The Ricky Jay Collection

Anderson, John Henry (The Great Wizard of the North)

Anderson, John Henry (The Great Wizard of the North) Standard Theatre ... a Night in Wonder-World. [London]: n.p., [1851] Printed broadside playbill (751 x 340 mm). Elaborately printed in green and black, with four woodcut vignettes depicting Anderson's performances; three old folds, some abrasions with very small chips, stray spots, trimmed at left margin. Framed and glazed with Plexiglass. A handsome and ornate broadside advertising The Great Wizard of the North at the Standard Theatre. In his usual lavish fashion, Professor Anderson, famous for his self-promotion, here announces "his magical drama, a Night in Wonder-World." While Anderson relentlessly criticized conjurers who borrowed from him, "he never hesitated to appropriate material from skilled rivals. For [this performance] Anderson copied not only major illusions from the repertoire of the great French conjurer Robert-Houdin but the basic design of his posters as well. This one was patterned after a bill produced by the Frenchman in 1849 that similarly featured distinctive colored borders surrounding woodcut vignettes of the magician. In Anderson's version, four pieces were lifted from Robert-Houdin's show: 'The Fantastic Portfolio,' 'The Ladies Favorite,' 'The Shower of Gold,' and 'The Inexhaustible Bottle'" (EE). In addition to the entertainment, Anderson announces that, for the audience's pleasure, "The Theatre will be Nightly Ventilated by an Improved form of the Great Hindostanee Punkah Scented with Frangiapanni and diffusing Odoriferous Coolness through the House." REFERENCE: EE, p. 126; Magic, p. 187

View 1 of Lot 13: Anderson, John Henry (The Great Wizard of the North) | An ornate playbill for "The Great Wizard of the North"

anderson, john henry (the great wizard of the north) | an ornate playbill for "the great wizard of the north"

(Automata) Wonders of Art. Lancaster: Wm. Albright, 1833 Letterpress playbill (540 x 440 mm). Six woodcut vignettes, decorative border, date and place of event handwritten in black ink; old horizontal fold, small tears along fold with some loss at center, chips to head, short closed tears to left margin. Matted and framed. Featuring six automata musicians, including Mons. Flaminingo, Signior Shahabaham, and Signor Bibberinno, who were to perform a musical act in which each automaton would imitate "the Banjo," "five instruments at one time," "the small violin," "the Bass Violin," while one would play "the Cymbals, and [perform] a variety of amusing feats." "This early American playbill featured magic in conjunction with a large variety of exhibitions: automata, fireworks, and ghost-show magic-lantern projections known as phantasmagoria. A popular quasiscientific conjuring effect known as the Philosophical Swan was also demonstrated" (Magic). REFERENCE: Magic, p. 39

(automata) | early american playbill for an automata musicians

Madame Wood [Louise Delille?] At Gothic Hall! ... Grand Hindoo Festival, or Feast of Enchantment, by the Distinguished Madame Wood, Formerly Mademoiselle Adrien, The Magic Queen... [Philadelphia?: ca. 1850] Broadside playbill (511 x 162 mm). Printed in an assortment of types, engraving by F. E. Worcester showing Madame Wood and her Temple of Enchantment; not examined out of frame, occasional separation along folds, a few chips and slight fraying to edges. Matted, framed, and glazed with Plexiglas. It is unusual to find an early nineteenth-century American playbill devoted entirely to the performance of a woman conjurer. Only seventeen, she is here introduced as "The Magic Queen," presiding over her "Temple of Enchantment," with "Hindoo Magic, Thaumaturgics, and Necromancy" (EE). REFERENCE: EE, pp. 104-105

View 1 of Lot 627: Madame Wood [Louise Delille?] | An unusual playbill devoted entirely to a woman conjurer

madame wood [louise delille?] | an unusual playbill devoted entirely to a woman conjurer

Important Manuscripts, Continental Books and Music

STRAUSS, RICHARD Two playbills for his operas, "Der Rosenkavalier", "Daphne" and "Friedenstag", Dresden, 1912 and 1938 ﻿Der Rosenkavalier, Königliches Opernhaus, 23 February 1912, c.30 x 17.5cm; Daphne [and] Friedenstag, Sächsische Staatstheater Opernhaus, 15 October 1938, c.36 x 22cm, somewhat trimmed and stained

r. strauss. two playbills for his operas, "der rosenkavalier", "daphne" and "friedenstag", 1912 & 1938

(Circus, Equestrian) A group of seven broadsides featuring horsemanship in the early circus A Representation of the Surprizing Performances of Mr. Price. [London]: J. Williams, [ca. 1767]. Engraved broadside (200 x 215 mm). Woodcut engraving of Price on horseback with two performers at center, surrounded by a border of eight more woodcut vignettes, each with printed caption, tipped on to a sheet of paper; a few creases, browning at corners, stray spots. — Various Feats of Horsemanship By Mr. Sampson. Islington [London]: np, [1767]. Letterpress handbill (190 x 145 mm). Printed in black, mounted on paper, photograph mounted on verso; some wear to left margin, stray spots. — Hughes, Charles. Hughes's Riding-School, Black-Friars Bridge. [London]: np, [ca. 1772]. Letterpress playbill (290 x 230 mm). Two woodcut vignettes depicting horsemanship at head; dampstaining to margins especially at corners, spotting, old horizontal fold, tape to upper right corner on verso. — Astley, Philip. Astley's Summer Amusements. [London]: np, [ca. 1785]. Letterpress playbill (427 x 184 mm). Printed in several type sizes, "Astley's Amusements in London" in ink on verso; old folds and creases, wear to margins, some text a little faded. — Helme, Jack. For the Benefit of Mr. Helme. Royal Circus. London: Farmer, 1798. Letterpress playbill (595 x 250 mm). Printed in numerous type sizes; old folds and creases, a few pinholes, a little wear to left margin with chip to upper corner. — Another Change. At the New Circus in the Market-Place. Hull: J. Ferraby, 1803. Letterpress playbill (418 x 168 mm). Printed in several typefaces and sizes, woodcut vignette at head; old horizontal folds, chips to left margin, some spots. — Miss Bannister. Olympic Circus. Leeds: Dewhirst, 1818. Letterpress playbill (510 mm x 190 mm). Woodcut vignettes depicting horsemanship at head and center, reverse woodcut with engraved text; short closed tear to head, a few pinholes, two old horizontal folds, creases. Including playbills for Philip Astley and his rival Charles Hughes. The broadsides announce numerous feats of horsemanship, including "Riding upon his Head and firing a pistol on full speed," "a droll Piece of Horsemanship Burlesqued," a performance by a "Sagacious Little Pony, which fetches and carries like a Spaniel," among others. The broadside for Hughes contains a dare to the audience: "Let any Horseman who can equal Hughes's Activity ... he shall receive a premium of £100." This offer also appears in Lot 353—though there Hughes has upped the ante to a £200 prize. Sold as group lot, not subject to return.

View 1 of Lot 173: (Circus, Equestrian) |  Attractive eighteenth- and nineteenth-century horsemanship playbills

(circus, equestrian) | attractive eighteenth- and nineteenth-century horsemanship playbills

(Learned Animals, Horses) Operazione Meravigliosa D’un Cavallo. Milan: [Giacomo Angelo] Nava, [ca. 1618] Letterpress broadside playbill (404 x 238 mm). Printed in Italian within a floriated border, crude woodcut of the horse jumping through eight hoops; not examined out of frame, old folds, soiling, right edge and lower corner supplied, mostly affecting the border, a few words clipped. Framed and glazed with Plexiglas. This is a very early example of an illustrated sheet used to advertise a specific performance—a playbill, in other words. This broadside advertises an unnamed horse's performance in Milan, where he demonstrated a mastery of English, French, and Italian; he told the time in those languages, performed card tricks, and pretended to be dead, lying on the ground until prompted to rise. The horse collected money and fetched wine (my kind of horse), and drank to the health of the audience. This accomplished animal would jump through four, six, or eight hoops (as seen in the woodcut). Further distinguishing this equine showman, he was said to be particularly respectful and solicitous of the ladies in attendance. REFERENCE: Exemplars, p. 260; EE, pp. 18-19

View 1 of Lot 332: (Learned Animals, Horses) | An early playbill advertising an accomplished horse 

(learned animals, horses) | an early playbill advertising an accomplished horse

Professor Faber New Hall ... Marvelous Talking Machine. [London]: np, [1880] Letterpress handbill (228 x 145 mm). Printed on yellow paper, hand-dated at head; chip to upper left corner, short closed tear to right margin, crease. Matted. Lord Rayleigh (misprinted on the playbill as Ragleigh), a scientist at the University of Cambridge, developed the duplex theory of human sound localization, and in 1904 was awarded the Nobel Prize in Physics "for his investigations of the densities of the most important gases and for his discovery of argon in connection with these studies." REFERENCE: "The Nobel Prize in Physics 1904," NobelPrize.org

View 1 of Lot 233: Professor Faber | A playbill featuring a future Nobel Prize winner's testimonial

professor faber | a playbill featuring a future nobel prize winner's testimonial

(Circus, 18th Century) A group of four broadside playbills. [Various places: ca. 1785-1799] Lot includes: Astley's Amphitheatre. The Prince Chimney Sweeper…The Musical Child, from Newcastle upon Tyne…The original Dancing Dogs…[London: np, circa 1785]. Playbill broadside (336 x 290 mm). Verso with 20 woodcuts of performing dogs; spotting and creasing. — Smallcomb. A General Display of Grand Entertainments… Bristol: John Rose, 1790. Playbill broadside (498 x 210 mm). Woodcut of horse and performer at top; spotting and creasing, some soiling, long closed tear, some marginal chips. — Smith's Night. Circus. Extraordinary Performances. Manchester: J. Harrop, 1799. Playbill broadside (695 x 245 mm). Spotting and creasing, chips to edges, longer tear to top affecting title without costing text. — Smith's Night. A new Musical Entertainment…with new Scenery, Machinery, Decorations, &c… [Dublin]: Burnside Printer, 1800 [but likely 1799]. Playbill broadside (568 x 223 mm). Spotting, creasing, marginal repair. Group lots not subject to return. Wonderful and learned ponies, trampoline tricks, dancing dogs, and much more.

View 1 of Lot 170: (Circus, 18th Century) |  A group of four broadside playbills

(circus, 18th century) | a group of four broadside playbills

Robert y su Esposa Teatro Argentino ... Robert y su Esposa. Buenos Aires: Imprenta de la Libertad, [1842] Letterpress playbill (619 x 483 mm). Three woodcut vignette figures in black and white at foot, decorative border with woodcut vignettes colored in orange, tipped-in date handwritten in black ink; creases, stray spots. Matted, framed, and glazed with Plexiglas; not examined out of frame. An announcement that a Mr. Robert and his wife were "eager to express to the respectable audience their feelings of gratitude and appreciation," and as such, had arranged a grand performance at the Teatro Argentino, featuring a full orchestra. The performance was to take place in three acts: first, a comedic performance; second, an hour of magic from Mr. Robert including "proofs, physical dexterity, sleight of hand, conjurings, magic, transformations, metamorphoses, appearances and disappearances"; third, Mrs. Robert would perform juggling acts, along with "other difficult and rare tests." Following this was to be a fire dance, "the lovely balancing act of the two dogs dressed as a Marquesa and a Marquis," and for a grand finale, the balancing of five bayonets on a single tooth. The broadside features "Long Live the Argentine Confederation!" and "Death to the Savage Unitarians!" printed at the head, slogans "used by the dictator Juan Manuel Rosas, who must have insisted upon their inclusion on this broadside" (EE). REFERENCE: EE, p. 112

View 1 of Lot 526: Robert y su Esposa | Argentinian playbill for "conjurings, magic, transformations ... of the most extraordinary kind"

robert y su esposa | argentinian playbill for "conjurings, magic, transformations ... of the most extraordinary kind"

Talon, Phillippe [Henry Graham] Victoria Royal Theatre ... Passion Week!. Lambeth: J.W. Peel, 1858 Letterpress playbill (686 x 419 mm). Printed in orange and black, with four woodcut vignettes and woodcut coat of arms; old horizontal fold, small tears along fold and at margins, some small chips, long repaired tear to head. The French conjurer Phillippe Talon was one of the great magicians of his day—touring Scotland and Ireland before landing in London, where he became widely acclaimed. He is "generally acknowledged to be the pre-eminent French conjurer before the advent of Robert-Houdin" (EE). What is significant about this distinct playbill, however, is that it is "advertising not Talon, but another who purposely usurped his name and reputation. The imposter was a fellow called Henry, or Harry, Graham, who made a career of impersonating foreign magicians and capitalizing on their fame. ... The great magician Carl Herrmann ... came energetically to the defense of his friend Philippe [sic] when he realized that an impostor was performing in his stead. Herrmann left Graham with a 'bleeding proboscis, and discolored optic, to proceed as well as he could to entertain his audience'" (EE). "The Mulholland Library has an undated Philippe playbill for a show at Guildford with [the same woodcuts as this playbill]. A note, likely in Houdini's handwriting, reads 'graham Bogus Philippe [sic]'" (EE). REFERENCE: EE, p. 136

View 1 of Lot 579: Talon, Phillippe [Henry Graham] | A playbill advertising notable imposter Henry Graham

talon, phillippe [henry graham] | a playbill advertising notable imposter henry graham

Charles Dickens: The Lawrence Drizen Collection

DICKENS, CHARLES Signed invitation card with AUTOGRAPH ENTRY IN THE AUTHOR'S HAND, SIGNED ON THE VERSO, together with annotated playbill for the production of Ben Jonson's "Every Man in his Humour", performed by Dickens' company, the Amateur players playbill 265 x 215mm, printed in red, green and gold, the invitation card 98 x 136 mm., printed in green and gold, playbill slightly creased at folds A VERY RARE EXAMPLE OF A TICKET AND PLAYBILL FROM ONE OF DICKENS' THEATRICAL PERFORMANCES, AND POSSIBLY UNIQUE IN APPROXIMATING A COMPLETE CAST LIST. Dickens' performance as Captain Bobadil in his private production of Jonson's comedy is widely regarded as his highest theatrical achievement. The invitation card, which is also in effect a ticket to the performance, carries his characteristic signature on the verso, and an autograph entry requesting the pleasure of "Miss Holskamp's" company on the first night, seating her in "Boxes, Second Circle", number "44". The success of the author's performance is attested by a portrait of him in the role, painted by C.R. Leslie in 1846, and lithographed by Thomas Maguire. The playbill is annotated (in a separate hand) with an almost complete cast list, providing a fascinating record of the roles taken by members of Dickens' family and his friends, such as Fred Dickens, Mark Lemon, Douglas Jerrold, John Leech, Augustus Dickens, Marcus Stone, Frederic Evans and others. The first night, at Miss Kelly's Theatre, was a lavish affair, preceded by the overture to Rossini's William Tell (Dickens had recently returned from Italy, which may have influenced the choice) and silver-fork novelist Catherine Gore's one act farce A Good Night's Rest; or, Two O'Clock in the Morning. Miss Holskamp was one of four sisters born in Somers Town near Camden Town in north London. The most likely invitee is Margaret Holskamp (1827-1908), who is cited as a correspondent of Kate Dickens by Liian Nayder, in her biography of Dickens' wife (The Other Dickens: A Life of Cathering Hogarth, p.139), and who is recorded as having discouraged the advances of William de la Rue, brother of Augusta de la Rue, whom Dickens met in Genoa in 1845 and on whom he practiced the power of mesmeric healing. A photocopy of an autograph note by the Dickens collector William E. Self is included in the lot, where he suggests that the names of the actors are in the hand of Dickens' wife Catherine. This is possible, since it is well known that Catherine contributed to the production. A copy of Bell's Edition of the Garrick version of Every Man in his Humour (8vo, 1777), wrappers, is also included in the lot. PROVENANCE: William E. Self, copy of autograph note included in the lot

[dickens], signed invitation card and playbill for every man in his humour

American Art

ivanhoe playbill

Program for the 1960 summer season in Stratford, Connecticut, signed on the cover in blue ink Katharine Hepburn, featuring Miss Hepburn as Viola in Twelfth Night and Cleopatra, Queen of Egypt in Antony and Cleopatra.

a 1960 american shakespeare autographed playbill

Ink drawing on board, depicting Katharine Hepburn in the arms of her co-star, signed in black crayon at the bottom Katharine Hepburn, with writing on the reverse, possibly by Miss Hepburn; together with a playbill from the production at the Shubert Theatre in New York City, which opened on April 10, 1939. Typed panel missing at the right edge. 2 items

an autographed caricature and playbill from the play the philadelphia story

Signed on the covers in black marker Katharine Hepburn, including playbills for performances at the Rochester Theatre Club, the Hanna Music Hall, Bushnell Memorial Hall in Hartford, CT and the Mechanic Theatre in Baltimore, MD. Minor wear on one cover. 4 items

a group of four autographed playbills from coco, 1971

Underside with printed hand and brush mark.  One with repaired chip.  Together with a pair of Neoclassical silver and rouge marble candlesticks in the form of urns on columnar plinths.  5 items

three fornasetti porcelain dishes in the form of italian opera playbills, second half 20th century

Vivien: The Vivien Leigh Collection

approximately 780 playbills for performances at the Theatre Royal, Drury Lane, 25 September 1825 - 20 June 1829, each 332 x 205mm. and similar, several double page (mostly towards end), 6 printed in black and red, approximately half on blue and half on cream paper, each season separated by a blank sheet, scattered manuscript notes (for example: "Attended with Susan and T. Vernon" on 27 November 1826), bound in one volume, folio, half calf over marbled boards, spine lettered in gilt, binding very worn and fragile, lower board detached, gilt faded, a few sheets loose, one bill torn across centre, one sheet with old repair on the verso

a bound collection of playbills, 1825-1829

(i) Photographic portrait of Oscar Wilde, a fine portrait showing the author wearing  a coat with buttonhole flower and pocket handkerchief, seated, cross-legged,  signed by wilde, mounted on photographer's card heaed "W. & D. Downey Photographers by Special Appointment to her Majesty the Queen. Studios 57 and 61 Elbury Street. London S.W.", [? New York, ?1880s]

(i) Photographic portrait of Oscar Wilde, a fine portrait showing the author wearing  a coat with buttonhole flower and pocket handkerchief, seated, cross-legged,  signed by wilde, mounted on photographer's card heaed "W. & D. Downey Photographers by Special Appointment to her Majesty the Queen. Studios 57 and 61 Elbury Street. London S.W.", [? New York, ?1880s] Another print of this photograph is illustration no.40 in Richard Ellmann's biography Oscar Wilde ("Wilde, about 1894"). Another signed version was used as the frontispiece to Sherard's Oscar Wilde The Story of an Unhappy Friendship, where Sherard dates the photograph to 1892. Three photographs, possibly from the same sitting, were sold as lot 22 in Sotheby's sale Oscar Wilde, 29 October 2004. (ii) Playbills for Lady Windermere's Fan, St. James's Theatre, 20 February 1892; A Woman of No Importance, Haymarket Theatre, 19 April 1893; An Ideal Husband, Haymarket Theatre, 3 January 1895; The Importance of Being Earnest, St. James's Theatre, 14 February 1895 photograph and playbills mounted in album, specially bound in purple morocco by Judith Ivry, marbled endpapers

collection of photograph and opening day playbills for four wilde plays:

a lithograph portrait of a woman with a playbill behind broken glass

including first and early editions of Gymnopédies, Sonneries de la Rose & Croix, Ragtime Parade, Sarabandes, Pièces froides, Deux Préludes posthumes et une Gnossienne (orchestrated by Poulenc and inscribed by Poulenc to Sauguet) etc, contemporary playbills and programmes for Satie's own works (7 June 1920 "Festival Erick Satie" including Socrate;  28 October 1921 for works by Satie, Sauguet, Milhaud, Durey and others, 1925), 7 photographs of Satie with others (including one with Debussy), an autograph enelope addressed to Henri Sauguet, newspaper-cuttings (one from Satie's funeral)

including first and early editions of Gymnopédies, Sonneries de la Rose & Croix, Ragtime Parade, Sarabandes, Pièces froides, Deux Préludes posthumes et une Gnossienne (orchestrated by Poulenc and inscribed by Poulenc to Sauguet) etc, contemporary playbills and programmes for Satie's own works (7 June 1920 "Festival Erick Satie" including Socrate;  28 October 1921 for works by Satie, Sauguet, Milhaud, Durey and others, 1925), 7 photographs of Satie with others (including one with Debussy), an autograph enelope addressed to Henri Sauguet, newspaper-cuttings (one from Satie's funeral) over 50 items

collection of first editions, satie's printed birth announcement, contemporary photographs, playbills and other ephemera and memorabilia of erik satie

Music and Continental Books and Manuscripts

being for a performance of Mozart's Die Zauberflöte on 5 January 1802 at the Theater an der Wien, Vienna, under the direction of Emanuel Schikaneder, and for a performance of Beethoven's Fidelio on 4 September 1814 at the Kärntnertortheater, Vienna, 32.3 x 19.8cm (Mozart) and c.20 x 34.5cm (Beethoven), the Fidelio playbill framed and glazed, the Zauberflöte playbill mounted on card, the Fidelio playbill also showing details of other theatre pieces performed on the same day in two other theatres, Vienna, 1802 and 1814

printed playbills for die zauberflöte and fidelio

the concerts given, or including performances, by Brahms (20 March 1864), Berlioz (16 December 1866), Bruckner (20 November 1870), Liszt (11 January 1874), Eduard Strauss, Rubinstein (3 November 1867), Hiller, Joachim, Liszt, Rubinstein, Saint-Saëns, Lachner, Herbeck, Tausig and others   

the concerts given, or including performances, by Brahms (20 March 1864), Berlioz (16 December 1866), Bruckner (20 November 1870), Liszt (11 January 1874), Eduard Strauss, Rubinstein (3 November 1867), Hiller, Joachim, Liszt, Rubinstein, Saint-Saëns, Lachner, Herbeck, Tausig and others    c.50 items, various sizes, Vienna, 1861-1899, a few small tears, some dust-staining and creasing

collection of over fifty programmes and playbills for concerts in vienna

including the complete run of nine subscription concerts for the season 1899-1900, with Mahler conducting his own music and that of Bruckner, Brahms, Schumann, Richard Strauss and others; with a programme for his Sixth Symphony in 1907

including the complete run of nine subscription concerts for the season 1899-1900, with Mahler conducting his own music and that of Bruckner, Brahms, Schumann, Richard Strauss and others; with a programme for his Sixth Symphony in 1907 11 items, 8vo and 4to, 13 March 1899 to 4 January 1907, Vienna, Verlag der Philharmonischen Concert-Unternehmung, a few tears and creases to margins

good collection of eleven contemporary playbills for concerts conducted by mahler in vienna 

including playbills for the first performance of Oberon (London, 12 April 1826), for Silvana (Linz, 1827), Der Freischütz (8 March 1826), and the overture to Der Freischütz (18 March 1826); together with three printed portraits of Weber (one with three caricatures by Hüllmandel of Weber conducting Der Freischütz), engraved and mezzotint portraits of Handel, Arne, Dussek, Fesca and Mrs Stephens, and two engraved song-sheets

including playbills for the first performance of Oberon (London, 12 April 1826), for Silvana (Linz, 1827), Der Freischütz (8 March 1826), and the overture to Der Freischütz (18 March 1826); together with three printed portraits of Weber (one with three caricatures by Hüllmandel of Weber conducting Der Freischütz), engraved and mezzotint portraits of Handel, Arne, Dussek, Fesca and Mrs Stephens, and two engraved song-sheets 15 items in all, the London playbills c.32 x 19.5cms, framed and glazed, various sizes (up to c.50 x 58cms) , mostly English, 1820s, some dustmarking

good collection of framed playbills and printed portraits

L12404

340 by 230mm. (average), dated between 17 April 1801 and 19 October 1868, extremities occasionally frayed with some loss, some examples trimmed, occasional loss and soiling

a collection of c.290 playbills

Music, Continental and Russian Books and Manuscripts

1) An almost complete series of the operas, first and early editions, over 40 volumes, most in half- or quarter calf, including fifteen items signed and inscribed by Massenet, some with autograph musical quotations, including Werther, Esclarmonde (2), Marie-Magdeleine,  Ḕve (to his mother), Scènes de Féerie, (full score), Narcise, Les Erinnyes (full score), Le Cid, Bacchus (to his niece), and 20 mélodies, 8vo and 4to; together with: Manon, a de-luxe limited edition (1884), over 30 early editions of airs and extracts from the operas (a few with letters by Massenet loosely inserted), and many collections of mélodies and other works by Massenet, including “A Mignonne”, (“Pour qui sera, Mignonne”), Paris: Baudon, [1869], lithographed portrait of Massenet aged 27.  NB: please see the online catalogue for descriptions of these inscribed volumes,  

1) An almost complete series of the operas, first and early editions, over 40 volumes, most in half- or quarter calf, including fifteen items signed and inscribed by Massenet, some with autograph musical quotations, including Werther, Esclarmonde (2), Marie-Magdeleine,  Ḕve (to his mother), Scènes de Féerie, (full score), Narcise, Les Erinnyes (full score), Le Cid, Bacchus (to his niece), and 20 mélodies, 8vo and 4to; together with: Manon, a de-luxe limited edition (1884), over 30 early editions of airs and extracts from the operas (a few with letters by Massenet loosely inserted), and many collections of mélodies and other works by Massenet, including “A Mignonne”, (“Pour qui sera, Mignonne”), Paris: Baudon, [1869], lithographed portrait of Massenet aged 27.  NB: please see the online catalogue for descriptions of these inscribed volumes,   2) scarce orchestral hire scores of operas, including Hérodiade (465 pages), Thaïs (560 pages), Le jongleur de Notre-Dame (412 pages) and Thérèse (355 pages), numbered copies, issued without title pages, together with other full scores of Werther (464 pages), Don Quichotte (422 pages) and Manon (422 pages; with, separately, the ‘Fabliau’ replacing the ‘Gavotte’ in Act 3), Phèdre, (Ouverture, Entr’actes), Le roi de Lahore (overture), Le Cid (ballet), Les Erinnyes (2 copies, one an inscribed proof), and other works, Paris: Heugel, no dates, lithographed music, some photo-reproduced, including 5 volumes in modern blue quarter morocco, large 4to (c.34 x 26cm), a few pages trimmed by the binder 3) Sets of contemporary printed orchestral parts, some marked up in blue crayon etc., for  Le Cid (overture), Le jongleur de Notre Dame (‘La légende de la Sauge’), Scènes Alsaciennes (edited by H. Mouton), Scènes pittoresques, Werther (fantaisie mosaïque, edited by Emile Tavan) 4) the contract for Thaïs, signed by composer, librettist and publisher, in which Massenet and Gallet cede exclusive publication rights and copyrights to Heugel (including any alterations and additions that they might make in future), for the price of sixty-thousand francs, to be shared between the three parties and Anatole France, author of the novel upon which the opera is based, 3 pages, 4to, 28 June 1893, loosely inserted in an edition of Thaïs [vocal score], contemporary red half morocco 5) twenty-five first and early editions of the opera librettos, including a volume of three librettos (Marie-Mageleine, Ḕve and Le roi de Lahore), signed and inscribed to Massenet by Louis Gallet, (1874-1877), and others recording the original singers: Ḕve,(1875),  Esclarmonde (1889), Le mage (1891), Werther (1893), Sapho (1897), Ariane (1906), Thérèse (1907), Don Quichotte (1910), Panurge (1913), Cléopâtre (1914) and others, original wrappers 6) a fine photograph signed and inscribed to the composer Pick-Mangiagalli ("à mon ami Riccardo Pick, J. Massenet, Milano, Oct.1903"; see illustration on page 108), with other early printed images of the composer, including in the score of "A Mignonne" (1869), 7) about one hundred contemporary printed costume designs, including for Werther (a set of five coloured plates, oblong 4to, Heugel), and for Esclarmonde (39), Manon (24) and Le Cid (3), large 8vo, with designs laid down and annotated for Herodiade (27) and others 8) Four large early playbills, including for Don César de Bazan, lithograph by Céléstin Nanteuil (1872), proof copy, with a long autograph musical quotation, signed  ( “Pauvre j’ai trainé ma misère au Docteur Joseph Michel cordial souvenir, J. Massenet 1879”), comprising 8 bars from Don César’s couplets in Act 2, original mount, overall size c.81.5 x 59cm, somewhat affected by damp;  together with large chromolithographed playbills for Esclarmonde, (c.117 x 80cm, laid down on card), Ariane and Roma, (each c.90 x 65cm). 9) Massenet memorabilia, including L. Schneider, Massenet, [deluxe copy “imprimé pour pour l’éditeur” on Japon], (1908) with an autograph musical quotation from “Manon”, signed and inscribed by Massenet, and with autograph letters by the author, Massenet, and Chalinière (1911), containing a drawing, tipped in, red morocco gilt—together with special commemorative issues of Musica, Excelsior, etc marking the composer’s death in 1912 c.300 items in all, 4to and 8vo, over 50 volumes in half calf, morocco or embossed boards (of which over half are contemporary bindings), some wear but generally sound, sold as a collection not subject to return; a more complete listing of the items is available for consultation on request

important and comprehensive collection of some fifty first editions, including inscribed vocal scores, 20 rare full scores and contemporary orchestral performing parts, librettos, large early playbills, photographs and designs for massenet's operas, including many signed and inscribed by the composer

English Literature, History, Children's Books and Illustrations 

Ill Seen Ill Said. Northridge, California: Lord John Press, 1982, no.27 of 299 numbered copies, this copy additionally signed and inscribed by Beckett to William Targ, printed in black and blue, original blue morocco-backed marbled boards (without jacket as issued); Nohow On... With Etchings by Robert Ryman. New York: the Limited Editions Club, 1989, with 6 original aquatints by Ryman, no. 221 of 550 numbered copies signed by author and artist, sewn and bound by Carol Joyce in full black Nigerian goatskin, spine and upper cover lettered in gilt, in the original folding box of Italian cotton and ultrasuede with morocco label lettered in gilt; 8vo

Ill Seen Ill Said. Northridge, California: Lord John Press, 1982, no.27 of 299 numbered copies, this copy additionally signed and inscribed by Beckett to William Targ, printed in black and blue, original blue morocco-backed marbled boards (without jacket as issued); Nohow On... With Etchings by Robert Ryman. New York: the Limited Editions Club, 1989, with 6 original aquatints by Ryman, no. 221 of 550 numbered copies signed by author and artist, sewn and bound by Carol Joyce in full black Nigerian goatskin, spine and upper cover lettered in gilt, in the original folding box of Italian cotton and ultrasuede with morocco label lettered in gilt; 8vo[together wtih:] the original playbill from Joseph Papp's Public Theatre production of "Texts", adapted by Joseph Chaikin and Steven Kent, as staged at the New York Shakespeare Festiva, inscribed by Beckett to William Targ, dated April 1981 (3) 

two works and a playbill:

Music

in which he reports that, although he has recovered from the time his doctors had said he was about to die at once, he is nevertheless tired of travelling and therefore intends to give up violin-playing permanently, and sell his instrument, hoping thereby to raise a good sum and prolong his days; he also discusses his forthcoming concerts in London, gives him his new address in Paris, and expresses his enthusiasm to see both him and also his son Achille, 1 page, 4to, Paris, 14 February 1833; the fine large portrait executed in coloured washes over traces of pencil, showing the gaunt violinist appearing as if for a curtain call, with a playbill entitled "Signor Paganini's last Concert" for Covent Garden, 3 August 1832, 3 items, framed and glazed, overall size c. 48 x 78 cms.; together with a fine small watercolour of Ole Bull, framed with a playbill for a concert in Leeds, 2 items, framed and glazed, overall size, c. 69 x 28 cms.

fine autograph letter signed, framed with a contemporary portrait and a playbill, about his decision to retire from public performance

comprising: 12 playbills, including one for a perfomance on 21 May 1821 at the Theatre Royal, Covent Garden, of Mozart's Don Giovanni (in English, adapted by Henry Bishop); 8 autograph letters signed by Stephens, one signed as Countess of Essex, to the composer Henry Bishop, R.W. Elliston, and others, most being acceptances or refusals ("...In the first place I dislike the Music...") of invitations to perform in Paris, London and elsewhere, together with a contract signed by Stephens and Elliston for her to appear for fifty nights at Drury Lane, beginning 1 December 1823, altogether 18 pages, various sizes, various locations, most undated but chiefly 1820s, nicks and tears, some playbills laid down

comprising: 12 playbills, including one for a perfomance on 21 May 1821 at the Theatre Royal, Covent Garden, of Mozart's Don Giovanni (in English, adapted by Henry Bishop); 8 autograph letters signed by Stephens, one signed as Countess of Essex, to the composer Henry Bishop, R.W. Elliston, and others, most being acceptances or refusals ("...In the first place I dislike the Music...") of invitations to perform in Paris, London and elsewhere, together with a contract signed by Stephens and Elliston for her to appear for fifty nights at Drury Lane, beginning 1 December 1823, altogether 18 pages, various sizes, various locations, most undated but chiefly 1820s, nicks and tears, some playbills laid down with: 14 autograph letters signed by Edward Stephens, Catherine's brother and agent, mostly to Elliston, proposing forthcoming productions ("...I proposed to him to get up 'The Maid of the Mill' very strongly..."), discussing Catherine's roles, excusing her from rehearsals and performances, and discussing contractual obligations at the Theatre Royal, Drury Lane and elsewhere, together with two signed receipts, 30 pages, various sizes, London and elsewhere, most undated but chiefly 1820s, seal tears, dust staining; 13 autograph letters signed by George Capel-Coningsby, 5th Earl of Essex, to Elliston, congratulating him on his appointment as manager at Drury Lane and complaining about the previous administration, in one letter mentioning byron ("...I understand from Lord Byron that it is your wish to see Mr Douglas Kinnaird and myself..."), referring several times to a key providing access to private areas at Drury Lane ("...my residence here will seldom allow me the pleasure of using it; certainly never abusing it..."), discussing theatrical and musical performances, antiquarian books, and other subjects, 20 pages, 8vo, Cassiobury and elsewhere, 16 June 1815 to 13 May 1823, nicks and tears, dust stains; and numerous press cuttings relating to Stephens's theatrical career, 1810s-30s, mostly mounted, some items and related material loose

collection of letters and playbills relating to the singer catherine ('kitty') stephens and the actor manager r.w. elliston at the theatre royal, drury lane

Irving, Sir Henry. A large collection of approximately 135 items, with books from the library of Irving, extra-illustrated works, autograph letters signed by Irving and others, photographs, portraits signed, playbills and programmes, including:

Irving, Sir Henry. A large collection of approximately 135 items, with books from the library of Irving, extra-illustrated works, autograph letters signed by Irving and others, photographs, portraits signed, playbills and programmes, including: [Illustrations to Cumberland's Theatre. n.d.], 51 plates, half-morocco, bookplate of henry irving-Wills, W.G. Charles the First. 1873, first edition, presentation copy inscribed by irving in 1893, half-calf gilt, original boards bound in, boards slightly rubbed-Russell, Edward R. Irving as Hamlet. 1875, first edition, autograph letter signed by the author tipped in, half calf gilt, original wrappers bound in, wrappers slightly soiled, endpapers and letter slightly spotted-Shakespeare, W. A Winter's Tale. [n.d.]; Henry The Fifth. [c.1873]; Richard the Third. 1870; The Merchant of Venice. 1871; Antony and Cleopatra. [?1866]; Twelth Night. [c.1874]; Henry the Eighth. 1877; 7 works in one, irving's bookplate and a few autograph pencil annotations, crimson half-calf, slightly worn; Twelth Night... arranged by Irving and presented at the Lyceum Theatre, 8th July, 1884. 1884, first edition, over 90 pen and ink sketches by ethel webling depicting characters in the play, original vellum, slightly soiled-The Stage in the Year 1900... 1901, edition de luxe of 300 copies, over 100 signed portraits of prominent english actors, actresses and playwrights in 1900, some with mounted signatures, autograph letter signed by irving, red morocco gilt, occasional light spotting-Brereton, Austin. The Lyceum and Henry Irving. 1903, limited to 1600 copies, 2 vol., profusely extra-illustrated, including autograph letters signed by Irving and others, with other theatrical documents, photographs, playbills and programmes, red half-morocco gilt; The Life of Henry Irving. 1908, extra-illustrated, 2 vol., signed and inscribed by the author with irving's favourite quotation, 4 autograph letters signed by Edith Craig to John Richardson and one by J. Astley Cooper to Irving with Irving's autograph comments, half-calf gilt, extremities slightly rubbed; "H.B." and Laurence Irving. 1922, first edition, loosely inserted autograph letters signed by H.B. Irving and Laurence Irving, both to the author, six by the author to [John] Richardson, typed letter to the author signed by Mabel Irving, frontispiece, plates, bookplate of John Richardson, red cloth, spine slightly faded-Stoker, Bram. Personal Reminiscences of Henry Irving. 1906, 2 vol., extra-illustrated including autograph letters signed by Marion Crawford, Genevieve Ward and Annie Hughes, autograph musical quotation by Hans Richter, photographs, red half-moroccco gilt, some extra-illustrations lacking, some loose-Craig, Edward G. Henry Irving. 1930, first edition, bound in cuttings, 3 autograph and typed letters signed by the author to Wigham Richardson, printed speech with 2 manuscript additions apparently by Irving, frontispiece, plates, half-calf, dust-jacket bound in, a little soiling to lower cover-Four studio portraits: of henry irving; ellen terry as beatrice; george Alexander as faust (2 different images); various places and publishers, 8vo and 4to, together with over 120 other works and items etc. (approx. 135) Provenance: Including: henry irving (with his bookplate) and the Henry Irving collections of John Wigham Richardson and Bertram E. Shuttleworth (with their bookplates)

irving, sir henry. a large collection of approximately 135 items, with books from the library of irving, extra-illustrated works, autograph letters signed by irving and others, photographs, portraits signed, playbills and programmes, including:

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