori unknown
61859New York: Morris Guest 1924. First edition. Quarto 31cm. Pictorial thick paper wrappers; 40pp; illus. Some trivial dusting to wrappers still a Fine copy free of markings or notable wear. <br /> <br /> Lavish souvenir program for the New York premier of Reinhardt's renowned adaptation of Vollmöller's wordless play illustrated throughout with color reproductions of Bel Geddes' costume and set designs. "The Miracle" was originally produced in 1911 at London's Olympia Theatre; the show traveled throughout the Continent until 1914 when it was closed due to the onset of the Great War. The 1924 American revival began as a traveling show playing in Detroit and Milwaukee before its spectacular grand opening on at the Century Theatre on January 16th. An uncommon program beautifully produced. unknown
196341956New York: The Living Theatre 1963. First Edition. Near fine. Flyer for a benefit event for Amiri Baraka then Leroi Jones hosted by the experimental theater company The Living Theatre. Consisting of readings concert lectures and other entertainments performers included Frank O'Hara Larry Rivers and Joel Oppenhieimer. Proceeds for the event went to Baraka and his then-wife Hettie Jones who were both ill and unable to work. Hardcover. 8.5" x 11" approx. printed recto only in black. Ink mildly faded with slight toning. Very near fine. The Living Theatre hardcover
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
19104868Merida: Imprenta Constitucionalista 1910. Good. Broadside approximately 10.5x15 inches. Previously folded. Two short internal tears with no loss of text or image. Evenly tanned; faint tide line at left margin. Ephemeral early 20th-century Mexican broadside for performances of a traveling theater troupe starring Spanish actress Prudencia Grifell at the Teatro Peon Contreras in Merida Yucatan. The broadside lists members of the company and crew the repertoire of plays to be performed beginning with the comedy "Pipiola" by Spanish playwright Alvaro Quintero ticket prices and other relevant information. The advertisement is illustrated by photo portraits of Grifell and one of her fellow actors. Grifell began in the theater but went on to a long career in Mexican radio film and television following a self-imposed exile caused by the Spanish Civil War. She passed away in 1970 at the age of ninety-three only a year after her final screen appearance. The Peon Contreras theater still stands in Merida although it was seriously damaged by fire in 2022. Imprenta Constitucionalista 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