868. The ONLY Broadway theatre not to “go black” the day of Lincoln’s death. An exceedingly rare and unusual playbill printed for a New York performance at the Broadway Theatre on April 15, 1865! A four-page issue of The Play Bill, New York, Saturday, April 15, 1865 (No. 108) replete with black-borders with the main news at the left column reporting on the assassination together with the short note from Edwin Stanton to John A. Dix reporting the passing of Lincoln that morning. The playbill was printed especially for the Broadway Theatre, located at Broadway and Broome Street. It was never used as the theater, as all New York theaters, went dark that night in mourning for the fallen president. The production that evening was to be the last appearance of John E. Owens in Boucicault’s Cricket on the Hearth. Except for the left column, a related blurb on page two, and the black borders, the balance reads as any normal playbill of the time providing updates on other New York and out-of-town productions, “Foreign Gossip” and advertisements. Moderate dampstains at top, light toning and the expected folds, marginal tears and chips with some minor losses not affecting text, else very good condition. Likely the ONLY copy extant.  (Est. $500-800)

869. BOOTH, Edwin. A terrific association piece, a stunning photogravure 5 1/2 x 6 1/2” (sight) boldly signed “Edwin Booth” and inscribed “with compliments to Miss Fannie [sic] Brown”. Fanny Brown (b. 1837), was a noted actress in her own right, and actually had a tryst with his brother, John Wilkes Booth! Indeed, after he was killed at Garrett’s farm following the assassination, hers was one of four CDV’s found on his body. Brown began her career at age six in Boston appearing for the first time in New York as Dora Sunnyside in The Octoroon at the Winter Garden Theatre. Following the war she married a California circus performer in 1866. Not only were the two lovers, they appeared on stage together in an 1862 tour. Nicely matted and ready for framing. Final letters in inscription blurred, else appears to be in extremely fine condition.    (Est. $600-800)

870. Edwin Booth grouping. Includes an 1879 ALS from Booth to the theatre manager William Wallace on personal letterhead with original transmittal envelope; an Anthony stereoview of “Edwin Booth’s Theatre, 23d St., between 5th and 6th Ave.”; and an 1 1/2” white metal token with images of Edwin Booth on one side and Creston Clarke on the other. This BU token commemorates the 330th anniversary of Shakespeare’s birth and the April 23rd 1894 “Memorial Performance of Hamlet” one year following the death of Edwin Booth. The performance took place at Ford’s Grand Opera House in Baltimore. (Booth and Ford – you can’t separate the two!)  (Est. $200-300)

871. A fine pair of Edwin Booth studies, one by Rockwood of New York – Culver archive stamps on verso. Slight trim to board and clipping to top corners, VF.  (Est. $80-100)

872. Two (2) Booth cartes by Rockwood and Gurney, Culver  archive stamps on verso. Full, sturdy board. (Est. $100-150)

873. A great pair of Edwin Booth CDVs by D. Appleton & Co. and C.D. Fredricks of New York. One with rounded edges, trimmed board, fine contrast, gold ruled.    (Est. $100-150)

874. Two (2) Edwin Booth cartes by Gurney & Son of New York with Culver photo archive stamps on verso. Slight trim to board, a couple insignificant blemishes.    (Est. $80-100)

875. A fine portrait couple, one by Tracy Gray of Oswego, New York. Some foxing, slight clippings to top corners, minor discoloration, else fine.      (Est. $80-100)

876. Two (2) studies by Gurney & Sons, Culver photo archive stamps on verso. Full board, fine.    (Est. $80-100)

877. Eight (8) cabinet cards including a rare shot with Lawrence Barrett. All from Culver archive, some with damage to verso, chips to boards as shown, overall a nice group. 
   (OPEN)

878. A definitive collection of theatrical cabinet cards of Agnes Booth, each from Culver photo service (their labels and stamps on verso). Nine (9) examples. Agnes Booth (1843-1910) was an American actress and wife of Junius Brutus, Jr.
After gaining recognition in California, she moved to New York in 1865 where she appeared at the Winter Garden. In 1866, she joined the Boston Theatre Co. In 1867 she married Junius Brutus Booth, Jr., Edwin’s brother and the manager of the Booth Theatre. Junius often featured his wife in performances which received “complementary notices” for her Shakespearian roles. Although the Booth Theatre filed for bankruptcy, Junius kept its doors open and organized the last bill, King John in which “Mrs. Booth as Constance gave new evidence of her great dynamic power”; the title role, played by Junius, was criticized as having been “disfigured by staginess and mannerisms.” This ended Junius’ management of the Booth Theatre! A great opportunity.     (OPEN)

879. Three (3) fine Edwin Booth playbills: two from the Boston Theatre, Booth assumes the lead roles of Hamlet and Shylock, April 1867; a Howard Athenaeum bill, October 1859, announces Booth’s role as Duke of Glocester in Richard III – ten years after he broke onto the scene in the same Shakeapearian play. Largest 4 x 9”, typical age. (OPEN)

880. A great pair of Howard Athenaeum playbills promoting Edwin Booth’s Shakespearian roles of Iago, September 29th, 1860, and Cassius, June 3, 1861. Slight foxing and wrinkles, else very fine. Approx. 6 x 14”.   (OPEN)

881. Edwin Booth in his most famous roles! Two (2) sharp Boston Theatre playbills listing the renown actor as Richelieu, and as Hamlet, November 24 and December 1 from his tour in 1862. In these roles, he was regarded as superior to the great Edwin Forrest. (The statue opposite his home at Gramercy Park depicts Booth as Hamlet.) Slight foxing, strong tone, usual folds, the larger bill 6 x 14”. (OPEN)

882. Another pair of excellent Booth playbills: Burton’s New Theatre, NY, August 31, 1857; and the Boston Theatre, November 5, 1863, in Massinger’s A New Way to Pay Old Debts. The latter bill proclaims Booth, the “eminent tragedian…will give his unrivaled impersonation of Sir Giles Overreach.” Booth’s performance in this play escalated him to stardom, as many asserted his success as Sir Giles surpassed his father’s. Slight foxing and wrinkling, the larger example 6 x 22”. Booth at his best!   (OPEN)

883. Edwin Booth ephemera. Includes a pair of programs displaying Booth in lead roles: Albaugh’s Holliday St. Theatre program, January 1888, announces Booth assuming the role of Hamlet; the Globe Theatre Program, November 1883, lists Booth’s role as Richelieu. Also, Booth’s Theatre Bulletin, January 1873. Booth as Brutus; a May, 1886 issue of a Weber Pianos periodical with Booth as Iago and Hamlet. This paper also contains an extract from William Winter’s biography on Edwin Booth. A testament to Edwin Booth’s prestigious career! Four (4) items.  (OPEN)

884. “A Rare Collection Owned By Mr. James Young, Jr.” A wonderful broadside issued by the Baltimore Standard, July 12, 1896, delineating all the members of the Booth family detailing the upcoming auction of “one of the finest collections of portraits of the Booths owned by Young, the well known young tradgedian, of this city” to be sold at the Player’s Club in New York. Includes portraits of some of the more obscure family members, such as Dr. Joseph Booth, the forgotten brother. Usual folds, slight foxing. Still bold.  (OPEN)

885. Antique Victoria Austria Flow Blue & Gold Scrolled bowl depicting Edwin Booth as Hamlet in Shakespeare’s ‘Hamlet & Ophelia!’ Signed by the artist ‘J H Bacon.’ [ca. 1891]  A beautifuly vivid and deep display bowl from Shakespeare’s Hamlet Act1: Ophelia greets Hamlet as they pass each other in the cobblestone courtyard within the castle. She stops him and takes a beaded necklace from around her neck and offers it to Hamlet, once given to her by Hamlet as a token of affection. At one point in this scene, Hamlet asks Ophelia—after a discussion of honesty and beauty—where her father is. After she answers, Ophelia puts her prayer book to her lips because she has lied to Hamlet. Hamlet knows she’s lying and feels betrayed. Hamlet rails up the steps tossing Ophelia’s necklace back at her. This lie to Hamlet eventually cost Ophelia her sanity. Gertrude (Hamlet’s mother) will bring the pearl necklace back from Ophelia’s corpse and give it to Laertes, who will eventually throw it in Hamlet’s face at the funeral. This wonderful scene is captured beautifully by the artist J. H. Bacon (Note that the handwritten words ‘Hamlet and Ophelia’ in gold are partially rubbed out on the left hand bottom side opposite of the artist’s signature). The transferware is amazing in detail and the colors are vivid and captivating. This artistic rendition is surrounded by a flow blue border accented with gold scrolling. Sure to please the most avid collector. 11-1/2” wide and nearly two inches deep. Marked: Porcelain Factory Victoria Altrohlau.  (OPEN)

886. From the Booth Home and Club. A beautiful American Belleek cup and saucer with applied flowers in pink and yellow on a backdrop of some of the finest Victorian porcelain, from the original Player’s Club service. The gilded handle and various, gold theatrical designs add to this piece’s elegance. The highly polished iridescent glaze gives a frostlike appearance to the cup which depicts conjoined profiles of Shakespeare and Edwin Booth beneath the motto, “See The Players Well Bestow’d.” Belleek was founded in 1857 by John Caldwell Bloomfield, but it wasn’t until 1863 that small amounts of the porcelain for which the company is famous for was successfully produced. By 1865, the prestige of the company had increased enough that its market included Ireland, England, the United States, Canada and Australia, and clients included the Prince of Wales, Queen Victoria and the nobility. Belleek began trading in 1887 as the Belleek Pottery Works Company Ltd. in Belleek, County Fermanagh, in what was to become Northern Ireland. The factory produces porcelain that is characterized by its thinness, slightly iridescent surface and translucence. A delicate china memento in great condition.  (Est. $400-600)

887. Fabulous 1864 playbill, 7 x 22”, with great graphics. Issued for performances at the Boston Music Hall on June 3 and 4, 1864 of “The Carter Zouave Troupe and Young Female Brass Band, 20 in Number.” It seems that these Zouaves were youthful females who danced, gave bird calls, performed military drills and sang popular songs. Very nice condition.
     (Est. $300-400)

888. 6 x 21” theatrical playbill printed on thin paper, July [1862], advertising Boston appearances of “Gassett’s Union Museum of Fine Arts.” This circus sideshow used exhibit wagons, life-size figures, stereoscopic views and paintings to represent a wide panoply of historical events and personages. These included Civil War battles from the Baltimore riots to Shiloh as well as: Abraham Lincoln, Scott, McClellan, Burnside, Anderson, Ellsworth, Ossowatomie Brown and Jeff Davis, “The Chief of Southern Traitors.” Replete with florid language and hype extolling the show, “fitted up at an expense of Ten Thousand Dollars!” Excellent condition, a great display piece – wartime entertainment!    (Est. $300-400)

889. Civil War patriotic concert program. Very attractive red and blue printed program, 4pp., in two-sided archival frame, Union flag, above quote by General Dix: “If any one attempts to haul down the American flag, shoot him on the spot”. An early patriotic concert in “Aid of the Volunteer Fund, at the Academy of Music”. Printed at the bottom is the “Committee of Arrangements”, headed by Maj Gen John A. Dix, along with other notables, such as Hamilton Fish, Horace Greeley, Col Anderson (hero of Ft. Sumter), and others. On back page are lyrics to several songs, including the Star Spangled Banner. Light folds, 15 1/2 x 15”.  (Est. $250-300)

890. [Soldier Theatricals in the Field] A terrific piece of Civil War militaria, a pair of manuscript programs, 2 leaves total, 8 x 5”, bearing the order of performance for two farces performed by soldiers in camp. The first, titled on verso: “Order of Performances By the Twenty Fourth Club. Tuesday Evening, Feb. 9th 1864” the program bears wonderful watercolor vignettes surrounding the formal program for a farce entitled, “A Thumping Legacy”. The accompanying program is decorated by a red ink border of grape leaves and tiny images of figures in theatrical poses. The program was made for yet another farce (we guess soldiers were not eager to see more tragedy) entitled “My Wife’s Second Floor.” Tracing the names we find that the club was part of the 24th Massachusetts Infantry and the actors included George William LeFavor, Samuel O. Covell, Andrew Vining, Henry B. McLellan and others. These productions occurred while the regiment was stationed in St. Augustine, Florida, soon before they joined the Army of the James in Virginia in May 1864. Both programs show very light toning otherwise in very fine condition.  (Est. $300-500)

891. Four (4) programs related to Lincoln-subject theatrics: a 1928 booklet of “Captain Lincoln’s Way: An Indian Play for Boys”; a 1938 booklet of music for Earl Robinson’s “Abe Lincoln: Chorus Quotations from Lincoln’s First Inaugural Address”; a booklet of Robert Sherwood’s 1940 “Original Radio Script of Abraham Lincoln From the Cavalcade of America”; and a 1938 playbill for Raymond Massey in “Abe Lincoln in Illinois” at the Plymouth Theater.  (OPEN)

892. MASSEY, Raymond. (1896-1983) Canadian-born actor, star of stage, screen and television. Although his father owned the Massey-Ferguson Tractor Co., Massey had no interest in the family business. (His brother was the Governor-General of Canada, but Raymond stayed out of politics as well.) He became most famous for portraying Americans John Brown and Abraham Lincoln. Signature on an album page (“Best wishes Raymond Massey”) with a program for the 1940 production “Abe Lincoln in Illinois” at the Hartman Theatre, Columbus, OH. (OPEN)