Adelphi theatre (20 Ergebnisse)

Paper Covers. Zustand: Very Good. 12 page Theatre Programme. With Dickie Henderson. Size: 12mo - over 6¾" - 7¾" tall.

Paper Covers. Zustand: Very Good. 24 page Theatre Programme. With Stephanie Lawrence. Size: 12mo - over 6¾" - 7¾" tall.

Soft cover. Zustand: Fair. 4 pp. Light wear & stains. Fair + overall.

Booklet. Zustand: VERY GOOD ( AVERAGE). No Jacket. Theartre programme for the 1965 production.FEEL FREE TO E-MAIL FOR PHOTOGRAPHS AND FURTHER DETAILS. Size: 8vo - over 7¾" - 9¾". Illustrated with Black & White Photographs (illustrator). Not Signed or Inscribed.

Unframed Print. Zustand: Very Good. A single sheet print, image area approx. 18 x 28 cms. The illustrations found in leading architectural journals of the nineteenth and early twentieth centuries, such as The Builder, Building News, and The Architect are masterpieces of visual craftsmanship. These illustrations capture the elegance, intricacy, and stylistic flair of the period's architecture. Rich in ornamental detail and atmospheric depth, they reflect not only the buildings themselves but the artistic sensibilities and design discourse of their age. THIS IS AN ORIGINAL PAGE FROM THE JOURNAL, PRINTED AT THE DATE SHOWN IN THE TITLE, NOT A REPRINT OR COPY. Category: Builder & Building News; PRINTS : Buildings & Places; Unframed Prints : Old. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on.…

Zustand: Good. Theatre Program. 19 x 26 cm. [4 pp.] Good with marginal tears.

Zustand: Good. 8vo. 48 pp. Stapled wrapping. Good, with marginal tears. B&W prints throughout.From the Collection of the Art Historian Peter Selz (1919-2019).

Zustand: New. Print on Demand pp. 28.

See his entry in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged. On a bifolium the blank second leaf of which is laid down on part of a leaf from an album. Folded twice for postage. The recipient is 'Henry Spicer Esq', presumably a relation of the artist of the same name (d.1804; see ODNB), several of whose theatrical portraits are in the Garrick Club collection. Webster has been given 'infinite pleasure' by his 'generous offer': 'Be assured the Dramatic College is a most prosperous institution & well deserving your patronage.' He asks him to 'call at our offices 15 Bedford Street Covent Garden', where he will 'see a full confirmation of what I state'. In a postscript he asks him to allow Webster to 'announce this extra Godsend this week. The cost does not exceed £250 as per agreement'.…

40pp., 12mo. In small print. In good condition, in brown paper wraps with manuscript label. Giving the text of speeches by delegates including the MPs Samuel Morley, Thomas Hughes, W. H. Smith, and A. J. Mundella; Auberon Herbert; and the chairman T. H. Huxley. Stamp and shelfmark of the Board of Education Library on title-page, and stamp on front wrap.…

Zustand: Good. Theatre Program, Folded Leaf [4 pp.]. 8vo. Very Good.

Dimensions roughly 26 x 20 cm. Four printed pages, in a bifolium, stapled into coloured illustrated covers. A scarce piece of theatre ephemera, in reasonable condition: creased, with rusted wraps and with one short closed tear to front cover, which carries the words 'Adelphi Theatre. Sole Proprietors, A. & S. Gatti.' and an illustration, painted in an impressionist style, of a fashionable group dining. Stamped 'Saturday Feb 19'. The back cover, also in colour, carries an advertisement for 'Vinolia Toilet Preparations', with an illustration, entitled 'Envy', by 'W. O.' Advertisements throughout, including a full-page advertisement for Edwardes' Gaiety and Daly's Theatres (other advertisements include ones for 'Madame Dowding, Court Corsetiere' and 'Odol The World's Dentifrice'). Half-page 'Refreshment Tariff'. Cast list and details of performance in central double-page spread. Doyle took a six-month lease on the Adelphi in order to produce 'The House of Temperley'. The death of King Edward VII caused a serious slump in ticket sales, and this, coupled with the subject, which was considered unsuitable for ladies, resulted in a short run. There is no copy of this item on COPAC. The play did not appear in book form. Note: "The House of Temperley is a 1913 British silent drama film directed by Harold M. Shaw and starring Charles Maude, Ben Webster and Lillian Logan.[1] It is based on the 1896 novel Rodney Stone by Arthur Conan Doyle and is sometimes known by the alternative title Rodney Stone. The House of Temperley was the first film made by the London Film Company and first shown in Nottingham" [Wikipedia not mentioning the play]; B. See also Conan Doyle Encyclopedia. See Image.…

LeatherBound. Zustand: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1831 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 39 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 39.…

Double folio playbill; sl. creased. Approx. 50 x 45cm. Tipped on to a sealed card mount.

Double folio playbill; sl. creased, with a few holes, not affecting text to central vertical fold. Approx. 49 x 46cm. Tipped on to a sealed card mount. The extravaganza written by Gilbert A'Beckett and Mark Lemon.

See his entry, and that of his son, in the Oxford DNB. The topic of this letter is referred to in the second volume of Dickens's edition of the son's life, 1879. 3pp, 12mo. Bifolium. In good condition, lightly aged, with strip of tape from mount adhering at edge of blank second leaf and two folds for postage. Addressed to 'Dear Harley' and signed 'C Mathews.' He begins by thanking him for his 'kind enquiries', and (with regard to his son the actor Charles James Mathews) writes that 'Our dear good Charles thank God! is recovered, and writes in excellent spirits from Florence. His disorder has been small pox! So much for vaccination! for of all the victims I have ever witnessed to that system, he was the greatest - as his face was covered with frightful blotches for two years after inoculation.' He claims that the 'English Physician' who attended the boy 'hand no hesitation from the first in pronouncing it to be Small Pox', but that 'this was concealed from us'. 'He accounts rationally for 3 weeks of silence - namely that he was blind. "The first reason will do."' He has had 'irksome work to play comforter to an almost broken hearted mother - and six nights per week to mimic gladness when the heart was sad'. He ends with renewed thanks for the 'kind note, which my wife equally appreciates'.…

3pp, 4to. Bifolium. In fair condition, aged and worn, with closed tears and thin vertical strip of paper on reverse of second leaf, which carries a seal in black wax and Yates's address to 'T. P. Cooke Esqre. | 28 Manchester Street | Manchester Square'. An interesting letter regarding a Victorian stage dispute. In an understated style, Yates makes a serious accusation: Cooke has broken his word over the manuscript of Fitzball's play 'The Red Rover' (Yates had produced the piece with himself in the title role in 1828, and would do so again in 1831). The subtext is that by such an action Cooke is not a gentleman. It begins: 'Sir. | Since you have done me the honor to address me by Letter I conceive it incumbent upon me to return you a written answer. | The M S. of the Red Rover Mr Mathews & my property I allowed you to have copied upon an express understanding & pledge that you were to make use of it in the Edinboro Theatre only. Upon your refusal to comply with the terms of your Engagement here, you thought proper to make use of the copy I permitted you to take of our M. S. with an additional act compiled by yourself at the Surrey Theatre - which I consider to be a positive breach of your word.' He continues in the same tone, stating that he has learnt that Cooke has 'paid Mr Grove our Prompter a Guinea for making the Copy', and that Cooke is also claiming the first two acts as his property. As 'possessor of the Copyright' Yates can only return the manuscript with a 'veto that they shall only be made use of in Edinburgh', but as Cooke has 'already considered [his] promise as not binding', Yates does not expect him to 'pay any attention'.…

Single bifolium. [4]pp. A trifle creased, small hole to head of gutter, ink note to head of title. An apparently unrecorded theatre programme advertising a performance at the Royal Adelphi Theatre of essayist and playwright Andrew Halliday (1830-1877) Little Em'ly, an adaptation for the stage of Charles Dickens' David Copperfield, first performed at the Olympic Theatre on 9th October, 1869, and warmly received by Dickens himself.…

Single leaf broadside, finely printed on silk, with tassels at head and foot. Together with a loose contemporary envelope, noting in manuscript: 'Used by the Prince and Princess of Wales at the Adelphi Theatre on Tuesday evening December 20th 1887'. A decadent early playbill, printed on silk at the Nassau Steam Press - for presentation â" marking the premiere run of The Bells of Haslemere, a successful pastoral drama written by British actor and dramatist Henry Alfred Pettitt (1848-1893) and playwright and librettist Sydney Grundy (1848-1914), at the Adelphi Theatre. The lead role of Frank Beresford, Squire of Haslemere, was performed by popular swashbuckling actor William Terriss (1847-1897), who starred alongside his romantic stage-partner - and presumed lover - Shakespearean actress Jessie Millward (1861-1932). The accompanying envelope notes in manuscript that this bill was produced for the use of Queen Victoria's heir Albert Edward, later King Edward VII, and his wife Princess Alexandra of Denmark, Prince and Princess of Wales, during the aforementioned performance. Size: Dimensions 350 x 400 mm.…

Single leaf broadside, edges uncut. Old horizontal and vertical folds, creased, a trifle dusty. A seemingly unrecorded Regency playbill, advertising early performances of two melodramatic burlettas by English playwright and costume designer James Robinson Planchà (1796-1880), the first of which, titled Kenilworth Castle, or the days of Queen Bess, was adapted from Walter Scott's novel of the same name, published just a month prior! Planchà 's adaptation, which premiered only four days peviously on the 8th of February, was, as this playbill's headline suggests, a 'complete success', with some interstitial text declaring that 'Kenilworth castle has been pronounced by the Public Press to be the best Adaptation of the Kind every (sic) witnessed. -- it is received Nightly with Acclamations. The strong interest of the story, and the splendour of its costume and scenery, renders it the greatest favourite of the season; it will therefore be repeated every Evening till further Notice.' The second performance, titled Giovanni the Vampire!, was rather more lighthearted - unusually, stage actress Harriet Waylett (1798-1851), who also originated the role of Amy Robsart in Kenilworth, appears to have split the titular role of Don Giovanni the Vampire with one Mr Wilkinson, in some interesting mixed-gender multi-rolling. Planchà , whose successful Gothic drama, The Vampire, had premiered at the Lyceum theatre in 1820, capitalised profusely on his dramatic success; this operatic burlesque, or 'burletta', sees Planchà lampooning his own work, putting a lighthearted, comedic spin on the increasingly-popular 'vampire' genre spawned, most significantly, from contemporary tales by Byron and Polidori. Giovanni the Vampire!, although seemingly distinct in plot, notably borrows the names of several characters from Mozart's iconic opera, Don Giovanni (1787), including the titular count, and his most loyal servant, Leporello. Size: Dimensions 250 x 370 mm. …