London: Sherwood, Jones, and Co, 1824. First Edition. Original hardback drab boards, with more recent paper quarter paper backing. Attractive book plate of Mary Clarkson Bagby (born Mary Clarkson- Allen in 1896, in Baltimore, U.S.A) to the front. Mary lived in various locations due to her husband's diplomatic and military career, including a notable period in China after World War I. This book obviously remained in the family, as it also bears the name Mary G. Duyvendak - Allen written to the front in neat ink handwriting.

Internally clean. Bound in after Preface is a single leaf manuscript copy of a letter from George Colman dated February 1824, citing its inclusion in the memoirs of Sir William Knighton, 1838. This must have been bound in when the book was rebacked. lvi, [ii], [4], [1] - 169 [1]. 16. (Sherwood New Works dated January 1824) pp. 240 x 150 mm (9½ x 6 inches).

Martin Archer Shee was an Irish-born painter and writer. This play was first performed in 1824 at the Theatre Royal, Covent Garden, London. Set in Poland, it centres on the character Alasco, a Polish nobleman involved in a dramatic struggle against tyranny, persecution, and oppression. The play is notable not just for its content but for the controversy surrounding its production. The Lord Chamberlain, who was responsible for licensing plays in Britain, initially refused to license this play for performance at Drury Lane Theatre due to its perceived political radicalism and revolutionary themes. This decision was likely influenced by the authorities' fear of plays that might incite unrest or challenge the established order, especially in the wake of the French Revolution and ongoing political agitation in Europe. The refusal to license Alasco sparked public debate about censorship and the limits of artistic expression. Eventually, the play was performed at Covent Garden after some changes were made to the text. The incident highlighted the tension between creative freedom and government control in the early 19th century. In summary, Alasco is remembered as a tragedy that became a symbol of the struggles over censorship and free expression in British theatre history.

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Leipzig: Verlag von Viet & Comp, 1897. Scarce true first edition. Von veit German edition. Original pale blue paper covers publisher's adverts to rear. A little darkening and edgewear, with slight nicking to the spine. Internally clean but a little darkened. Many pages uncut. Aristlotle's theory of catharsis, expounded in the poetics, claims that the emotions of pity and fear are aroused by theatrical performances, and through this eliminated from the psyche of the audiences. (He obviously hadn't seen Peaky Blinders!) This thesis questions elements of Aristotle's theory. Text in German. 128 pages. 210 by 140mm (8¼ by 5½ inches).

, Édition originale rare. Von veit édition allemande. Couverture originale en papier bleu pâle, avec la publicité de l'éditeur au dos. Un peu de noircissement et d'usure des bords, avec une légère entaille au dos. L'intérieur est propre mais un peu assombri. De nombreuses pages ne sont pas coupées. La théorie de la catharsis d'Aristote, exposée dans la Poétique, affirme que les émotions de pitié et de peur sont suscitées par les représentations théâtrales et, de ce fait, éliminées de la psyché des spectateurs. (Il n'avait manifestement pas vu Peaky Blinders !) Cette thèse remet en question certains éléments de la théorie d'Aristote. Texte en allemand. 128 pages. 210 x 140 mm.

Paris: Gaumont, 1981. Printed brochure, (limited to 2,000 copies) includes a story board for the film (released 1964), a poem, a caricature of Jean-Claude Carriere drawn by Étaix, some transcripts of letters written by Étaix to be featured in another publication entitled 'Dactylographismes', and an advertisement for the forthcoming book 'Le carton à chapeaux'. This brochure contains includes a signed dedication from Étaix. Pierre Étaix was a French clown, comedian and filmmaker, who made a series of short and feature-length films, many of which were co-written by the screenwriter Jean-Claude Carrière. Covers are a little grubby. There is a small closed tear to the tail of the spine. Internally the brochure is spotless. 52 pages. 290 x 200 mm (11½ x 7¾ inches). Brochure imprimée, (limitée à 2 000 exemplaires) comprenant un story-board pour le film (sorti en 1964), un poème, une caricature de Jean-Claude Carrière dessinée par Étaix, quelques transcriptions de lettres écrites par Étaix qui seront présentées dans une autre publication intitulée ' Dactylographismes', et une publicité pour le prochain livre 'Le carton à chapeaux'. Cette brochure contient une dédicace signée d'Étaix. Pierre Étaix était un clown, comédien et cinéaste français, qui a réalisé une série de courts et longs métrages, dont beaucoup ont été co-écrits par le scénariste Jean-Claude Carrière. Les couvertures sont un peu sales. Il y a une petite déchirure fermée à la queue de la colonne vertébrale. En interne, la brochure est impeccable. 52 pages. 290 x 200 mm

Paris: François Bernouard, 1927. First Edition. This copy is one of 200 copies on Vergé pur fil Vincent Montgolfier that were unnumbered and reserved for friends of the author. Signed in dedication by the author to the half title. The dedication is to Bernouard's friend the actor and painter Pierre de Guingand, and reads: 'Pierre de Guingand 1902 - 1927. Amite toujours frère'. Colour paperback covers illustrated by Robert Bonfils. A little age toned, and with a slight lean to the spine, but remarkably good condition. 108 pages. 185 x 125 mm (7¼ x 5 inches). Première édition. Cet exemplaire fait partie des 200 exemplaires sur Vergé pur fil Vincent Montgolfier qui étaient non numérotés et réservés aux amis de l'auteur. Signée en dédicace de l'auteur au faux titre. La dédicace est à l'ami de Bernouard, l'acteur et peintre Pierre de Guingand, et se lit comme suit : "Pierre de Guingand 1902 - 1927. Amite toujours frère". Couvertures brochées en couleurs illustrées par Robert Bonfils. Un peu vieilli, et avec une légère inclinaison à la colonne vertébrale, mais remarquablement bon état. 108 pages. 185 x 125 mm.

Moscow: The First Model Printing House /Гос. изд-во худож. лит-ры, 1949. A very nice copy of this first edition. Text in Russian throughout. Burgundy cloth with white design and text. A touch of bumping only. Inside clean and tidy throughout, with just a little darkening to the page edges. An attractive illustrated edition of Lermontov's drama. Beautiful full page colour illustrations and vignettes. 150 pages. 29cm x 22cm. Mikhail Yurievich Lermontov (1814 - 1841) Russian poet, prose writer, playwright, artist. Très bel exemplaire de cette première édition. Texte en russe tout au long de l'ouvrage. Tissu bourgogne avec motifs et texte en blanc. Seules quelques légères bosses sont à noter. L'intérieur est propre et bien rangé, avec juste un peu de noircissement sur les bords des pages. Une belle édition illustrée du drame de Lermontov. Magnifiques illustrations et vignettes en couleur pleine page. 150 pages. 29cm x 22cm. Mikhaïl Yourievitch Lermontov (1814 - 1841) Poète, prosateur, dramaturge et artiste russe.

London: J. Redington, 1860. Nice colour portrait of the actor James Holloway as King Richard III in the William Shakespeare play of the same name. Hand coloured. Published between 1850 and 1876, based on the publisher J. Redington's trading dates. There is a copy in Folger Shakespeare Library. OCLC Number / Unique Identifier: 422598834. The print is very clean and colours bright. Blank to verso. Perfect for framing. 220 x 175 mm (8¾ x 7 inches).

. Beau portrait en couleurs de l'acteur James Holloway dans le rôle du roi Richard III dans la pièce de William Shakespeare du même nom. Coloré à la main. Publié entre 1850 et 1876, d'après les dates de vente de l'éditeur J. Redington. Un exemplaire se trouve à la Folger Shakespeare Library. Numéro OCLC / Identificateur unique : 422598834. L'impression est très propre et les couleurs sont vives. Le verso est vierge. Parfait pour l'encadrement. 220 x 175 mm

Paris: Programme for one of the performances of l'École Nationale du Cirque in 1978. Featured artists include: contortionist Maria Negrea, acrobat Yves Oger, and of course Annie Fratellini herself. In the late 1970's, the French government had stepped in to try to help the ailing circus industry, and Annie Fratellini and Pierre Étaix had opened the l'École Nationale du Cirque. Booklet covers and contents are in a very good condition. 12 pages. 215 x 150 mm (8½ x 6 inches). Programme d'une des représentations de l'École Nationale du Cirque en 1978. Parmi les artistes à l'affiche : la contorsionniste Maria Negrea, l'acrobate Yves Oger et bien sûr Annie Fratellini elle-même. À la fin des années 1970, le gouvernement français était intervenu pour essayer d'aider l'industrie du cirque en difficulté, et Annie Fratellini et Pierre Étaix avaient ouvert l'École Nationale du Cirque. Les couvertures et le contenu des livrets sont en très bon état. 12 pages. 215 x 150mm

London: Lawrence & Bullen, 1893. Limited and numbered - #622 of 750 copies printed. Hardback two volume set. Maroon cloth boards with gilt stamped titles to spine. No markings. Good original state. Volume I has frontispiece (portrait) with tissue guard. Portrait has a few spots of foxing. Tissue guard has offsetting. Many gathers uncut. Volume I: lxxviii, 397 pp. Volume II: 410 pp. 230 x 155 mm (9 x 6 inches).

Sir John Vanbrugh was an English architect, perhaps best known as the designer of both Blenheim Palace and Castle Howard. However, it is with his work as a dramatist that he offended many sections of 18th century society, not only with the sexual explicitness of his plays, but also with their messages in defence of a woman's rights within marriage.

Genéve: S.A.D.A.G. A lovely French advertising programme for plays showing in February 1899. (Probably for a Paris theatre). The sheet, intended to be folded in half, has on the one side, a full page advert for "Un chapeau de Paille d'Italie" a comedie by Labiche. This is illustrated by Edmond Filliard. Black and white. To the other side of the sheet are two pieces. One is an advert for "Le Beau Léandre" by Banville (illustrated by Gill). The other is a poem, showing a poster man putting up an advert to a wall. This is also by Filliard, and has the only flash of colour to the sheet. A small text in red to the (presumably) rear panel, shows that the phototype was produced by S.A.D.A.G. of Geneva. (Société Anonyme des Arts Graphiques Genève). 41.5cm x 25.5cm. Single sheet. We cannot find copies of this ephemeral object.

. Joli programme publicitaire français pour des pièces de théâtre jouées en février 1899. La feuille, destinée à être pliée en deux, comporte au recto une pleine page de publicité pour "Un chapeau de Paille d'Italie", une comédie de Labiche. Celle-ci est illustrée par Edmond Filliard. Noir et blanc. De l'autre côté de la feuille se trouvent deux pièces. L'une est une publicité pour "Le Beau Léandre" de Banville (illustré par Gill). L'autre est un poème montrant un colleur d'affiches en train de coller une publicité sur un mur. Il s'agit également d'un poème de Filliard, qui présente le seul éclat de couleur de la feuille. Un petit texte en rouge sur le panneau arrière (probablement) indique que le phototype a été produit par la S.A.D.A.G. de Genève. (Société Anonyme des Arts Graphiques Genève). 41,5cm x 25,5cm. Une seule feuille. Nous n'avons pas trouvé de copies de cet objet éphémère.

London: Livermore and Robinson, 1876. A new revised edition of Croker's speeches on the inefficiency of actors on the Dublin stage. This edition is edited with notes and remarks by Walter Donaldson. To the front end paper is a lengthy gift inscription from Donaldson to Henry Poate Aslatt. He writes "Dublin is much advanced in buildings, but where are her land owner's now? Alas scattered in every country but their own". There is a second inscription from Henry Poate Aslatt (who also appears on the subscriber list) stating that the book was by his old Masonic friend, Donaldson. Green cloth with gilt titles. In slightly handled but overall very good condition. Internally clean and tidy throughout. Frontis portrait of the actress "Miss O'Neill." Henry Poate Aslatt was a prominent figure in Southampton, England, during the 19th century. He was the youngest son of John Aslatt, who founded Aslatt's Coach Factory in the early 19th century. Henry continued the family business into the 1890s, managing the coach works located on the corner of Above Bar and Aslatt's Cut in Southampton. Walter Alexander Donaldson, (1793-1877) also wrote "Recollections of an Actor" in 1865. 59 pages. 18.5cm x 12cm.

. Nouvelle édition des discours de Croker sur l'inefficacité des acteurs sur la scène de Dublin. Cette édition est éditée avec des notes et des remarques par Walter Donaldson. Sur la première page de garde figure une longue inscription de Donaldson à Henry Poate Aslatt. Il écrit : "Dublin a beaucoup progressé en matière de construction, mais où sont ses propriétaires fonciers aujourd'hui ? Hélas, ils sont dispersés dans tous les pays, sauf le leur". Une seconde inscription de Henry Poate Aslatt (qui figure également sur la liste des souscripteurs) indique que le livre a été écrit par son vieil ami maçon, Donaldson. Tissu vert avec titres dorés. Légèrement manipulé mais dans l'ensemble en très bon état. L'intérieur est propre et bien rangé. Portrait frontispice de l'actrice "Miss O'Neill". Henry Poate Aslatt était une personnalité importante de Southampton, en Angleterre, au cours du XIXe siècle. Il était le plus jeune fils de John Aslatt, qui avait fondé l'entreprise Aslatt's Coach Factory au début du XIXe siècle. Henry a poursuivi l'entreprise familiale jusque dans les années 1890, en dirigeant la fabrique de carrosses située à l'angle d'Above Bar et d'Aslatt's Cut à Southampton. Walter Alexander Donaldson (1793-1877) a également écrit "Recollections of an Actor" en 1865. 59 pages. 18.5cm x 12cm.

New York: Morris Gest, 1925. Programme / booklet about the Moscow Art Theatre. The 34 page pamphlet is a collection of essays and articles about the Studio. This was the first Appearance Outside Russia of the Famous Lyric Branch of the World's Foremost Stage. The front cover is chipped to the edges, and is split to the rear - so is partly detached. The central leaf has come away from the binding, but present. Still holding together although delicate. Contents include the story of the theatre, a profile of Vladimir Nemirovitch-Dantchenko, a synopses of the repertory, a double page illustration of Lysistrata. An article by Yury Sakhnovsky on Lyric Drama, the synthetic theatre. Another article entitled: Back to Merimee for Bizet's true Carmen. Also, a piece on Rachmaninoff's Aleko, and a who's who in the Musical Theatre. Illustrations by Andrei Hudiakoff. 305 x 230 mm (12 x 9 inches).

London: The Ballantyne Press / Hacon & Ricketts / John Lane, 1901. First edition. A lovely copy of this pseudonymous work. One of 290 copies (Edition limited to 290 unnumbered copies, including 10 on vellum, we offer one of the 280 on Arnold's handmade paper). Green buckram spine, with paper covered boards. The paper shows leaves blowing in the wind. Slight bumping to the head and tail of the spine. The paper label is a little rubbed and darkened, but still legible. Externally very good overall. Inside, the book is an immaculate copy, with fractional foxing to the initial pages, and a touch of darkening to the front and rear end papers, otherwise spotless. Opening with a nice ornamented border in black figuring on top Janus, on left the medal of Comodus, and the Amazon and her moon-shaped shield, and below the Nemean lion's skin and Herakles' mace. Illustrations (including the paper boards) are by Charles Ricketts. Michael Field was a pseudonym used for the poetry and verse drama of the English authors Katherine Harris Bradley and her niece and ward Edith Emma Cooper. Although they had intended to remain anonymous, their identity became well known. Although published second, this work is intended as the first in the "Roman Trilogy" which recounts the downfall of Commodus. Ref. Watry B31. - Ransom, Vale Press, 31. - Tomkinson, Vale Press, 31. 88 / LXXXVII pages. (numbered in the book in numerals). 240 by 155mm (9½ by 6 inches).

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Amsterdam: C. Weddepohl, 1845. First edition. Original hardback brown cloth covered boards, with a decorative gilt-blocked lyre to both front and back boards. All edges gilt. Each of the nine colour plates with its own tissue guard. Corners of boards rubbed and slight sun fading to boards. Hinge slightly weak but holding. (This has been reinforced with archival tape to the inside rear hinge). Text in Dutch. 350 x 270 mm (13¾ x 10¾ inches). Rare publication of theater decorations by the Dutch artist François-Joseph PfeifferJr. (Liège 1778-1835). Illustrated with 9 lithograph plates (including portrait) with facing tissue guards. With accompanying letter-press text within red ornamental borders. Contains a biography by Gerit van Ernst Koning (1794-1853), and verse descriptions by J. van Lennep (1802-1868). It also includes a short list of theater scenes created by Pfeiffer.