A collection of seven copper theater passes or tickets for London theatres dating between 1762 and approximately 1820, all blank on the obverse sides except for the token for the Box Prince's Side (BPS 1796) which is decorated with a chain of small linked circles around the perimeter. The 1788 token for a box at Covent Garden is the only token with a hole in the center
Description:
Title devised by cataloger. and For further information, consult library staff.
Title etched above image., Date and place of publication supplied by curator., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
publisher not identified
Subject (Name):
Lewes, Charles Lee, 1740-1803. and Stevens, George Alexander, 1710-1784.
Subject (Topic):
Theater, Physiognomy, Heads (Anatomy)., Demons, and Spectators
Title etched above image., Date and place of publication supplied by curator., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
publisher not identified
Subject (Name):
Lewes, Charles Lee, 1740-1803. and Stevens, George Alexander, 1710-1784.
Subject (Topic):
Theater, Physiognomy, Heads (Anatomy)., Hearses, Coats of arms, and Obelisks
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
This playbill records a performance at the Theatre Royal in Covent Garden of The constant couple by George Farquhar (1676-1707) on 22 May 1755 in which Margaret Woffington (1720?-1760) played the leading part of Sir Harry Wildair - one of the roles for which she was most celebrated. The part of Lady Lurewell was performed by Esther Hamilton (d. 1787). Other actors in the cast include Theophilus Cibber (1703-1758) and John Arthur (1708?-1772), actor and stage designer -- it is likely that he was responsible for devising the “machinery” mentioned in a note at the foot of the sheet: “as any obstruction in the movement of the machinery will greatly prejudice the performance of the entertainment, it is hoped no persons will be displeased as their being refus'd admittance behind the scene.”
Description:
A playbill. and For further information, consult library staff.
Publisher:
publisher not identified
Subject (Geographic):
England and London.
Subject (Name):
Farquhar, George, 1677?-1707., Woffington, Margaret, -1760., and Covent Garden Theatre.
Title from cover., Irregular mini-magazine condensing newspaper reports of the Vietnam War into handmaded pictorial narratives; published by Bread and Puppet Theater., and No. 6 (February 1968).
Publisher:
Bread and Puppet Theatre
Subject (Topic):
Theater, Political aspects, and Vietnam War, 1961-1975
Title from first line of text., Playbill advertising a spectacular show of shadow theatre and mechanical representation of the Battle of the Nile., The Lewis Walpole Library: Blanks completed in manuscript for a performance in Bristol on Thursday evening July 21st at Mr. Walkers' gun[?]. Thursday evening appears as a pasted slip over "Wednesday"., and For further information, consult library staff.
Manuscript, in primarily one hand, of a collection of several hundred documents related to the office of the Master of the Revels, including printed matter, engravings, and handwritten notes. The volume contains historical information pertaining to the office, including engravings of the armorial insignia of the office of master of revels; a printed history of the word "revel"; and salaries of the Master, his assistants, and numerous musicians. The manuscript also contains numerous notes, biographies, and other documents related to individual Masters, including an original letter the Lord High Chancellor and Lord Chamberlain of H. M. Household, 1662 by Henry Herbert, Master of the Revels to Charles I and Charles II; a list of names in his hand; a genealogy of the family of George Buck, Master of the Revels to James I; newspaper clippings about Thomas Killigrew; an engraved bookplate which is signed "Charles Killigrew his Book"; and a colored engraving of Sir Henry Guildford, Lord Chamberlain to King Henry VIII. Pasted into the front of the manuscript is the printed auction catalogue from Sotheby's, containing an entry for this volume
Description:
Partial finding aid available., In English., Title from p. 7., Binding: half morocco over marbled boards. On spine: Historical collections relative to the office of the Master of Revels. J. H. Burn., and Marbled endpapers.
Subject (Geographic):
Great Britain., Great Britain, and England
Subject (Name):
Buck, George, Sir, 1560-1622., Burn, Jacob Henry, -1869., Herbert, Henry, Sir, 1595-1673., Killigrew, Charles, 1655-1724 or 1725., and Killigrew, Thomas, 1612-1683.
Subject (Topic):
English drama, History, Royal households, Theater, Women authors, and Officials and employees
Clippings relating to the French Revolution and Louis XVI; playbills, School for Scandal, New-England weekly journal (numbr. LV. Monday April 8, 1728). With later additions of ephemera, circa 1896-1898. With additions of ephemera related to Fred A. Eaton
This manuscript, a unique specimen of dramatic composition by Queen Elizabeth, represents the only surviving piece of stage property from the Elizabethan theater. It was passed from player to player during the great Theobalds Entertainment of 1591, and it is the only surviving original manuscript of any part of that Entertainment., Elizabeth was entertained by her Lord High Treasurer, Lord Burghley, at his Hertfordshire house, Theobalds, between 10 and 20 May 1591. In a contemporary manuscript text of the entertainments at Theobalds (British Library, Egerton MS. 2623), there is preserved a fanciful speech by a "Hermit," delivered to the Queen on Burghley's behalf, in which, pleading for royal permission to retire from public life, he requests her to restore to him his "cell," namely, Theobalds. The present document was prepared as an answer to Burghley's request and grants the "Hermit," her "woorthely belooved Coounceloour," the right to retire to his "cave," his "own houus," with "full & pacifik possession of all & every part thearof," and to be henceforth free from public duties if he so wishes., The text of the "charter" was printed in John Strype's Annals of the Reformation (1709), where it is described as having been "drawn up by the queen herself in a facetious style, to cheer the said treasurer." A highly characteristic example of Elizabethan wit, it has the form of a formal charter, certified and signed by Lord Chancellor Hatton, who is known to have taken part in a number of court entertainments. It bears the Great Seal and was no doubt read out and presented to Burghley, or to an actor representing him as a hermit. Instead of giving a simple answer to Burghley's request to retire from public life, Elizabeth evidently chose to enter into the spirit of the Hermit's request and frame her reply accordingly having this charter drawn up by one of her chancery scribes and passed by Hatton under the Great Seal, as part of a prearranged performance for the amusement of the court on the first day of her visit to Theobalds., The entertainment at Theobalds are described by E.K. Chambers in The Elizabethan Stage (II:247-248), Sir Walter Greg in the Review of English Studies (I[1924]:452-454), John Payne Collier in his History of English Dramatic Poetry (I:276), Alexander Dyce in The Works of George Peele (III:161-169), and John Nichols in his account of The Progress and Public Processions of Queen Elizabeth (III:74)., and Purchased 1985.
Frontispeice to the celebrated lecture on heads and Frontispiece to the celebrated lecture on heads
Description:
Title from item., From: Stevens, G. Lecture on heads. London: J. Pridden, 1765., Date, printmaker, publisher, and place of publication taken from volume for which this is the frontispiece., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
John Pridden
Subject (Topic):
Theater, Phrenology, Physiognomy, Coats of arms, and Heads (Anatomy)
Title from item., Date supplied by curator., Abel Drugger is a character in the play The Alchemist, by Ben Jonson., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
Published by Messrs. Colnaghi & Co. Pall Mall, East, March Cheapside
Subject (Name):
Garrick, David, 1717-1779.
Subject (Topic):
Alchemy, Actors, Theater, Pharmacists, Skulls, Books, and Specimens
The collection consists of correspondence, scripts, contracts, photographs, a production program, press clippings and other materials documenting the script development and production history of John Charles Brownell's play, Mississippi Rainbow. Correspondents include Rowena Woodham Jelliffe of the Karamu Theatre, Playhouse Settlement, Cleveland; Frank J. Sheil of Samuel French Play Publishers and Authors' Representatives; Richard Madden of the Richard J. Madden Play Company; staff members of the Works Progress Administration and the Federal Theatre Project in New York and Chicago, including Shirley Graham (later Shirley Graham DuBois), Thomas J. McElhany, Bennet R. Finn, George Kondolf, and Hallie Flanagan; Theodore Ward, an actor in the Chicago production of Mississippi Rainbow, and an aspiring playwright whom Brownell mentored; New York theater critic Brooks Atkinson; and other correspondents from whom Brownell sought financial and professional assistance. Undated typescripts for Mississippi Rainbow and a one-act play, The Closet, are also included. Photographs include portrait photographs of Brownell and production photographs from the New York production of Brainsweat and the Chicago production of Mississippi Rainbow
Description:
John Charles Brownell was born in Burlington, Vermont in 1877. He studied at the American Academy of Dramatic Art in New York City, and worked as a professional actor and scenario editor for film companies before undertaking a playwrighting career. His plays include The Nut Farm, Her Majesty the Widow, and A Woman of the Soil. His play Mississippi Rainbow, a comedy written for an all-black cast, was first produced as Nothin' but Trouble by an amateur cast at the Karamu Theatre, Playhouse Settlement in Cleveland, Ohio in 1934. The play went through rewrites and title changes, and was produced on Broadway as Brainsweat (1934), and by the Federal Theatre Project in Chicago as Mississippi Rainbow (1937). He was married to Estelle Wyne of Cincinnati. Brownell died in Starksboro, Vermont in 1961. and In English.
Subject (Geographic):
United States.
Subject (Name):
Atkinson, Brooks, 1894-1984., Brownell, John Charles., Du Bois, Shirley Graham, 1896-1977., Finn, Bennet R., Flanagan, Hallie, 1890-1969., Jelliffe, Rowena Woodham., Kondolf, George., McElhany, Thomas J., Sheil, Frank J., Ward, Theodore, 1902-1983., Federal Theatre Project (Chicago, Ill.), Federal Theatre Project (Chicago, Ill.). Negro Unit., Federal Theatre Project (New York, N.Y.), Playhouse Settlement (Cleveland, Ohio), Richard J. Madden Play Service., Samuel French, Inc., and United States. Works Progress Administration.
Subject (Topic):
African American actors, African American theater, Dramatists, American, Literary agents, Theater, Production and direction, and Theatrical producers and directors
Holograph diary of a stay in Brussels and France after the Battle of Waterloo. Many of the author's observations reflect the recent battle; she reports, for example, on the celebrations in Brussels when its inhabitants receive news of Napoleon's surrender; provides news about various acquaintances in the military as well as other military news after the Battle of Waterloo; and describes Paris as "a military camp for all the nations of Europe." She also makes numerous comparisons between French and English culture, as when she views a play at the Theatre Francaise and comments on the lighting techniques in French playhouses as compared to those in England. Elsewhere, she views as statue of King Henri IV and comments on his reign; vists the porcelain manufactory at Sevres; and describes acquaintances she makes in Brussels. The diary concludes with her road journey from Boulogne to Calais, where she meets several friends, and then to Dover, At the end of the volume is a table of inns in which the author stayed, and The work is the second volume of a set; see Osborn d186 for the first volume in the set. The author's diary was published in 1817
Description:
In English., Title from title page., Autograph on flyleaf: Jane Waldie., Written inside front cover: No. 118., and Binding: quarter red morocco.
Subject (Geographic):
France, Great Britain, and Belgium
Subject (Name):
Eaton, Charlotte Ann (Waldie), 1788-1859., Henry IV, King of France, 1553-1610., Napoleon I, Emperor of the French, 1769-1821., Waldie, John, 1781-1862., and Watts, Jane (Waldie), 1793-1826.
Subject (Topic):
Theater, Travelers' writings, English, Waterloo, Battle of, Waterloo, Belgium, 1815, Women authors, Description and travel, and Social life and customs
Manuscript, in a single hand, of a daily journal recording the events of Waldie's daily life. He goes on daily excursions with his family and describes the landscapes and estates they visit; mentions teas, dinners, dances, and singing with acquaintances; plays card games; records and reviews books he has read, including Aaron Hill's Zara and Maria Edgeworth's Belinda; and frequents the theater. In describing the plays he attends, he provides the names of the actors, including those of Sarah Siddons and Priscilla Kemble, and reviews their performances
Description:
John Waldie (1781-1862) was the administrator of Hendersyde Park at Kelso, Roxburghshire, Scotland. While a student at the University of Edinburgh, he began to keep daily journals recording his extensive travels and his observations of theaters, museums, and concert halls. An accomplished tenor, Waldie performed at private entertainments with Angelica Catalani, Michael Kelly, and John Braham; met with the composer Gioachino Rossini; and socialized with such well-known actors as John Philip Kemble and Sarah Siddons. Waldie also served on the committee of the Theatre Royal, Newcastle, as one of its proprietors. He was the brother of Jane (Waldie) Watts (1793-1826) and Charlotte (Waldie) Eaton (1788-1859), whose diaries are cataloged as Osborn d182, Osborn d186, and Osborn d187., In English., Pasted at beginning of manuscript: floor plans "made by J. Waldie in 1802 for Hendersyde Park House the uppermost nearly as adopted in 1803.", Pasted inside front cover: bookplate of John Waldie, Hendersyde., Title from title page., and Binding: half calf over marbled boards.
Subject (Geographic):
Great Britain and Scotland
Subject (Name):
Eaton, Charlotte Ann (Waldie), 1788-1859., Edgeworth, Maria, 1767-1849., Hill, Aaron, 1685-1750., Kemble, Priscilla, 1756-1845., Siddons, Sarah, 1755-1831., Waldie, John, 1781-1862., Watts, Jane (Waldie), 1793-1826., and Waldie family.
Subject (Topic):
Theater, Social life and customs, and Description and travel
Title from item., Place of publication derived from language of text., Date supplied by curator., Four lines of verse below image., This depicts a character in the play "'Arlequin empereur dans la lune" by Anne Mauduit Fatouville, 1684., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Title from item., Place of publication derived from language of text., Date supplied by curator., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
publisher not identified
Subject (Topic):
Quacks and quackery, Theater, Wife abuse, Spouses, Staffs (Sticks)., and Physicians
Title from item., Printmaker supplied by curator., Date supplied by curator., Place of publication derived from street address., Published in Le Charivari, 5 November 1843., Above image: Les Malades et les Médecins. 23., This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing., and Temporary local Medical Library subject terms: Nervous disorders.
Publisher:
Chez Pannier Editr. R. du Croissant, 16, Chez Aubert, Pl de la Bourse, 29., and Imp. d'Aubert & Cie
Subject (Topic):
Quacks and quackery, Therapeutics, Shopping, Theater, Spouses, and Physicians
Manuscript, in a single hand, of a letter from Mason to Horace Walpole, in which Mason writes that he has read Walpole's tragedic play, The Mysterious Mother, several times and has provided a sketch of alterations he believes necessary to improve the denouement. The list of alterations accompanies the letter, which consist of dialogic emendations at specific page and line numbers. At the end of the letter, a note signed by Walpole states his reasons against adopting Mason's suggestions, "because they woud totally have destroyed my Object."
Description:
William Mason (1724-1797) was a poet, editor, and gardener. In 1747, his poem "Musaeus, a Monody on the Death of Mr. Pope" was published to acclaim and quickly went through several editions. In 1775, he published the Poems of Mr Gray, a friend who was a great influence on his own work. Ten years later, William Pitt nominated him for the post of Poet Laureate, but he turned it down. Among Mason's other works are the historical tragedies Elfrida (1752) and Caractacus (1759), as well as a long poem on gardening, The English Garden (1772-1782). Indeed, Mason was an influential garden designer, designing several flower gardens for his friends and patrons, especially for Richard Hurd, Lord Jersey, and Lord Harcourt. In 1797 he fell and injured his leg while entering his carriage, and died several days later at his rectory in Aston., In English., Typed transcript available in object file., and For further information, consult library staff.
Subject (Geographic):
Great Britain
Subject (Name):
Mason, William, 1725-1797. and Walpole, Horace, 1717-1797.
Subject (Topic):
English drama (Tragedy), Family, Incest, Religion, and Theater
Caption title. and With the number "300" in black ink in upper right corner. For further information, consult library staff (object file: File 767 P69B Al452 1812 12/14+).
Publisher:
Davison, printer
Subject (Geographic):
England, Northumberland., and Northumberland (England)
A satire on the theatre; an aspiring actor is shown in eight separate scenes
Description:
Title from item., Statement of responsibility and dimensions from impression in the British Museum online catalog (Registration no. 1948,0214.339)., Description based on imperfect impression; individual images and title trimmed, rearranged and remounted, with loss of printmaker signature and portion of imprint., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Pub. by W. Holland Feb. 11, 1793 No. 50 Oxford Street
An allegorical representation of the nationalistic riot occasioned by a troupe of French comedians in London. This satirical print refers to the controversy and protest surrounding a French theatrical company, nicknamed the 'French Strollers', who applied for and were granted a licence to perform at the Haymarket in the winter of 1749. Their arrival occasioned much discontent; as the Scots Magazine reported, they were 'bitterly pelted in the news-papers'. Asserting their right to perform, they persisted in a show on 14 November, but were met by an audience intent on sabotage. An eyewitness account of the incident appeared in the Monthly Review some years later (July 1761): 'People went early to the Theatre, as a crouded House was certain ... I soon perceived that we were visited by two Westminster Justices, Deveil and Manning. The Leaders, that had the conduct of the Opposition, were known to be there; one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose; and the whole house besides joining in the chorus, saluted the close with three huzzas! This, Justice Deveil was pleased to say, was a riot'. Despite the Justice's assertions that the play was licensed by the King's command, the crowd had come prepared to produce disruption. They were equipped with instruments which they played discordantly as an accompaniment to their jeers, catcalls, and Francophobic songs: 'as an attempt at speaking was ridiculous, the Actors retired, and opened instead with a grand dance of twelve men and twelve women; but even that was prepared for, and they were directly saluted with a bushel or two of peas, which made their capering very unsafe'. Unable even to dance, and following another abortive attempt by the magistrates to assert the King's authority, the curtain fell for the final time. The eyewitness evidently relished the outcome, venturing 'that at no battle gained over the French, by the immortal Marlborough, the shoutings could be more joyous than on this occasion'. The print embodies similar sentiments; the French strollers attack British theatrical establishment--represented by an affronted Britannia--who stands between them and British theatre-goers. In the foreground stands a perplexed Othello, lamenting the loss of his occupation, and an injured man a man lies on the floor 'Almost kill'd for not understanding French'.
Alternative Title:
Modern cramers
Description:
Title etched below image., Date of publication based on date of the depicted event., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain, England, and London.
Subject (Topic):
Britannia (Symbolic character), Foreign public opinion, French, Theater, Actors, Actresses, Fighting, and Riots
Caption title., Publication date from Foxon., Verse begins: 'Tis well we live in such a fickle place, Where Novelty was ever follow'd more than Grace ... One Foll makes many, if't be really so, Monkies and Monsters are the best to show., "Price 2 d."--Following imprint., "Beware of wretched halfpenny wooden cuts."--Below imprint., and With a large woodcut below the title and preceding the letterpress text: Madamoiselle Javellot is shown on stage flanked on either side by chandeliers wtih her performing dogs in costumes in front and a musician in the background, left, behind the curtain.
Publisher:
Printed and sold by J. Morphew, near Stationers Hall
Subject (Name):
Pinkethman, William, -1725 and Bartholomew Fair.
Subject (Topic):
Opera, Theater, Animals in human situations, Dogs, Fairs, Musicians, Theater curtains, and Trained animals
Playbill advertising a performance at the Theatre Royal, Birmingham which principally takes the form of an apology announcing that the lead of the evening's entertainment, Italian opera singer Angelica Catalani (1780-1849), is unable to attend due to ill health. The soprano's appearance had been much publicised by the local press, hence the need to justify her absence by publishing a communication by the attending doctor
Alternative Title:
Mr. Bartley most respectfully begs leave to inform the public ...
Description:
Caption title. and For further information, consult library staff.
Publisher:
Theatre Royal and [J]onathan Knott, printer, Birmingham
Subject (Geographic):
Great Britain
Subject (Name):
Theatre Royal (Birmingham, England), Catalani, Angelica, 1780-1849., Centlivre, Susanna, 1667?-1723., and Birch, Samuel, 1757-1841.
Third time. Third night of Mr. Braham's engagement and Third night of Mr. Braham's engagement
Description:
A playbill., At head of title: Third time. Third night of Mr. Braham's engagement., and For further information, consult library staff. Object File number: 767 P69B (Marr 2015).
Publisher:
Lowndes and Hobbs, printers, Marquis Court, Drury-Lane
Subject (Geographic):
England and London.
Subject (Name):
Arnold, Samuel James, 1774-1852., Inchbald, Mrs., 1753-1821., and Lyceum Theatre (London, England)
