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 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 The Club of Odd Volumes 
 
 50 MOUNT VERNON STREET 
 
 BOSTON 
 
 EXHIBITION 
 
 OF PRINTS AND PLAYBILLS TO ILLUSTRATE 
 
 THE 
 
 Hiftory of the Bofton Stage 
 
 1825 TO 1850 
 
 From the collection of Mr. ROBERT GoULD SHAW 
 
 MAY 3 TO MAY 8 
 1915
 
 
 NOTE 
 
 In presenting this Selection of Portraits, Playbills, etc., lack 
 of space has prevented the exhibition of many items of im- 
 portance that belong to the period shown, viz.: 1825 to 1850. 
 
 The dates cannot be absolutely guaranteed, as the only 
 sources available are frequently at variance. Most of the 
 dates are taken from Clapp's "History of the Boston Stage;" 
 Ireland's "Records of the New York Stage;" Phelps' "Players 
 of a Century," etc.; and the dates of playbills in Mr. Shaw's 
 collection. 
 
 In a general way, the exhibits are arranged chronologically, 
 commencing with No. 1 of the Catalogue. 
 
 783830
 
 I
 
 EXHIBITS 
 
 1. PELBY (Mrs.) Portrait, as Cherry. D. C. Johnston 
 
 del. Lith. of Pendleton. 
 
 Lithograph. 
 
 She was born at Kinderhook, New York, in 1793, and made 
 her debut at the Federal Street Theatre, Boston, in 1813, as 
 Miss Mortimer in "Laugh When You Can." In May, 1825, 
 she was a member of Price and Simpson's traveling dramatic 
 and equestrian company, at the Broadway Circus, New York. 
 In 1825-6, she played at the Lafayette Amphitheatre; also 
 at the Park, Bowery and Old Chatham Theatres, New York. 
 She afterwards resided principally in Boston, where, under 
 her husband's management, she became one of the principal 
 attractions of the Tremont and National Theatres, and was 
 accounted one of the very best actresses of her day. She re- 
 tired from the stage, for several years, but was obliged to 
 return to it in 1850, when Mr. Pelby died, leaving her the 
 direction of the National Theatre, which was sold to pay the 
 debts of the estate, leaving her almost without resources. 
 In 1853 she went to California, with her daughter, Julia, but 
 her fortunes were not mended by her stay in the Golden 
 State. During her voyage homeward, on board the steamer 
 "Northern Light," near San Juan del Sud, in June, 1855, she 
 was seized with her last illness, and made her exit from the 
 stage of life, in the 64th year of her age. 
 
 2. PLAYBILL. CONCERT HALL, Corner of Court and 
 
 Hanover Streets, Boston. Exhibition of the Con- 
 flagration OF Moscow. Part First. The Origi- 
 nal AND Celebrated Automaton Chess Player. 
 Invented by De Kempelin. Improved by J. Maelzel, 
 etc., etc., etc. [1826.] Framed. 
 
 Maelzel's Automaton Chess Player at Julien Hall, puzzled 
 the quid nuncs — the discovery not then being made of the 
 real automaton inside, who, on a cry of "fire!" started by 
 some wag, made a rapid exit from his limited quarters. 
 
 3
 
 3. HAMBLIN (Mrs.) [Elizabeth Walker Blanchard]. Por- 
 
 trait. Vignette. From an original drawing by Rose 
 Emma Drummond. Published by John Bell, 1st 
 Nov., 1818. 
 
 She was the daughter of William Blanchard, the famous 
 London comedian. She made her London debut at the Hay- 
 market Theatre, July 15, 1818. After her marriage she came 
 to America with her husband, making her first appearance in 
 New York, at the Park Theatre, as Mrs. Haller, Nov. 4, 1825, 
 and was a favorite at the Bowery Theatre. In 1831, she re- 
 turned to Europe, and soon after her return commenced a 
 suit of divorce against her husband, Thomas Sowerby Ham- 
 blin, which resulted in her favor. Shortly afterwards, she 
 married a young man named Charles, whom she introduced 
 to the New York stage, at the Richmond Hill Theatre, in 
 1836. She was a woman of high spirit, and her domestic 
 griefs were sometimes brought before the public with more 
 temper than judgment. Her last appearance in New York, 
 was at the Astor Place Opera House, in 1848. Her first 
 appearance in Boston was in October, 1826, at the Federal 
 Street Theatre. She died of cholera in the city of New 
 Orleans, May 8th, 1849. 
 
 4. MACREADY (William Charles.) Portrait, as Romeo. 
 
 De Wilde pinxt. Woodman sculpt. London, 1810. 
 Framed. 
 
 Mr. Macready was only 17 years old when this portrait was 
 made, 
 
 5. MACREADY (W. C.) Portrait, as Coriolanus. From 
 
 an original Drawing by George Catlin. E. Dexter, 
 73 Nassau St., 1875. 
 
 6. MACREADY (Mr.) Portrait, in the Character of 
 
 King Henry 4th. Drawn on stone by Richard Lane 
 from a Picture by John Jackson, R. A. Printed by 
 HuUmandel. Pubd. by R. Ackermann, 1824. 
 
 Lithograph. 
 
 7. MACREADY (Mr.) Portrait, as Henry Vth. J. W. 
 
 Gear delt. J. Rogers St. 
 
 Engraved for the Dramatic Magazine. 
 
 Born March 3, 1793, in Charles Street, Fitzroy Square, 
 London. Made his first appearance upon the stage at Bir- 
 
 4
 
 mingham, England, in 1810, as Romeo, afterwards playing at 
 Dublin, Bath, etc.; making his first appearance in London, 
 at Covent Garden Theatre, Sept. 16, 1816, as Orestes, in 
 "The Distrest Mother." In 1817 he performed the original 
 character of Pescara (the part refused by J. B. Booth) with 
 much applause, but his merit as a tragedian was not fully 
 established until his appearance as Virginius, in 1820, which 
 was a complete triumph, confirmed in the year following by 
 his masterly delineation of the character of Damon, he being 
 the original representative of both on the London stage. 
 From this time, until the period of his own retirement, he 
 reigned the supreme and unrivaled sovereign of the British 
 stage. In Sept., 1826, he sailed for America, making his first 
 appearance at the Park Theatre, New York, on the 2nd of 
 October, the same year, as Virginius, the receipts being $1,680. 
 On Jany 10, 1827, he first appeared in Philadelphia, at the 
 Chestnut Street Theatre, as Macbeth, and returned to Eng- 
 land at the end of this season. On Sept. 29, 1837, he opened 
 Covent Garden Theatre, as Manager, but shortly retired 
 from the same. Drury Lane Theatre opened under his man- 
 agement on Dec. 27, 1841. He revisited America in 1843, 
 when he passed in triumph through the country, making his 
 last appearance at the Park Theatre, New York, September 
 27, 1844. In 1848, he again visited America, and in October 
 presented himself at the Astor Place Opera House, New York, 
 announcing a farewell tour in the United States. After per- 
 forming at Baltimore, Philadelphia, and other cities, and 
 receiving a public dinner at New Orleans, he again returned 
 to New York, and was advertised to appear as Macbeth at 
 the Astor Opera House, May 8, 1849, and on the evening 
 of May 10, the fatal riot (alluded to in the sketch of Mr. 
 Forrest, in this catalogue) took place. He escaped from the 
 theatre undiscovered, but, notwithstanding the urgent en- 
 treaties of many who promised to sustain him to the last, he 
 was so overcome by the results of that fatal night that he 
 bade adieu to New York forever. The rioters were so violent, 
 that the military, who had been called out, to protect the 
 theatre, finally fired upon the mob, killing twenty-two men 
 and wounding thirty-six. Returning to England, he gave a 
 series of farewell performances, in all the principal British 
 theatres, making his final appearance, at Drury Lane Theatre, 
 in the character of Macbeth, February 26, 1851. He made 
 his first appearance in Boston, at the Federal Street Theatre, 
 as Virginius, to a crowded and fashionable house, on Mon- 
 day, October 30, 1826, performing during this engagement, 
 Macbeth, Damon, William Tell, Hamlet, repeating Virginius, 
 and other characters. The demand for tickets was very 
 great, and speculators leaped a rich harvest. He became the 
 lion of the day and was the recipient of marked attention. 
 He never lost favor with Boston audiences. In 1844, Octo- 
 
 5
 
 ber 2, he played his final engagement in Boston, supported 
 by Charlotte Cushman, at the Melodeon, which had tempo- 
 rarily been converted into a theatre, by Leander Rodney, for 
 a series of performances, by these famous players. He died, 
 April 29, 1873, at his home in Weston-Super-Mare, England, 
 the immediate cause of his death was a disease of the brain. 
 
 8. FORREST (Edwin.) Tragedian. Portrait. J. W. 
 
 Childs, del., H. Meyer sc, London, 1836. 
 
 9. FORREST (Edwin.) Portrait, bust. "Yours Sin- 
 
 cerely, Edwin Forrest." /Et. 65. Fac simile auto- 
 graph. H. B. Hall & Sons. 
 
 10. FORREST (Edwin.) Portrait. Bust. 
 Proof, before all letters. 
 
 11. FORREST (Edwin Mr.) Portrait, as Carwin. Phila- 
 
 delphia. Turner & Fisher, 11 North Street. Drawn 
 and Engraved by W. Harvey Ellis. 
 
 12. FORREST (Edwin.) Portrait, The American Tra- 
 
 gedian, as The Gladiator. Madeley, lith. 3 Welling- 
 ton St., Strand. 
 
 Lithograph. 
 
 13. FORREST (Edwin.) Portrait, as "Virginius." "Well, 
 
 I am patient," Act 3, Scene 2. Etch'd by H. G. Hall, 
 Morrisania, N. Y., 1873. 
 
 Born in Philadelphia, Pa., March 9, 1806. When a mere 
 boy he figured as a conspicuous member of several societies 
 of amateur actors. His first appearance before a public 
 audience, he made as Young Norval, in 1818, at the Tivoli 
 Garden; and his first appearance on a regular stage was made 
 in this same part at the Walnut St. Theatre, Philadelphia, 
 27th Nov., 1820, when he was cooly received, but not discon- 
 certed. He studied zealously for the stage, and in 1822 he visited 
 the West, playing in the principal cities. After several years 
 absence, he returned to the North, playing successfully in 
 Albany, N. Y. On May 16, 1826 he made his second 
 debut (in Philadelphia) as Jaffier, and on the 19, he enacted 
 Rolla, receiving in both characters enthusiastic applause. 
 His first appearance in New York was made at the old Park 
 Theatre in 1826, when he played Othello for Mr. WoodhuU's 
 
 6
 
 Benefit. Shortly after this performance he was engaged by 
 Gilfert for the New Bowery Theatre, New York, where he 
 first appeared on Nov. 6, 1826, as Othello, and during his 
 stay here he gained a name and fame superior to any other 
 American actor. After the death of Mr. Gilfert he trans- 
 ferred his services to the Park Theatre, N. Y., where for 
 several years he was a most popular and profitable star. 
 In the summer of 1834, he was honored by a public dinner, 
 tendered by some of the most distinguished citizens of New 
 York, and was presented with a specially designed gold medal. 
 Soon after this he went abroad, appearing for the first time 
 upon the London stage, at Drury Lane Theatre, Oct. 17th, 
 
 1836, as Spartacus, in the "Gladiator," and was well received. 
 While here, he fell in love with his future wife, the daughter 
 of John Sinclair, the vocalist, to whom he was married, June 23, 
 
 1837. Returning to the United States the same season, he was 
 received with open arms by his old admirers and was com- 
 plimented in December of that year, in Philadelphia, 
 with a public dinner. In 1845, he revisited England, and 
 while playing Macbeth, at the Princess's Theatre, London, he 
 was hissed, Mr. Macready being charged as the instigator. 
 Shortly after, while Macready was playing Hamlet, at 
 Edinburgh, he was openly hissed by Mr. Forrest, who pub- 
 lished a justification of himself for so doing in the London 
 Times. On Macready 's visit to America, in 1848-9, several 
 articles by Mr. Forrest, commenting severely upon him and 
 his performances, were published, and to them, probably, 
 may be attributed the terrible riot at the Astor Place Opera 
 House, New York, during Macready's performance of Mac- 
 beth there. May 10th, 1849. This caused Mr. Forrest to 
 lose many of his best and earliest friends. Then came the 
 counter suits of divorce between him and his wife, in which 
 the means taken to procure criminating evidence against Mrs. 
 Forrest were such as to meet the disapprobation of a large 
 portion of the community. The case occupied the court 
 about six weeks, resulting in the lady's favor, in January, 
 1852. Shortly after the verdict, Mr. Forrest appeared at the 
 Broadway Theatre, New York, opening on Jany. 9th to an 
 overflowing house, as Damon, concluding the engagement on 
 the 30th of April, in the same character, having played sixty- 
 nine consecutive nights — a success at that time unparalleled 
 in America by any other tragedian. From 1855 to 1860, he 
 lived in retirement at Philadelphia. September 17, 1860, he 
 opened at Niblo's, New York, as Hamlet, since that time he 
 performed at intervals in different parts of the United States, 
 his debut in California having been made at the Opera House, 
 San Francisco, as RicheHeu, May 14, 1866. His first ap- 
 pearance in Boston, was at the Federal Street Theatre, 5th of 
 February, 1827, as Damon, when he gave glorious promise of 
 his subsequent splendid career. His last appearance upon 
 
 7
 
 the Boston stage was on Tuesday evening, April 2, 1872, at 
 the Globe Theatre, as Richelieu. He was advertised to play 
 the balance of the week, but the following day he was taken 
 violently sick and his engagement was concluded. Mr. 
 Forrest appeared as a dramatic reader in Philadelphia, 
 New York and Boston. His last series of readings were given 
 in our own Tremont Temple. On December 12, 1872, the 
 great, generous, magnetic, but lonely and unhappy man 
 died at his home in Philadelphia. His will was found to 
 contain several bequests to old friends and servants, but 
 the bulk of his fortune, together with his residence at 
 Holmesburg, was left in the hands of trustees, to be applied 
 to the erection and support of a retreat for aged actors 
 and actresses, to be called "The Edwin Forrest Home." He 
 is buried in St. Paul's Churchyard, Philadelphia. 
 
 14. POVEY (Miss.) (Mrs. Knight.) Engraved Portrait. 
 
 Vignette. Painted by Rose Emma Drummond. Engd. 
 by Woolnoth. Pubd. by Dean & Munday, 1821. 
 
 Presentation copy from J. Povey. 
 
 15. KNIGHT (Mrs.) (Mary Ann Povey.) Engraved Por- 
 
 trait. "The Banners of Blue." 
 Lithograph Music Sheet. 
 
 16. KNIGHT (Mrs.) (Mary Ann Povey.) Portrait, "I'll 
 
 Tell Nobody." 
 
 Lithograph Music Sheet. 
 
 Mrs. Knight was born in Birmingham, England, Jan. 26, 
 1804. Made her first appearance on any stage, as a vocalist, 
 at Drury Lane Theatre, in 1817, and sang "He seeks, he 
 seeks another." Her first appearance as an actress, was also 
 at Drury Lane, in 1819, enacting Margaretta, in "No Song, 
 No Supper." In 1826 she came with her brother, John 
 Povey, to the United States, and made her debut on the Ameri- 
 can stage, Nov. 30, at the Park Theatre, New York. She 
 appeared in Boston at the Federal Street Theatre, in 1827, 
 but did not create the sensation she had made in New York. 
 As a vocalist she was very good, and possessed considerable 
 talents as an actress. Her first appearance in Philadelphia, 
 Jan. 29, 1827, was at the Chestnut Street Theatre, as Floretta 
 in "The Cabinet," the part in which she made her New York 
 debut. After traveling as a star for many years, she joined 
 the stock company of the Park Theatre, New York, in 1841, 
 remaining there until 1848. She returned to England, in 
 
 8
 
 May, 1849, reduced to partial blindness, from a disorder of 
 the eyes induced by grief for the loss of her child. She died 
 at Brompton, England, October, 1861. 
 
 17. TREMONT THEATRE, Boston, Sept., 1827. View of. 
 Original Lithograph. 
 
 18. TREMONT STREET. View of. Showing the Front 
 
 of the Tremont Theatre and the Front of the Tremont 
 House. 
 
 Wood cut. Hand colored. 
 
 The second dramatic temple of note in Boston was the 
 Tremont Theatre, which opened its doors to the public, under 
 the management of William Pelby, Sept. 24, 1827. In 1843 
 it was sold to the Baptists, the closing performance occurred 
 June 23, 1843. Mr. Thomas Barry was manager for seven 
 years, without profit to himself, though his eflforts to advance 
 the legitimate drama were worthy of large success. The 
 theatre was too small to enable even crowded houses to meet 
 the extraordinary expenses incidental to great attractions. 
 
 19. PLAYBILL. Tremont Theatre, Boston. Opening 
 
 Night, Sept. 24, 1827, when will be presented, Wives 
 As They Were, and Maids As They Are. Previous 
 to the Comedy The Prize Address Will be deliv- 
 ered BY Mr. Blake. To conclude with The Lady 
 AND the Devil. Framed. 
 
 20. ANDREWS (George H.) Portrait. Bust. 
 Bierstadt Process Print. 
 
 21. ANDREWS (Mr.) [George H.] Portrait, as Captain 
 
 Copp. Drawn on stone by J. Bell, Lord St., L'pool. 
 
 Lithograph. Very Rare. 
 
 22. ANDREWS (George H.) Portrait, as Luke the 
 
 Laborer. 
 
 Water Color Drawing. Artist unknown. 
 
 Born in London, Eng., in 1798. Made his debut in 1819, as 
 Lothair, in "Adelgitha," in Manchester, England. His first 
 appearance in America, was at the Federal Street Theatre, 
 Boston, as Bob Acres, in "The Rivals," Sept., 1827. Here 
 he remained for some time, and married Miss Woodward. 
 
 9
 
 He made his debtd in New York, in 1838, as Zekiel Homespun, 
 and Luke the Laborer, at the Chatham Theatre. Was after- 
 wards attached to the Park and the old Broadway Theatres. 
 After leaving the stage, he managed the old Chinese Buildings, 
 New York, as a ball room. He again returned to the stage, 
 appearing at Niblo's Garden, and afterwards at the Winter 
 Garden Theatre. Died in New York, April 7, 1866. 
 
 23. HORN (Charles E.) Portrait. Vignette, with fac- 
 
 simile of autograph. Lith. of Fleetwood. From life 
 on stone by J. A. McDougall. 
 Lithograph. 
 
 24. HORN (Mr.) [Charles Edward.] Portrait, as Caspar, 
 
 in Weber's Celebrated Romantic Opera of Der 
 Freischutz. Drawn and Engraved from life by Jno. 
 Wm. Gear. Printed by G. Hullmandel. 
 
 Lithograph. 
 
 25. HORN (Mr.) Portrait, in the character of Count 
 
 Albert, in the Opera of Safe and Sound. Engd. 
 by Meyer, from a miniature by W. J. Newton. 
 
 Was born in London, 1788. His father, a distinguished 
 musician, instructed him on the pianoforte; the science of 
 music was imparted by Baumgarten, his vocal tutors were 
 Rauzzini and T. Welsh. He was at Covent Garden, and 
 afterwards at the Italian opera, playing in the orchestra at 
 both houses. He made his first appearance, as a singer, at 
 the Lyceum Theatre, London, June 26, 1809, and rising 
 rapidly in favor, soon attained a high position on the boards 
 of Drury Lane. He first appeared in America, at the Park 
 Theatre, New York, Oct. 17, 1827, as the Seraskier in "The 
 Siege of Belgrade," and soon afterwards appeared as Prince 
 Orlando, Don Sylvio, Henry Bertram, and Trumore ("Lord 
 of the Manor"). His first appearance in Boston was at the 
 Federal Street Theatre, in 1827, when "Guy Mannering" 
 and "Der Freischutz" were presented. While he retained 
 his voice, he was much admired in this country, but its 
 failure caused him to leave the stage about 1835, although he 
 afterward frequently appeared in the concert-room as vocal- 
 ist, and accompanist on the piano. He also at one time 
 was engaged in business as music-seller and publisher. As a 
 composer and adapter, he was very happy. Several of his 
 songs, "I've been Roaming," "Deep, Deep Sea," "Cherry 
 Ripe," "Mermaid's Cave," etc., attained great popularity. 
 He also arranged many foreign operas for the English stage. 
 He died at Boston, of typhoid fever, Oct. 22, 1849. 
 
 10
 
 26. HACKETT (Mr.) Portrait, as Falstaff. Drawn 
 
 and lithographed by G. E. Madeley. 
 Lithograph in Colors. 
 
 27. HACKETT (JAMES H.) Portrait, as Monsr. Mallet, 
 
 G. E. M. Madeley lith. 
 Lithograph. 
 
 28. HACKETT (JAMES H.) Engraved Portrait, as 
 
 "NiMROD Wildfire." From the original painting by 
 A. Andrews. Proof. China Paper. 
 
 James Henry Hackett was born in New York City, March 
 15th, 1800. His first appearance on the boards of any theatre 
 was at the Park, New York, March, 1826, as Justice 
 Woodcock in "Love in a Village"; but his success did not 
 equal his own expectations or those of his friends. He re- 
 solved, however, to make a second attempt; and appeared 
 in an entertainment, in which he gave imitations of popular 
 actors, and stories illustrative of American characteristics. 
 In this experiment he was entirely successful. His second 
 great hit, was in personating one of the two Dromios in the 
 "Comedy of Errors," in which he presented a capital imitation 
 of Barnes, who then was performing the twin brother. This was 
 at the Park Theatre, New York. In December he sailed 
 for England, and on the 6th of April, 1827, at Covent Garden 
 Theatre, first gave the EngHsh pubUc a touch of his Yankee 
 stories and imitations in "Sylvester Daggerwood." During 
 that visit, he gave the whole character of Richard III, in 
 imitation of Kean, at the Surrey Theatre, with very great 
 applause. He, however, returned to America, where his 
 performances of Morbleau, Dromio, Solomon Swap (a char- 
 acter he substituted for Solomon Grundy, in Colman's 
 comedy of "Who Wants a Guinea?" re-christening the whole 
 as "Jonathan in England"), Rip Van Wrinkle, Nimrod 
 Wildfire, etc., insured him hosts of friends and admirers. In 
 1829 and 1830, he was for a while connected with the manage- 
 ment of the old Chatham and Bowery Theatres, New York, 
 but reaped more fame than funds from his enterprise. In 
 the fall of 1832, he again visited England, appearing both at 
 Drury Lane and Covent Garden, winning general approba- 
 tion by his performance of the above characters, and also of 
 Falstaff, which he had played but once before leaving Amer- 
 ica. In 1840, 1845 and 1851, he also made very successful 
 English tours. He made his first appearance in Boston, at 
 the Federal Street Theatre, in 1827, in October, as Dromio 
 of Ephesus (the Dromio of Syracuse was Barnes). A 
 perfect similarity of dress, and a wonderful imitation of 
 
 11
 
 Barnes' manner of speech and tone of voice, made it some- 
 times doubtful whether Barnes or Hackett was speaking. 
 The town ran to see this performance, and filled the house 
 nightly. He appeared at the Howard Atheneum, in October, 
 1845. He was the first manager of the Howard Atheneum, 
 after it was rebuilt. He married Miss Lee Sugg, of the Park 
 Theatre, New York, in 1819. He died at his home in Ja- 
 maica, L. I., on Thursday morning, Dec. 28, in the 72nd. 
 year of his age. He will be chiefly remembered for his ex- 
 cellent performances of the character of Falstaff, which he 
 acted for the last times in New York, at Booth's Theatre, 
 from Nov. 29 to Dec. 25, 1869, appearing both in 
 "Henry the Fourth" and "The Merry Wives of Windsor." 
 
 29. FISHER (CLARA.) Engraved Portrait. Engraved 
 
 by S. H. Gimber and William J. Bennett, from the 
 original picture by Henry Inman, Esqr. [1828.] 
 
 30. MAEDER (CLARA FISHER.) Portrait. Bust. 
 
 Process Print, Hand Colored. With autograph of 
 the Lady, 1897. 
 
 31. FISHER (Miss CLARA.) Engraved Portrait. Bust. 
 
 A. N. Henderson Belt., July, 1820. Engd. by C. 
 Thomson (Cross) Edin. 
 
 32. FISHER (Miss CLARA.) Engraved Portrait. Engd. 
 
 by J. Alais from an original painting by Rose Emma 
 Drummond. Pubd. by John Bell for LaBelle Assemblee. 
 With Autograph of the Lady, 1895. 
 
 33. FISHER (Miss CLARA.) Portrait. Vignette. To 
 
 front C. G. Childs, Lith. Pubd. by R. H. Hobson, 
 Phila. 
 
 34. FISHER (Miss CLARA.) Portraits (4 on 1 sheet), as 
 
 The Four Mowbrays. I. R. C. Published by 
 Buncombe. Hand Colored. 
 
 35. MAEDER (CLARA FISHER.) Portrait. Vignette. 
 
 Colored Lithograph. 
 No other copy is known. 
 
 12
 
 36. FISHER (Miss CLARA.) Portrait, as Lord Flimnap in 
 
 "LiLLiPUT," drawn and etched by George Cruikshank. 
 From "The British Stage." With the Lady's Autograph 
 and date, 1897. Colored. 
 
 37. FISHER (Miss CLARA), of the Theatres Royal, Drury 
 
 Lane and Covent Garden. Engraved Portrait, in 
 the Character of Richard 3rd. "Myself will lead 
 the soldiers to the Plain." Pubd. by W. J. Collins, 
 March 17th, 1828. 
 
 38. FISHER (Miss CLARA.) Engraved Portrait, as 
 
 Richard 3rd. De Wilde del. Prescott sculp. Pubd. 
 by Wm. Fletcher, Jany., 1818. Hand Colored. 
 
 Born in England, July 14, 1811. At an early age she 
 displayed a natural genius for the drama. When six years 
 old she was taken to witness a rehearsal of "Gulliver in 
 Lilliput," at Drury Lane Theatre, and was so fascinated with 
 the scene, the performers being children between the years of 
 six and ten, that she eagerly begged her father's permission 
 to join the little troupe, and after reciting a speech from 
 "Jane Shore" to the manager, she was at once engaged, 
 making her first appearance, at Drury Lane, as Lord Flimnap, 
 in "Lilliput," Dec. 10, 1817, with great success. Immediately 
 afterwards she was engaged at Covent Garden, where she 
 appeared with equal eclat. So marvelous was her excellence 
 in "Richard," so intense the curiosity to witness her per- 
 formance, that applications for her services poured in from 
 every quarter, and in a few years she had appeared with 
 corresponding success in all the principal towns of Great 
 Britain and Ireland; she was the wonder of her times, and as 
 a juvenile performer, eclipsed all predecessors and successors. 
 After five years spent in starring, she was engaged, at a large 
 salary, at Drury Lane Theatre, where she reappeared as 
 Little Pickle, Dec. 3, 1822, with most rapturous ap- 
 plause. She came to America before she had reached her 
 seventeenth year, and was certainly -at that time one of the 
 most bewitching specimens of feminine creation. She made 
 her first appearance at the Park Theatre, New York, Sept. 11, 
 1827, asAlbinaMandevillein"TheWill"; and while here, she 
 played a long list of characters, in all of which her success was 
 unprecedented. The line of characters in which she appeared 
 with most success was the same in which Mrs. Jordan and 
 Madame Vestris achieved their greatest triumphs. She was 
 nature itself in the mischievous boys and romping girls of the 
 stage, while the pert chambermaid and the belle of the salon 
 
 13
 
 were hit off with an unexampled fidelity. She never sought 
 vulgar admiration — she never forced a paint nor solicited 
 applause. On the 6th of December, 1834, she was united in 
 marriage to Mr. James G. Maeder, a distinguished musician. 
 Her last engagement at the Park Theatre, New York, was the 
 season of 1840-41, when she was in the stock company. On 
 the 28th of September, 1841, she had a complimentary benefit 
 there, arranged for her by a committee of ladies, the receipts 
 of which amounted to nearly $2,000; and her last appearance 
 on that stage, the scene of her many triumphs, was in the 
 character of Lydia Languish, for the benefit of her sister, Mrs. 
 Vernon, Nov. 6, 1844. She retired from the stage for 
 several years, residing at Albany, N. Y. She returned to 
 New York in 1851, and appeared for one Reason at Broug- 
 ham's Lyceum, and afterward occasionally assisted in Madame 
 Thillon's opera troupe at Niblo's. Since that period she has 
 plaj'ed in many companies in various cities of the Union. 
 On the 19th of November, 1827, she made her first appear- 
 ance, in Boston, at the Federal Street Theatre, opening as 
 Albina Mandeville in "The Will." She appeared also as 
 Goldfinch — one of the elder Mathew's favorite parts, and her 
 success was complete, and created a furore in this city which 
 has rarely been equalled. She has played here many times 
 since. One notable occasion was her appearance with 
 Charlotte Cushman, at the Tremont Theatre, in Mozart's 
 "Marriage of Figaro." She did her last stage work as a 
 member of one of Augustin Daly's companies, finally retiring 
 in 1889, after nearly three-quarters of a century behind the 
 footlights. She had seven children, leaving behind her two 
 daughters and a son. She died at Metuchen, N. J., Nov, 
 12, 1898, aged 87 years. 
 
 39. ACHILLE (Madame.) Portrait. Bust. Artist un- 
 
 known. 
 
 Fine India Ink Drawing. 
 
 Madame Achille and her husband, with a troupe of French 
 dancers, served to fill up the intervals between comedies 
 and farces at the Federal Street Theatre, in the season of 
 1827-28. 
 
 40. ROCK (Miss.) Portrait. Original Daguerreotype. 
 
 41. ROCK (Miss.) Portrait. 
 Bierstadt Process Print. 
 
 14
 
 42. ROCK (Miss.) Portrait. Bust. In rectangle line 
 
 frame. No name. 
 
 Miss Rock came to America as a star, making her first appear- 
 ance in New York on September 19, 1827, as Letitia Hardy 
 and Miss Jenny Transit, in the first performance of the 
 burletta called "Winning a Husband." She had just made 
 a brilliant debut at Boston, in 1827, at the Federal Street 
 Theatre, and played several parts with such decided ability, 
 that had not Clara Fisher's star been already in the ascendant, 
 she would have been regarded, perhaps, as the brightest 
 luminary of the season. As it was, she proved a powerful 
 rival, although in New York she never attained equal popu- 
 larity. She had not the advantages of a fine face or person, 
 nor was her taste in costume according to the prevailing 
 mode, but the spirit and archness that she displayed made 
 one forget, as trifling, all minor defects. She sang with great 
 taste and sweetness the ballads of the day, to which her 
 manner lent a peculiar charm. After a few starring engage- 
 ments. Miss Rock resided generally in Boston, where she was 
 regarded as one of the principal ornaments of the drama. 
 She last played in New York at the Bowery Theatre, October 
 2d, 1840, as Julie de Mortemar, and Violante. In private 
 life she was known as Mrs. Murray. 
 
 43. BARBERY [BARBERE] (Mons. M. G.) Portrait. 
 
 Bust. Principal Dancer Bowery Theatre, N. Y, 
 Lith. of Pendelton. 
 
 This is the only known Portrait. 
 
 This excellent French dancer, the first male dancer who 
 appeared in this country, made his debut in America, on the 
 18th of Sept., 1827, at the New York Theatre (Bowery), in 
 a Pas de Trots, with Hutin and Celeste. He, Hutin and 
 Celeste, were engaged at the Tremont Theatre, Boston, 
 Nov. 27, 1827. In 1831, he was in Philadelphia. Afterwards 
 he resided in Memphis, Tenn., teaching French and music. 
 
 44. CELESTE-ELLIOTT (Madame.) Portrait. Drawn 
 
 on stone by C. Baugniet. M. & N. Hanhart, lith. 
 printers. Pubd. by McLean, 26, Haymarket. 
 
 Presentation Copy. "Mrs. Eliza Kinloch with the best 
 wishes of her friend. Celeste Elliott, New York, 
 June 25th, 1852." 
 
 Lithograph. 
 
 45. CELESTE (Mademoiselle.) Portrait, The Greek 
 
 RoMAiKA. N. Currier's Lith., N. Y. 
 
 IS
 
 46. CELESTE. Portrait, as the Maid of Cashmere. 
 
 E. T. Parris. Pubd. by Hodgson & Graves. 1837. 
 A. Picker, Lith. 
 Colored Lithograph. 
 
 47. CELESTE (Mademoiselle.) Portrait, in her popular 
 
 character of Marie Ducange. N. J. Crowley. 
 Drawn on stone by Thomas Fairland. Printed by 
 Fairland. Pubd. at Webster's National Acting Drama 
 Office. 
 Lithograph. Colored. 
 
 48. CELESTE-ELLIOTT (Mad.) Portrait, as the Wild 
 
 Arab Boy, in the melodrama of the French Spy, as 
 performed at the National Theatre, New York. N. 
 Sarony. Printed and Pubd. by H. R. Robinson, N. Y. 
 
 Born in Paris, France, Aug. 6, 1814. Made her first appear- 
 ance on any stage at the Bowery Theatre, New York, in 1827, 
 as a dancer, and her first appearance in Philadelphia, at the 
 Chestnut Street Theatre, March 18, 1828, and danced two 
 pas seuls, the first composed expressly for her by Mons. 
 Barbere, to the favorite air of "The Dashing White Sergeant;" 
 the second, from the opera of "Nina," as originally danced by 
 her in New York. In 1828, she married Henry Elliott of 
 Baltimore, by whom she became the mother of an only 
 daughter. After dancing with success in the principal 
 theatres of the Union, she sailed from New Orleans for Liver- 
 pool, and there first appeared upon the British stage as 
 Fenella in "Masaniello," with great success. After playing 
 the round of the provincial theatres, she returned to London, 
 playing at Drury Lane Theatre, and at the Queen's Theatre, 
 where she first gained a metropolitan repute by her astonish- 
 ing performance of Mathilde in the "French Spy," and soon 
 became a brilliant star in all the best minor theatres of Lon- 
 don. After visiting France, Italy and Germany, she returned 
 to London, and was triumphantly welcomed at Drury Lane, 
 where she appeared in "La Bayadere," "Prince Leboo," 
 "Revolt of the Harem," etc. On the 17th of Nov., 1834, she 
 reappeared in New York, at the Bowery Theatre, as Mathilde, 
 and during the season there played some of the most brilliant 
 and successful engagements on record. Then went starring 
 through the Union. During this tour, which extended to 
 1837, it is said that she netted the sum of forty thousand 
 pounds, with which she returned to England. She made a 
 third visit to this country in 1838, and played an engagement, 
 
 16
 
 at the Park Theatre, New York, in January, 1840. She, in 
 conjunction with Benjamin Webster, managed a theatre in 
 Liverpool, England, and in 1844, with the same gentleman, 
 became co-lessee of the Adelphi, London, visiting America 
 again in the fall of 1851. She made her first appearance at 
 the Broadway Theatre, New York, as Miami, in "The Green 
 Bushes," on the 18th of October. Taking her farewell benefit 
 there in June, 1852. Unexpectedly, on the 25th of Septem- 
 ber, 1865, after an absence of 13 years, she presented herself 
 at the new Broadway Theatre, New York, as Miriam, the 
 Hebrew Mother, in a new play called "The Woman in Red," 
 and excited her audience to the very highest pitch of enthusi- 
 asm. In her prime, to elegance and symmetry of person, she 
 added a handsome face, eloquent dark eyes, and an expressive- 
 ness of feature, beyond any actress of the age. Every move- 
 ment was full of grace, and every attitude a picture. The 
 power, pathos, and efifect of her pantomimic acting have never 
 been approached, while her assumption of male attire and 
 heroic character, were marvelous exhibitions of daring ambi- 
 tion and successful achievement. Her success in America has 
 been equalled among women only by Fanny Kemble and 
 Jenny Lind, and she was undoubtedly the most popular of 
 the trio. She first appeared in Boston, Nov. 27, 1827, at 
 the Tremont Theatre. At the same house again in 1828, she 
 brought out "The Cahph of Bagdad." The season of 1829 
 commenced September 14, when "Speed the Plough," and 
 "The Romaika," by Mad'lles Celeste and Constance, and 
 "Touch and Take," were presented. She was starring at 
 the Federal Street Theatre in season of 1836-7, and at the 
 Howard Athenaeum, Oct. 16, 1865, on a tour through this 
 country, extending to the Pacific Slope; she went from there 
 to Australia, and back to England, filling many engagements 
 there, until October, 1874. From that time until her death 
 she remained virtually in retirement, only occasionally 
 facing the footHghts for the benefit of some brother or sister 
 professional. She died in Paris, France, her native city, 
 February 19, 1882. 
 
 49. SLOMAN (Mrs.) Engraved Portrait, in the charac- 
 ter of Belvidera. W. Chatfield Pinx. W. Humphreys 
 Sculpt. 
 
 India Proof. 
 
 Mrs. Sloman's maiden name was Whitaker, and in early 
 life she married Henry Dowton, a son of the great comedian. 
 On his death, she married John Sloman, and appeared 
 successfully in London, in 1824. Her American debut 
 took place at Philadelphia, Dec. 7, 1827, and played 
 a triumphant engagement. Mrs. S. made her first appear- 
 
 17
 
 ance in Boston, at the Federal Street Theatre, on the 7th 
 of January, 1828, and gained great fame as Mrs. Haller and 
 Belvidera. She made her first appearance in New York at 
 the Park Theatre, Feb. 4, 1828. She was a correct and lady- 
 like actress, but too coldly classical to suit the multitude. 
 Her declamation was remarkably fine. Upon her retirement 
 from the stage, she took up her residence in Charleston, S. C, 
 where she suddenly died Feb. 7, 1858. 
 
 50. JONES (GEORGE.) Engraved Portrait. Bust. 
 
 Medallion. Drawn by F. S. Agate. Engd. by A. B. 
 Durand. Facsimile autograph. 
 
 51. JOANNES (GEORGE,THE COUNT.) ''The Uncrushed.'* 
 
 Portrait, as Richard III. Weldon. 
 Hand Colored. 
 
 52. [JONES (GEO.)] Caricature Portrait. The Great 
 
 American Roscius as Richard the Third, Act 4th, 
 Scene 4th. Biz fecit. 
 Lithograph. 
 
 53. JOANNES (THE COUNT.) Playbill, New York 
 
 Academy of Music. Testimonial Benefit, April 
 24, 1876. Hamlet: — Hamlet: — The Count 
 Joannes — with Carte de Visite photo. 
 
 Inlaid. 
 
 George Jones was a native of England, who possessed a 
 personal appearance well adapted to the juvenile heroes of 
 tragedy and comedy, combined with a very large share of 
 assurance, which led him to style himself, when on a visit 
 to his native land, the "American Tragedian!" He married 
 Miss Melinda Topping, of New York, whom he introduced 
 to the stage, and from whom he afterward separated. He 
 at one time managed the Avon Theatre, at Norfolk, Va., 
 in which city, we believe his daughter Avonia (Mrs. G. V. 
 Brooke) first saw the Ught. He was in the company at the 
 Federal Street Theatre in 1828. He was the Claude Mel- 
 notte, when the "Lady of Lyons" was first produce in 
 Boston at the old National Theatre, May 16, 1838; Mrs. 
 Jones, PauUne; Spear, as Col. Damas; Mrs. Pelby, as Mme. 
 Deschapelles. 
 
 18
 
 5L AUSTIN (Mrs.) Portrait. Painted by H. P. Briggs. 
 Drawn on stone by Weld Taylor. Printed by Graf 
 and Soret. 
 Lithograph on India paper. 
 
 55. AUSTIN (Mrs.) Engraved Portrait, as Ariel. R. 
 Hinshelwood sc. 
 
 56. AUSTIN (Mrs.) Engraved Portrait, as Rosetta. 
 Drawn by Holroyd. Engd. by HoU. 
 
 The beautiful Mrs. Austin made her first appearance in New 
 York as Rosetta in "Love in a Village " at the Park Theatre, 
 New York, Jan. 2, 1828. This brilliant songstress had 
 just concluded an engagement in Philadelphia, where she 
 first appeared in America on the 10th of Dec, 1827. She 
 was more accomplished in the Italian School of Music than 
 any vocalist who had preceded her, Malibran alone excepted. 
 Her voice extended to nearly three octaves and possessed 
 remarkable purity and sweetness. Her merit was confined 
 exclusively to her singing, and to a very lovely personal ap- 
 pearance. She was no actress, nor had she the archness, ex- 
 pression or feeling requisite for a successful ballad singer. 
 She was the original heroine, in this country, of "Cinderella," 
 "Artaxerxes," the "White Lady," "CaHph of Bagdad," 
 "Fra Diavolo," and other operas, which owed their success 
 principally to her exertions. Her Ariel, in "The Tempest," 
 and Apollo, in "Midas," to this day remain unapproached 
 in excellence. She was at the Tremont Theatre, May, 1828, 
 in the production of "Der Freischiitz" and also in 1829 and 
 1830. On Monday, March 5, 1832, she played in "Cinderella," 
 the first time in this city, at the Tremont. The season 
 of 1834-5, she was again starring at the Tremont Theatre. 
 She played her farewell engagement at the Park Theatre, 
 New York, in 1835, making her last appearance there, 
 April 8, but was induced by liberal offers afterward to play 
 a few nights at the Bowery Theatre, where she made her last 
 appearance in America, on the 8th of May, 1835, as Diana 
 Vernon and Virginia, and returned to Europe. 
 
 57. LANE (Miss) [Mrs. JOHN DREW.] Portraits (eight 
 years of age) in the characters in "Twelve Precisely." 
 Drawn on stone by D. C. Johnston. Lith. of Pendleton. 
 Boston, Nov. 3, 1828. 
 
 19
 
 58. DREW (LOUISA) [Mrs. JOHN DREW.] Engraved 
 
 Portrait, as Mrs. Malaprop. Sarony. S. Hollyer. 
 India Proof. Signed by the Engraver. 
 
 One of the best all round actresses of her day, was born 
 Jan. 10, 1818, in England, her maiden name was Lane. Her 
 first appearance upon the stage was at Liverpool, England, in 
 1826, enacting the part of Agib, in "Timon the Tartar." With 
 her mother, who was professionally known as Mrs. Kinloch, she 
 made her American debut, Sept. 26, 1827, at the Walnut Street 
 Theatre, Philadelphia, as the little Duke of York, to the 
 Richard the 3rd, of the Elder Booth. She made her first ap- 
 pearance in New York, at the Bowery Theatre, as Little 
 Pickle, in "The Spoiled Child," March 3, 1828. Then to the 
 Park Theatre, New York, and from there to Boston, making 
 her first appearance at the Tremont Theatre, season of 1828, 
 and then to Baltimore, Md., for a brief engagement. After- 
 wards she visited the other principal cities in the country 
 and became a favorite everywhere. On the 5th of January, 
 1829, she appeared at the Chestnut Street Theatre, Phila- 
 delphia, in "Twelve Precisely;" or, "A Night at Dover," in 
 which she sustained five characters, and "The Spoiled Child;" 
 and at her benefit, 8 days later, the same bill was given. 
 Afterwards she was at the Walnut Street Theatre, played a 
 short engagement, and then en tour through the South and 
 West, returning East, making her first appearance at the 
 Arch Street Theatre, Philadelphia, Sept. 22, 1829. In 1830, 
 she was again en tour, leaving New Orleans, La., for the West 
 Indies. On her return to the States, she opened at the 
 Walnut Street Theatre, Jan. 8, 1832, making her appearance 
 as Albinia Mandeville, in "The Will." In 1833 she was at 
 the Old Bowery Theatre, New York, in the stock company, 
 playing in the support of all the prominent stars of the day 
 in a constant round of standard dramas. In 1839, she mar- 
 ried Henry B. Hunt, a member of the profession, making her 
 first appearance as Mrs. Hunt, Aug. 19, of that year, at 
 the Walnut Street Theatre, as Italia, in "Romanzo :" she 
 was the Julie de Mortimer in the first American production 
 of "Richelieu," with Edwin Forrest as the Cardinal, Sept. 
 24, 1839. In October, 1840, she was in the Chestnut Street 
 Theatre Stock Company. In 1842, she re-appeared at the 
 Park Theatre, New York, where she became a great favorite. 
 In 1848 she married George Mossop, and as Mrs. Mossop, 
 made her first appearance in Philadelphia, May 24, 1849. 
 Mr. Mossop died, Oct. 8, 1849, and on July 27, 1850, she 
 married John Drew, at Albany, N. Y., where they were both 
 members of the Museum Company. Both became members 
 of the Chestnut Street Theatre, Philadelphia, season of 1852-3, 
 remaining until Feb. 21, 1853, when they went to the Arch 
 Street Theatre, remaining there until July, 1855, v/hen Mr. 
 
 20
 
 and Mrs. Drew toured the country. In 1861, she became 
 lessee and manageress of the Arch Street Theatre, and con- 
 tinued as such until May 7, 1892, when, with a performance 
 of "Widow Green," in "The Love Chase," she withdrew 
 from the old house, after its management for thirty-one years. 
 While manageress here, she many times made short tours 
 of the country at the head of her own company, and also 
 in conjunction with other well known performers. In May, 
 1877, she made her first appearance, in San Francisco, Cal., 
 as Lady Teazle, in "The School for Scandal." In 1887, 
 April 18, she played a star engagement at the People's Thea- 
 tre, New York, as Mrs. Malaprop, in "The Rivals." October 
 17, 1887, she appeared at the Star Theatre, New York, with 
 Joseph Jefferson, in "The Rivals." On Oct. 29, of the year 
 following she appeared with Joseph Jefferson and John Gil- 
 bert, at the Fifth Avenue Theatre, New York, in the same 
 play, and for season of 1889-90 she was with the Jefferson- 
 Florence Company, opening at the Star Theatre, New York, 
 in the same play. Her last appearance in New York City, 
 was May 30, 1896, when she appeared as Mrs. Malaprop; 
 the Company, all stars, including Jos. Jefferson, W. H. 
 Crane, Nat C. Goodwin, Julia Marlowe, Robert Taber, and 
 others. She played at various times in Boston, at different 
 theatres, always with approval. For many years she was 
 considered one of the most versatile actresses on the Ameri- 
 can stage. Her originality, and knowledge of the technique 
 of the stage, won her unfading laurels. She died at the home 
 of her son, Mr. John Drew, in Larchmont, N. Y. 
 
 59. SCOTT (J. R. Mr.) Portrait, as Macbeth. 
 
 Lithograph. 
 
 J /j j» John R. Scott was born in Philadelphia, Oct. 17, 1808, and 
 
 ■^^ made his debv.t upon the stage, July 2, 1828, as Malcolm, to 
 / the Macbeth of J. B. Booth, at the Park Theatre, New York. 
 
 He made his bow to a Philadelphia audience, Aug. 29, 1831, 
 as William, in "Black-eyed Susan." In 1847, he appeared 
 in London, at the Princess's Theatre, making his debiU as 
 Sir Giles Overreach. His last appearance in Philadelphia, 
 was at the City Museum, Jan. 22, 1856, as Rob Roy. His 
 first appearance in Boston, was at the Tremont Theatre, 
 Sept. 1, 1828, as Peter in "Speed the Plough," a part of two 
 lines in length, which he delivered incorrectly, and for three 
 months after was not allowed to speak at all, being confined 
 solely to walking in processions, filling up groupings, &c. He, 
 \ however, persevered there with such indomitable spirit that 
 
 \ he was rewarded with high promotion the next season, and 
 two or three years later he was playing leading characters 
 elsewhere. Possessing a fine personal appearance and great 
 natural abilities, he might, with proper caution in his personal 
 
 21 
 
 /
 
 habits and a closer application to study, have ranked among 
 the very highest of our actors. His school was that of For- 
 rest, but he was not a servile imitator, and, like Booth, in 
 the latter part of his career, he was apt to disappoint his 
 audiences by sudden disappearances. He died suddenly in 
 New York, in the summer of 1856. 
 
 60. SCOTT (JNO. R.) Portrait, as St. Pierre. T. 
 
 Sully Jr. pinxt. On stone by Newsam. 
 Lithograph. 
 
 61. COMER (THOMAS.) Portrait. 
 Photo from oil painting. 
 
 62. COMER (THOMAS.) Portrait. Bust and printed 
 
 matter. Wood cut. 
 
 Mounted. 
 
 Thomas Comer was born in Bath, England, Dec. 19, 1790, 
 and made his first appearance on any stage at the Bath 
 Theatre, at the age of 12 years, as Don Caesar in "The Castle 
 of Andalusia. ' ' First appeared on the London stage in 1 8 1 6, as 
 The Officer in "The Slave." Made his debut on the American 
 stage in 1827 at the Bowery Theatre, New York, as Forage 
 in "Turn Out." He remained for the season, and then went 
 to Boston, and made his first bow at the Tremont Theatre, 
 Sept. 1, 1828, as Looney McTwolter, 'in "The Review," 
 and also filled the position of musical Director. In January, 
 1829, Der Freischutz, was brought out in an admirable manner, 
 under his direction. On the 6th of April, 1829, he announced 
 his first benefit in Boston, and many a time since then has the 
 name of "Honest Tom Comer" been posted as the bene- 
 ficiary of the evening. He was musical Director, when "Tan- 
 credi," "Barber of Seville," etc., were brought out. This was 
 the first regular attempt to present the lyric drama in this 
 city, with all the proper accompaniments and it proved suc- 
 cessful. The music and choruses of "Cinderella," on its 
 first production in this city, March 5, 1832, at the Tremont, 
 were under his direction. As a spectacle, nothing equal to it 
 had been seen in Boston up to that time. For several years 
 he was connected with the Boston Museum, in the capacity 
 of leader of the orchestra and musical director, and Mr. 
 Kimball's various brilliant spectacles were rendered more 
 attractive by the original music composed for them by Mr. 
 Comer. He was musical director at the opening of the pres- 
 ent Boston Theatre, Sept. 11, 1854, under the management of 
 Mr. Thomas Barry, and was a member of this company 
 for several seasons. He died in Boston, July 27, 1862, and 
 was buried on the 30th at Mount Auburn. 
 
 22
 
 63. GILBERT (JOHN.) Engraved Portrait. Facsimile 
 
 autograph. S. Hollyer. 
 
 India Proof. Signed by the Engraver. 
 
 64. GILBERT (JOHN GIBBS.) Portrait, as Lord 
 
 Ogleby, in "Clandestine Marriage." Quotation. 
 Act 5th, Scene last, and Autographed by Himself. 
 Photograph. 
 
 65. GILBERT (JOHN GIBBS.) Portrait, as Old Dorn- 
 
 TON, in "The Road to Ruin," with quotation, Act 3d, 
 Scene 2, and Autographed by Himself. 
 Photograph. 
 
 66. GILBERT (JOHN GIBBS.) Portrait, as Sir Simon 
 
 Ingot, in "David Garrick." Quotation, Act 3rd, 
 Scene last, and Autographed by Himself. 
 
 Photograph. 
 
 67. GILBERT (JOHN GIBBS.) Portrait, as Sir Anthony 
 
 Absolute, in "The Rivals." Quotation, Act 4th, 
 Scene 2d, and Autographed by Himself. 
 Photograph. 
 
 68. GILBERT (JOHN GIBBS.) Portrait, as Sir Peter 
 
 Teazle. 
 
 Photograph. Finely colored by hand. 
 
 John Gibbs Gilbert was born Feb. 27, 1810, at No. 12 Rich- 
 mond Street, Boston, next door to the house in which 
 Charlotte Cushman was born, and made his first appearance 
 upon the regular stage at the Tremont Theatre, Boston, 
 Nov. 28, 1828, as Jaffier, and his effort met with success. 
 His second appearance was as Sir Edward Mortimer in "The 
 Iron Chest." He was sent with a part of the Tremont Com- 
 pany to Salem, Mass., and while playing there, was engaged 
 by J. H. Caldwell, manager of the Camp Street Theatre, 
 New Orleans, to play in the Southern cities; and under his 
 management he remained for nearly five years, acting in 
 Southern and Southwestern Theatres, where he was cast 
 for all sorts of parts, and had to put up with considerable 
 hardship at times. He was again at the Tremont Theatre, Bos- 
 ton, in 1834, and here for the first time he was regularly cast for 
 "first old man," a line of parts which he played for more than 
 
 23
 
 fifty years. His roles at that time embraced tragedy as well 
 as comedy, but his specialty was first old men, and in these 
 parts, for many years he had no equal. He was at the Tre- 
 mont, and acted as stage manager and first old man, when Dr. 
 Jones assumed the management of the house. Mr. Gilbert 
 remaining in it till the last, and on its final night at the 
 theatre, June 23, 1843, he acted Sir Robert Bramble, and 
 gave a farewell address. So that he was the last actor 
 who spoke upon the stage of the old Tremont. A little 
 while before the closing of the Tremont, he had played at 
 the Bowery Theatre, New York, having been expressly en- 
 gaged to play Peter Bradley, the Sexton, in "Rookwood," 
 and made his appearance there again in June, 1839, as Sir 
 Edward Mortimer in "The Iron Chest." His next engage- 
 ment was at Pelby's National Theatre, Boston, the only 
 theatre then open in the city. From there he went to the 
 old Federal Street Theatre, when that once famous house, 
 was re-opened by Oliver C. Wyman, speaking the opening 
 address. The season, a disastrous one, closed in March, 
 
 1847. In April, that year, he went to England, and ap- 
 peared in June, at the Princess's Theatre, London, as Sir 
 Robert Bramble, and was cordially received by the press 
 and public of the British capital, and accepted an engage- 
 ment for the season of 1847-8. The interim he passed in 
 Paris. While in London, he visited the other theatres as 
 frequently as he could studying the efforts of other actors 
 and actresses. After leaving London, he appeared at the 
 Park Theatre, New York, Sep. 30, 1848, as Sir Anthony 
 Absolute, remaining until its destruction by fire, Dec. 16, 
 
 1848. He spoke the last words ever uttered on that stage, 
 playing the part of Admiral Kingston, in "Naval Engage- 
 ments." He then went to the Bowery, which in those days, 
 had a capital Company, and there he remained until August, 
 1851. He was next found at the Howard Atheneum, and 
 later at the Chestnut Street Theatre, Philadelphia, remain- 
 ing there until the opening of the Boston Theatre in 1854, 
 when he was again engaged by Thomas Barry. On the open- 
 ing night, Sept. 11, 1854, he spoke the opening address and 
 acted Sir Anthony Absolute. Here he remained for four 
 consecutive seasons, playing old men almost exclusively, 
 but he was seen in two of the most widely contrasted 
 characters — Bottom and Caliban. At one of his benefits 
 in Boston, he received a public gift of a costly and hand- 
 some service of silver. From the Boston Theatre, in 
 1858, he went to the Arch Street Theatre, Philadelphia, 
 and remained there until engaged by J. W. Wallack, for the 
 new theatre at the corner of 13th Street and Broadway, 
 New York, in 1861. He made his appearance at this house, 
 Sep. 22, 1862, as Sir Peter Teazle, and at once became a 
 favorite with the New York public. He remained in the 
 
 24
 
 Wallack Stock Company at both houses, 13th Street and 30th 
 Street, until it ceased to exist. The 50th Anniversary of his 
 First appearance on the Stage was appropriately celebrated 
 by a Benefit Performance, Dec. 5th, 1878, and a public 
 banquet at the Lotus Club. He acted Sir Peter Teazle on 
 the last night of the Wallack Stock Company, May 5, 1888. 
 He made a characteristic speech, speaking briefly of his 
 career, feelingly of the kindness the public had ever shown 
 to him, and sharply of the contemporary stage. A few days 
 later (May 21st) he played Polonius in the great perform- 
 ance of "Hamlet," at the Metropolitan Opera House, New 
 York, for the benefit of his old manager, Lester Wallack. 
 The following autumn, he acted Sir Anthony in "The Rivals," 
 for a short time at the 5th Avenue Theatre, New York, to 
 the Bob Acres of Joseph Jefiferson, and the Mrs. Malaprop 
 of Mrs. John Drew, and his last appearance on the Boston 
 stage was Dec. 15, 1888, at the Park Theatre, when he played 
 Sir Anthony. He died June 17, 1889, in Boston, conscious 
 until within a few minutes of the end. He was fully prepared 
 and met death unflinchingly. He was buried in the family 
 plot at Forest Hill Cemetery. 
 
 69. FERON (Madame E.) Portrait. Henri Heidemary, 
 1837. 
 
 Lithograph. 
 
 Born in London, 1797, made her first appearance on the 
 American stage as a "star," at the Park Theatre, New York, 
 as Floretta in "The Cabinet," 27th November, 1828. At 
 the age of eight she astonished the visitors at Vauxhall by 
 her facility of executing the most difficult music, and was 
 familiarly spoken of as the infant Billington, a name that 
 then stood for all that was admirable in the art. In Novem- 
 ber, 1811, she first appeared at Covent Garden Theatre as 
 Rosetta. On approaching womanhood. Mile. Feron visited 
 Italy, Germany, and France, where she received the in- 
 structions of Pucitta and Rossini, and sung in company 
 with Pasta and Catalani, whose most exalted efforts were 
 not sufficient to prevent her sharing in their triumphs. 
 During her continental residence she married a Mr. Glossop, 
 but the union proved unhappy. She returned to England, 
 and resuming her maiden name with the title of Madame, 
 m.ade her debut at Drury Lane as Florimante, in "Isidore de 
 Merida," November 29, 1827. She last sung at Niblo's 
 Garden, New York, in 1833. She was acknowledged by all to 
 stand in the first rank of vocalists, but, during her sojourn 
 here, the country was filled with musical strangers, who so 
 distracted the patronage of the public, that her skill was 
 not rewarded with the pecuniary success it merited. Her 
 
 25
 
 first appearance in Boston, was at the Tremont Theatre, in 
 the season of 1828-9, when she performed in "The Barber of 
 Seville," "Beggar's Opera," etc. As an actress, she was 
 fascinating; and in private life, an elegant woman. Shortly 
 after her appearance in New York, in 1833, she returned to 
 England, and, with declining powers and advancing years, 
 gradually took a receding walk in her profession. She died 
 in London, in 1853. 
 
 70. CRAMER-PLUMER (Mrs.) Portrait. M. Swett 
 invt, et Del. 
 Lithograph. Music Sheet. 
 
 She made her first appearance in America on the 30th of 
 September, 1828, as Giovanni in London, with tolerable 
 success. She afterwards played Letitia Hardy, Harriet 
 Arlington, Caroline, in "The Prize," &c., and was a very 
 creditable actress and singer. She became the wife of Mr. 
 Plumer. She made her first appearance in Boston, May 22, 
 1829, on the occasion of Walton's benefit, at the Federal 
 Street Theatre. 
 
 7L CALDWELL (JAMES H.) Portrait. Engd. by Illman 
 & Pilbrow from a painting by Jarvis. 
 
 James H. Caldwell was born in Manchester, England, 1793, 
 making his debtU there as The Page in "Court Scenes." 
 Made his first appearance in America as Belcour, in "The 
 West Indian," at Charleston, South Carolina, in November, 
 1816, under the management of Mr. Holman, by whom he 
 was brought to this country. In 1817, he managed a theatre 
 in Washington, D. C, and in 1818, built the theatre in Peters- 
 burgh, Va. In January, 1820, he engaged the French Theatre 
 in New Orleans for English performances. In 1822, he 
 commenced building the first American Theatre there, and 
 opened it January 1, 1824. In 1826, he built the Nash- 
 ville Theatre. In 1827, he converted a building at St. Louis, 
 Mo., into a theatre. He made his first appearance in New 
 York, Sept. 2, 1828, as a star, at the Park Theatre, as Belcour 
 and the Three Singles, in "Three and the Deuce." In 1828, 
 he completed a deserted theatre at Natchez, Miss. He built 
 a fine theatre at Cincinnati, and opened it on the 4th of 
 July, 1832. In 1833, he sold out his theatrical circuit. He 
 commenced the great St. Charles Theatre in New Orleans, 
 on the 9th of May, 1835, and opened it on the 30th of 
 November, the same year. It was destroyed by fire, March 
 13, 1842, and finally abandoning his interest in the cause 
 of the drama, retired from the profession, Jan. 14, 1843, 
 making his farewell bow as Vapid in "The Dramatist." 
 
 26
 
 He afterwards filled important public positions in New 
 Orleans, where he long resided, his untiring industry having 
 secured him a very handsome fortune. He was twice married, 
 first to a lady of Virginia, and, second, to Miss Rowe, daughter 
 of the Southern manager of that name. He died during the 
 war of the Rebellion, while residing temporarily in New York, 
 Sept. 11th, 1863, at the age of 70. He appeared as a "star" at 
 the Boston Theatre, in 1829, and afterwards at the Tremont, 
 the same season. 
 
 72. KEAN (CHARLES JOHN.) Portrait. Bust, with 
 
 autograph, "Charles John Kean, July 13th, 1833." 
 
 Lithograph. 
 
 73. KEAN (CHARLES.) Portrait as Hamlet. Facsim- 
 
 ile Autograph. A. E. Chalon. Edward Morton, 
 Lith. J. Graf, Printer. Pubd. March 28th, 1838, by 
 J. Mitchell. 
 
 Colored Lithograph. 
 
 74. [KEAN (CHARLES.)] Portrait, as Louis XI. Fac- 
 
 simile autograph. From a drawing by C. S. L. 
 Drawn on stone by R. J. Lane. Printed by M. N. 
 Hanhart. Pubd. by J. Mitchell. 
 India Paper. Lithograph. 
 
 75. KEAN (CHARLES.) Portrait, as Richard Duke of 
 
 Gloucester. Drawn from recollection. Angelica 
 Clarke delt. Weld Taylor Lith. Pubd. May, 1838, 
 by Thos. McLean. 
 
 Lithograph. Finely colored by hand. 
 
 The second and only surviving son of the great Edmund 
 Kean, was born at Waterford, Ireland, Jany. 18, 1811. He 
 made his first appearance upon the stage in order to support 
 his mother and himself, at a salary of ten pounds per week, 
 making his debut at Drury Lane Theatre, as Young Norval, 
 1st of October, 1827. It was on his third appearance at this 
 theatre that he first met Miss Ellen Tree, his future wife, 
 he playing Frederick, and she, Amelia Wildenheim, in "Lover's 
 Vows." Afterwards, in Glasgow, in Oct., 1828, his father 
 played for his benefit the character of Lucius Brutus, the 
 son playing Titus. In January, 1829, he appeared again at 
 Drury Lane as Romeo, and at the close of the season acted 
 in the provinces, and appeared at the Haymarket Theatre, 
 
 27
 
 London, in October, where he made his first decided success 
 as Sir Edward Mortimer. After practising industriously in 
 Great Britain and on the Continent, he determined to visit 
 America and made his first appearance at the Park Theatre, 
 New York, September 1, 1830, as Richard the Third, 
 making his first appearance in Boston, in the same character 
 on the 22nd of November, 1830, at the Tremont Theatre, 
 and when he made his entrance on the stage, he was received 
 with shouts of welcome; and, as if the people were determined 
 not to visit the sins of the father upon the child, they con- 
 tinued their applause into three or four additional rounds, 
 when the first had subsided. During this engagement he 
 appeared as Sir Giles Overreach, Hamlet, Shylock, Reuben 
 Glenroy, etc. Returning to England, in 1833, shortly after 
 his arrival, he was engaged at Covent Garden Theatre 
 where, on the night of March 25, 1833, father and son 
 acted together for the first and only time in London. The 
 play was "Othello." The Moor, by Edmund Kean, lago, by 
 Charles Kean, and Desdemona by Miss Ellen Tree. After 
 his father's death he played at Hamburg for a short period, 
 with a company of which Ellen Tree was a member, returning 
 to England he made a provincial tour, which proved profit- 
 able, his popularity increasing, particularly in Dublin, Edin- 
 burgh, Liverpool, Bath, and other large towns. Mr. Mac- 
 ready invited him to join the Covent Garden corps, but he 
 declined, and afterwards accepted an engagement at Drury 
 Lane Theatre for forty-three nights, at a salary of £50 per 
 night. It was in 1838, when he was announced in the bills 
 to appear for the first time in London, as Shylock, on the last 
 night of this notable engagement. After touring the country, 
 he returned to London. His services were now transferred 
 to the Haymarket Theatre, London, for twelve nights,, for 
 which he received £50 a night, and a benefit. The engage- 
 ment, so successful it proved, was extended to 22 nights. 
 In September, 1839, he appeared at the National Theatre, 
 New York, which was unluckily burned down in the midst 
 of his first series of performances. He appeared again in 
 Boston at the Tremont Theatre in 1839, and attracted good 
 houses. He returned to England and played at the Hay- 
 market Theatre, London, in 1840, for 30 nights. On Jan. 
 9, 1842, he was married in Dublin, to Miss Ellen Tree. In 
 1843, he concluded his 3 years' contract at the Haymarket. 
 In 1845, he again visited this country and with his accom- 
 plished wife, made a triumphal tour throughout the Union, 
 appearing at the Boston Theatre on the 19th of October, 
 1846, opening with "The Gamester." Since that period, 
 he has played at the Haymarket, and, in conjunction with 
 Mr. Keeley, managed the Princess's Theatre, London, 
 where he devoted himself to spectacular revivals of Shake- 
 speare and Byron. These reproductions were projected and 
 
 28
 
 executed on a scale of expense which resulted in a loss to the 
 management of many thousand pounds; but they placed 
 the reputation of Charles Kean on an enduring basis. During 
 this period, moreover, he produced some new plays, one 
 being eminently successful, that of "Louis XI," adapted by 
 Mr. Dion Boucicault from Casimir Delavigne's tragedy. 
 Mr. Kean's performance of this character was regarded as 
 his chef d'oeuvre. He made his last appearance in New York, 
 in April, 1865, at the Broadway Theatre, and here he pre- 
 sented Louis XI, for the first time in America, and his per- 
 formance was pronounced faultless. He was at the Boston 
 Theatre, when on the 10th of Apr., 1866, he was taken ill 
 and discontinued playing. This being his last appearance 
 upon the stage, in this city. He made his farewell appearance 
 in New York, 16th of April, 1866, in the characters of 
 Louis XI, and Mr. Oakley. His last appearance upon the 
 stage was at the New Prince of Wales Theatre, Liverpool, 
 May, 1867. He died in London, Jan. 22, 1868. 
 
 76. BURKE (Master.) Engraved Portrait. T. Wageman 
 
 delt. J. Rogers sc. Engraved for the Dramatic 
 Magazine. 
 
 77. BURKE (Master.) Aged 8 years. Portrait. From a 
 
 sketch by W. Allison. Ingrey & Madeley liths. 
 
 Lithograph. 
 
 78. BURKE (Master.) Portrait, as Bluster Bubble. 
 
 Drawn by Wageman and Etched by Rd. Cruikshank. 
 Engraved by P. Roberts. Pubd. by Wm. Kenneth. 
 
 Colored. 
 
 79. BURKE (Master) [JOSEPH BURKE.] Portrait, as 
 
 Jack Ratline. Drawn by Wageman, & Etched by 
 Rd. Cruikshank. Engraved by P. Roberts. Pubd. 
 by Wm. Kenneth. 
 Colored. 
 
 80. [BURKE (Master.)] Caricature by D. C. Johnston, 
 
 "Pressure of the Times," showing crush of the 
 people at Boston Theatre to obtain tickets for Master 
 Burke's performances. Etching also as Dr. O'Toole 
 in "The Irish 1 
 Both on one sheet. 
 
 in "The Irish Tutor." Wood cut. 
 
 29
 
 81. BURKE (Master.) Portrait, as Signor Sordini. 
 
 Drawn by Wageman, & Etched by Rd. Cruikshank. 
 Engraved by P. Roberts. Pubd. by Wm. Kenneth. 
 
 82. BURKE (Master.) Portrait, as Mr. Terence O'Leary, 
 
 Drawn by Wageman. Etched by Rd. Cruikshank. 
 Engraved by P. Roberts. Pubd. by Wm. Kenneth. 
 
 Colored. 
 
 Bern in Dublin, Ireland, in 1818, made his debut in London, 
 Eng., June 4, 1825, at the Haymarket Theatre, as Dr. 
 O'Toole, in "The Irish Tutor." He made his first appear- 
 ance in America, at the Park Theatre, New York, on the 22nd 
 of November, 1830, as Young Nerval in "Douglas," and after 
 the first piece he led the orchestra in the overture to "Guy 
 Mannering," and concluded by playing Terry O'Rourke, 
 in which he introduced a comic song. During this engage- 
 ment he played a variety of parts. Besides leading various 
 overtures, he played several solos on the violin, among 
 which were some difficult variations by De Beriot, and a 
 fine concerto by J. Barton. His success was of the most 
 decided character, his nine nights of performing averaging 
 $1200 each. As a prodigy, in both music and drama he has 
 been unapproached by any child who has trodden the Ameri- 
 can stage, unless it was Clara Fisher. He made his first 
 appearance upon the stage, at the Theatre Royal, Dublin, 
 in May, 1824, in the characters of Tom Thumb and Lingo, 
 when he was but 5 years old, and his success was so great 
 that he immediately after appeared at Liverpool, Margate, 
 Brighton, and at the Haymarket, and finally at the Surrey 
 Theatre, under R. W. EUiston's management, where his 
 talents had every opportunity for the most varied display. 
 For several seasons in America he proved a most attractive 
 star, but, his popularity waning, he revisited Europe in 
 1835, and studied music thoroughly under the best masters. 
 He returned to America and reappeared at the Park Theatre, 
 New York, Dec. 29, 1836. He went through a round of 
 his old characters, and took his benefit, January 6, 1837, 
 as Mawworm, and presented a new protean farce in which 
 he displayed his musical accomplishments in a buffa scena, 
 with performances on violin, piano, flute, accordeon, guitar, 
 flageolet, clarionet and trombone. The piece was entitled, 
 "Old Heads on Young Shoulders," in which he played the 
 part of Sholto. His last theatrical appearance, that we 
 remember was at Wallack's National Theatre, New York, 
 in January, 1839. After a short retirement he re-appeared 
 in the concert-room, acknowledged as one of the finest vio- 
 linist of the age, and assisted in the entertainments of Jenny 
 
 30
 
 Lind, JuUien, and Thalberg. He made his first appearance 
 in Boston, Monday, Jany. 31, 1831, at the Tremont Theatre, 
 as Young Norval, leading the orchestra between the plays. 
 His engagement extended into March, during which he 
 played a variety of parts and his success was immense. No 
 other word can convey the cordiality with which he was 
 welcomed. Balls and parties, sleigh rides and social gather- 
 ings, were dispensed with, the theatre was the centre of the 
 fashionable and literary world of Boston, and the boxes were 
 filled to their utmost capacity. A portion of the box tickets 
 were sold at auction by Messrs. Coolidge & Haskell. The 
 sum of $1344 was paid in premiums for the seven nights; 
 and the amount of the advanced rates for nineteen nights 
 was §2174.50, exclusive of the whole receipts, which did not 
 fall far short of $20,000. After leaving the concert stage, 
 he studied law, and was admitted to the bar, but he never 
 followed the law as a profession. For a number of years he 
 spent the winters in New York and Washington, and the 
 summers at his home in Batavia, N. Y. He was unmarried, 
 and died at the Park Avenue Hotel, New York City, Jany. 
 19, 1902, aged 87. 
 
 83. ANDERSON (J. R. Mr.) Portrait, as Henry Bertram. 
 Aquatint. Proof. 
 
 Mr. Joshua R. Anderson and his wife. Miss Bartolozzi were 
 announced to appear for the first time in America at the Park 
 Theatre, New York, on the 13th of Oct., 1831, in "Guy Manner- 
 ing," and it was feared from some remarks made by him on his 
 passage hither, that a tumult would be the result. Mr. A. was 
 received on his entrance with hisses, shouts of "off!" "off!" etc., 
 mingled with tokens of applause. The stage manager, Mr. 
 Thomas Barry endeavored to propitiate the audience, but 
 he failed to do so. After frequent fruitless attempts to 
 obtain a truce, the play proceeded, mainly in dumb show. 
 In the papers the following morning, Mr. Anderson published 
 a statement to the public; the managers deeming this an 
 ample apology, for his remarks, announced his appearance 
 for Saturday, Oct. 15, the theatre was entirely filled with 
 males, and it was manifest before the raising of the curtain 
 that there were two parties present, those in his favor and 
 those opposed. The first act passed without disturbance, 
 save an attempt to hiss Mr. Barry, which was promptly 
 quelled. Mr. Barry making a brief speech. On the rise of 
 the curtain for the second act, Mr. Simpson, the manager, 
 came forward and expressed the willingness of the manage- 
 ment to abide by the decision of the public, and if it were 
 the wish of the house that Mr. Anderson should be with- 
 drawn, let it be distinctly manifested, and he pledged him- 
 
 31
 
 self to comply, "Let him be withdrawn!" "Send him home!" 
 "Yes!" "Yes!" came thundering from all parts of the house, 
 Mr. Jones was immediately substituted and the performance 
 went on. Mr. Anderson published statements and affidavits, 
 which went to prove that the punishment was altogether un- 
 merited; and several papers which had been opposed to Mr. A. 
 pronounced him an injured man. He, however, concluded not 
 to contest the question before the bar of public opinion in 
 New York, but accepted an engagement in Boston, ap- 
 pearing at the Tremont Theatre, Nov. 3, 1831, as Henry 
 Bertram in "Guy Mannering," his wife, Miss Bartolozzi, as 
 Julia Mannering, when the house was filled to overflowing. 
 Before the curtain rose, Mr. Barrett came forward, stating 
 it was not the intention of the management to force Mr. 
 Anderson upon the Boston public; that the statement he 
 had published, was substantiated by the oaths of himself 
 and three others, and had not been denied or questioned ; 
 the excitement in New York being unjustifiable. Mr. Bar- 
 rett was warmly applauded, and the play proceeded. On 
 Mr. Anderson's appearance he was received with the most 
 uproarious applause, mingled with a few faint hisses. The 
 house, after a lapse of some minutes, became orderly, every- 
 thing passed on well until the third act was nearly through, 
 when a crowd from the outside, forced a way into the bars 
 of the pit. The cry of fire was raised, and confusion pre- 
 vailed. The musicians fled, and for a time the affair looked 
 serious. The actresses were so much alarmed that they 
 left the theatre. Order being restored, the audience called 
 for the play to continue. The managers were obliged to 
 pass to the farce, and no further interruption was made. 
 Mr. Anderson published a card, thanking the public for their 
 kindness, and finished the engagement successfully. He 
 appeared as Captain Malcolm to Mrs. Anderson's Stella 
 Clifton, in "The Slave;" and as Tom Tug in "The Water- 
 man." He again attempted to appear in New York, at the 
 Richmond Hill Theatre, but was not allowed to sing, and 
 shortly after he returned to Europe with his wife, formerly 
 Josephine Bartolozzi, a sister of Madame Vestris. Mrs. A. 
 died in London, June 11, 1848. 
 
 84. BARTOLOZZI (Miss.) Portrait, in oval. Drawn on 
 stone by Lynch, from a painting by T. Warrington. 
 Printed by Engelmann, Graf, Coindet & Co. 
 Lithograph. India paper. 
 
 85. BARTOLOZZI (Miss.) Engraved Portrait, as The 
 Page in John of Paris. J. Bailey, Publisher, 1828. 
 
 32
 
 86. SINCLAIR (JOHN.) Portrait, "Mr. Sinclair of the 
 
 Theatre Royal, Covent Garden." Painted by G. 
 H. Harlow, Engd. by Henry Meyer. London, 1811. 
 
 Mezzotint. 
 
 87. SINCLAIR (Mr.) [JOHN.] Engraved Portrait. 
 
 Engd. by Wm. Read, from a drawing by J. Stewart. 
 Pubd. 1823, for La Belle Assemblee. 
 
 Colored by Hand. 
 
 88. STEPHENS (Miss) and (SINCLAIR, Mr.) Portraits, 
 
 as Mandane and Arbaces, in the splendid and popular 
 opera of Artaxerxes. 
 
 Colored Etching. 
 
 89. SINCLAIR (Mr.) [JOHN.] Engraved Portrait, as 
 
 Palmepo, in The Earthquake. Pubd. by Dyer 
 Senr., 1828. 
 Colored by hand. 
 
 90. SINCLAIR (Mr.) [JOHN.] Portrait, as Prince Or- 
 
 lando. J. Buckley delt. Printed by C. Hullmandel. 
 Pubd. by Wm. Chapman. 
 
 Lithograph. 
 
 John Sinclair was born in Edinburgh, December 26, 1789. 
 Made his debut at Covent Garden Theatre, London, Sep. 20, 
 1811, as Don Carlos, in "The Duenna," and was received 
 with great applause. On the third night he performed 
 Prince Orlando, in which he combined compass of voice with 
 such strength, sweetness, and flexibility, that he reached the 
 highest degree of popular favor. The distinctness of his 
 articulation, the felicity of his cadenzas, and the rapidity 
 of his shake, were deservedly the theme of universal appro- 
 bation. In his representation of Apollo in "Midas," in which 
 his singing of "Pray Goody," was such as to excite an ad- 
 miration bordering on enthusiasm. He performed 61 nights, 
 and sung the song three times every night, at that time un- 
 exampled in the annals of the theatre. Previous to his ap- 
 pearance on the London boards, however, he went to Mar- 
 gate, having assumed the name of Mr. Noble, and performed 
 a few nights preparatory to his debut. He has also played 
 in Bath, Bristol, Liverpool, Edinburgh, receiving the most 
 liberal encouragement. He made his first appearance in 
 
 33
 
 America as Prince Orlando, in "The Cabinet," at the Park 
 Theatre, New York, Sep. 24, 1831, and reappeared in New 
 York for several seasons after. His first appearance in Boston 
 was at the Tremont Theatre, Feby. 6, 1832, as Francis 
 Osbaldiston, in "Rob Roy." He was pronounced and un- 
 doubtedly was, the most accomplished male singer who had 
 then appeared on the boards. After his engagement, he 
 gave concerts with great success. He returned to England, 
 and died there Sep. 22, 1857. He was the father of Mrs. 
 Edwin Forrest. 
 
 91. WARREN THEATRE [Boston], View of. 
 Pen and Ink Drawing. Framed. 
 
 92. PLAYBILL, Warren Theatre, Corner of Portland and 
 
 Traverse Streets. Opening Night, July 3rd, 1832. 
 Victorine! or I'll Sleep on it, after which A Fancy 
 Hornpipe, by Miss Honey. To conclude with The 
 Spoiled Child. 
 
 This theatre was remodelled from the American Amphi- 
 theatre, which had been opened Feb. 27, 1832, by William 
 and Thomas L. Stewart for equestrian performances. Re- 
 constructed in 1836 by Mr. Pelby and reopened Aug. 15, 
 1836, as the National Theatre, and was so called until 
 Sep. 8, 1856, when it was opened as Willard's National Thea- 
 tre; Dec. 10, 1856, it was opened as the People's National 
 Theatre. Beginning in January, 1862, it was known as the 
 Union Concert Hall, and devoted largely to variety perform- 
 ances. The season of 1862-63, Mr. English was the manager 
 and the house resumed its former name of National Theatre. 
 Dramatic and variety entertainments were given up to and 
 including, March 23, and the theatre was burned March 24. 
 The stage fixtures, to a considerable extent, had been re- 
 moved to the new Tremont Theatre upon the opening of that 
 house in the early part of 1863. 
 
 93. RAVEL (GABRIEL.) Portrait. Bust. Lith. by 
 
 F. Davignon. From Ambrotype by Brady. 
 
 Lithograph. Folio. 
 
 94. RAVEL (GABRIEL.) Portrait. Vignette. Facsimile 
 
 autograph. AB. Pubd. by E. Dexter. 
 
 95 RAVELS (The) [GABRIEL, FRANCOIS, ANTOINE 
 and JEROME.] Portraits. Busts. Group Photo- 
 graph. 
 Colored by hand. 
 
 34
 
 96. RAVEL TROUPE. Portraits. Francois Ravel, Man- 
 guin, Paul Brillant, Joseph Marzetti, Yrca Mathias 
 and Madam Marzetti. Group. 
 Photograph from life. Framed. 
 
 The Ravels on the 16th of July, 1832, this famous family of 
 gymnasts, rope-dancers and pantomimists, appeared for 
 the first time in America at the Park Theatre, New York. 
 The company consisted of 10 performers. Gabriel was born 
 in 1810, Antoine in 1812, Jerome in 1814, and Francois in 
 1823. Their first public appearance was in Paris, in 1825. 
 They also appeared in London, at the Strand Theatre, and 
 at Vauxhall Gardens, prior to their appearance in this 
 country. They first appeared in Boston, Nov. 16, 1832, at 
 the Tremont Theatre, with great success, their performances 
 consisting of rope dancing feats of strength and pantomime 
 ballets in which young Gabriel sustained the principal 
 characters. They then toured the South and West, and in 
 1834, returned to Europe, where they divided into two 
 troupes, Jean Ravel, Dominique and Marzetti, touring Italy 
 and Spain, and the three brothers proceeded to London, 
 appearing at Drury Lane, Jan. 5, 1836. In Sept., 1836, they 
 started for New York, where they played from Oct. 1836, 
 till July, 1837. They shortly afterwards returned to France, 
 and again in 1842, returned to New York, and opened at 
 Niblo's, where for many successive seasons, they proved 
 profitable attractions. On the 22nd of October, 1847, 
 Gabriel, the finest of the troupe, announced his farewell 
 benefit at Palmo's Opera House, Chambers Street, New 
 York, and soon after its principal members started for 
 home. In 1848, Francois returned bringing the Martinetti 
 family with him. In 1849 Antoine and Jerome returned 
 to the States, and with the addition of the Lehman Family, 
 Mile. Bertin, and Paul Brillant, most happily inaugurated 
 the season of Niblo's new theatre, in 1849. On June 2, 1851, 
 Gabriel returned to the scene of his former triumphs, un- 
 diminished cither in ability or attraction. In 1857-8, 
 they played an engagement at Niblo's of 300 nights, giving 
 4 performances a week. In Sept. 1865, Gabriel and Antoine 
 reappeared at Niblo's, with Young America, a juvenile 
 wonder, Signora Pepita, Madame Marzetti, and several 
 other members of their former companies, renewing all the 
 triumphs of their earlier years. Notwithstanding the 
 dangerous and daring nature of many of their feats, 
 we have never heard of any fatal accident having occurred 
 to any member of the family or troupe, with the ex- 
 ception of two ballet dancers, Adelaide Lehman and Pauline 
 Genet, who at diflferent periods came to their deaths in a most 
 painful and shocking manner, by their dresses taking fire. 
 
 35
 
 Leon Javelli, a rope dancer, of the highest elegance and 
 ability, died of cholera, July 13, 1854, aged thirty-three years. 
 Paul Brillant, a ballet-dancer of skill, and a great favorite 
 with the public, died in New York, May 15, 1864. Joseph 
 Marzetti, a most extraordinary contortionist and a very 
 dexterous and faithful representative of the monkey tribe, 
 died in New York, Sept. 23, 1863, from bursting a blood- 
 vessel, while engaged in rehearsing at the then so-called 
 New York Theatre, formerly Wallack's old establishment. 
 Gabriel Ravel, died at Toulouse, France, April 14, 1882. 
 "Young America" was a son of a stage carpenter at Niblo's 
 Garden, and had made his debtit when a child with the Ravels, 
 in that theatre, as a tight-rope performer. Dec. 1, 1856, 
 Gabriel had conceived such a fondness for him that he took 
 him under his protection and carried him to France when 
 he went into retirement. When Leotard created a great 
 sensation in Europe by his performance of the triple trapeze 
 act, "Young America" practiced this feat and soon excelled 
 in it. It was to place him again before the American public 
 that Gabriel emerged from retirement and an engagement 
 was made at Niblo's Garden, and, notwithstanding that the 
 act had been previously performed by the Hanlons in the 
 Academy of Music, New York City, "Young America" created 
 no little sensation by his grace and daring. Gabriel Ravel, 
 besides being an excellent pantomimist and dancer, and a 
 skilful tight-rope performer, was the chief business man of 
 the troupe. 
 
 97. ADAMS (Miss) [ANNA MATILDA.] Portrait, in the 
 
 Character of Zulima in Ballet-Dance of Zelico. 
 J. Martyn, sc. From Hibernian Magazine. 
 
 98. BARRYMORE (W. Mrs.) Portrait, as Maria Grazie. 
 
 West fee. Pubd. 1829, by W. West. Etching. 
 Colored by Hand. 
 
 Mrs. Barrymore made her dehut in America at the Park 
 Theatre, New York, Aug. 29, 1831, when she appeared as 
 Pipino, in the "Dumb Savoyard." She was known on the 
 EngHsh stage as early as 1803, as Miss Adams, a dancer; 
 and after her marriage attained distinction as a melo-dra- 
 matic actress of the highest grade. After playing a few 
 months at the Park, she went to the Bowery Theatre making 
 her last appearance in New York there on 1st of October, 
 1832. She made her first appearance at the Tremont, on the 
 17th of December, 1832. She had been playing at the War- 
 ren Theatre in this city in October. She appeared as the 
 Wife and Widow in the "Soldier's Wife and Soldier's Widow," 
 
 36
 
 and during the season made a great hit as Fenella in the 
 Opera of Masaniello. Her husband died in Boston, Feb. 
 16, 1845, and his widow taught dancing here for several 
 years; she finally returned to England where she died, 
 December 30, 1862, aged about 70, or according to a news- 
 paper statement, nearly 80 years of age, the latter being 
 most likely. The portrait of Miss Adams, shown, was made 
 in 1803, and she was then in her 18th year. 
 
 99. HILL (GEO. H.) Comedian. Engraved Portrait. 
 Geo. W. Twibil Pinxt. T. Kelly sc. Painted and 
 Engd. for the New York Mirror. 
 
 100. HILL (Mr.) Portrait, as "Hiram Dodge," in the 
 
 "Yankee Pedlar." Quotation. Pubd. by J. 
 Childe. 
 
 Lithograph. Printed in colors. 
 
 101. HILL (Mr.) Portrait, as "Major Wheeler" in the 
 
 Farce of "New Notions." J. W. Childs del. Madeley 
 lith. 
 
 Lithograph. Printed in colors. 
 
 George Handel Hill (commonly called Yankee Hill) was 
 born in Boston, Oct. 9, 1809. This gentleman, who, as the 
 representative of the pure, simple, genuine Yankee character, 
 outstripped all competition, had been fascinated at the age 
 of fifteen by the attractions of the stage, and being then 
 in a jeweler's establishment, adjoining the theatre, found 
 means to gratify his penchant in 1824, by appearing as a 
 supernumerary at the Chatham Theatre, New York. In 
 1825, he saw Alexander Simpson in the Yankee part, Jona- 
 ' than Ploughboy, in "The Forest Rose," when he deter- 
 mined to make the Yankee peculiarities his especial study. 
 Shortly afterwards he was engaged for a tour in western 
 New York, during which, by continual practice he acquired 
 ease and confidence, though rarely having the opportunity 
 of presenting himself in his favorite lines. In Brooklyn, N. Y., 
 in 1826, he gave his first entertainment of songs, stories, &c., 
 and met with considerable applause. In 1828, he married, 
 and retired from the stage, in fulfilment of one condition of 
 the match, but his heart was still engaged with the drama, 
 and opposition being withdrawn, he resumed his profession 
 a few months after, at the Albany Theatre, and afterwards 
 appeared at Peale's Museum, New York, and played at 
 Charleston, Philadelphia, &c., in the last named city, he 
 made his first hit as Jonathan Ploughboy, and went through 
 
 37
 
 the season with such success that in the fall of 1832 he com- 
 menced a starring tour, playing in various cities. On the 
 14th of Nov. 1832, he appeared on the Park Theatre stage 
 for the first time in a Yankee story. He soon after played 
 Solomon Swop and Jonathan, appearing as Solomon at 
 the Warren Theatre, Boston, Jan. 14, 1833. After playing 
 throughout the Union with unvarying success, Mr. Hill 
 visited Europe and appeared at Drury Lane Theatre, 
 London, Nov. 1, 1836, and opened in a new piece, written 
 by Mr. Bernard, specially for his debut. The "Yankee 
 Pedlar" was the result, and in this piece Mr. Hill made his 
 first bow to a British audience. Mr. Edwin Forrest was acting 
 in the theatre, meeting with triumphant success. On the 
 fulfilment of this engagement he toured Great Britain, and 
 this afforded him with an increase of both fame and fortune. 
 On his return to the States he met with a warm reception 
 from the public wherever he appeared, until symptoms of 
 ill health induced a second visit to Europe, and in 1838 
 he appeared with brilliant success at the Haymarket, and 
 other English theatres, and gave two successful character- 
 istic entertainments in Paris. After this, at one time, he 
 practised dentistry, in New York, having in his leisure in- 
 tervals, carefully studied the art, as well as the science of 
 anatomy and practice of surgery, in the College of Physicians 
 and Surgeons, but he soon abandoned the pursuit. In 1847 
 he purchased a residence at Batavia, N. Y., whence he 
 emerged with regret to fulfill the numerous engagements 
 that were offered him from all parts of the country. In 
 August, 1849, he gave his last entertainment in the height of 
 the fashionable season at Saratoga, N. Y., where he was so- 
 journing for the benefit of his health. To fulfill his promise 
 to his patrons, he rose from a sick bed, to which he returned 
 only to be carried to his grave. He died on the 27th of 
 September, 1849, before he had completed his 40th year, 
 and was buried in the cemetery at Saratoga. 
 
 102. KEMBLE (CHARLES.) Portrait. Vignette. Fac- 
 
 simile autograph. Plate 15 of a set of studies of him. 
 R. J. Lane. M. & N. Hanhart, Lith. Printers. Pubd. 
 by Colnaghi & Puckle, 1840. 
 
 Lithograph. Proof. 
 
 103. [KEMBLE (CHARLES)]. Portrait, as Benedick. 
 
 Quotation. Much Ado About Nothing, Act. 5, 
 Scene 3. Lane. Plate 4 of a series of studies of him. 
 J. Graf, printer. Pubd. by Colnaghi & Puckle. 
 Lithograph. 
 
 38
 
 104. KEMBLE (Charles.) Portrait, as Cassio. Quotation, 
 
 Othello, Act 2, Sc. 3. Facsimile autograph. R. J. L. 
 J. Graf Printer. Pubd. by J. Mitchell. 
 Lithograph printed in color. 
 
 105. KEMBLE (CHARLES.) Portrait, as Charles Surface, 
 
 in The School for Scandal. Drawn, Etched by 
 Richd. Dighton, 1821. Pubd. by McLean. 
 
 106. [KEMBLE (Charles.)] Portrait. Painted by Harlow. 
 
 Engd. by Lupton. 
 
 Mezzotint. Proof before all letters. 
 
 107. [KEMBLE (CHARLES.)] Portrait, as Macduff. 
 
 Quotation Macbeth, Act 5, Sc. 7. Plate 8 of a series 
 of studies of him, R. J. Lane. Pubd. by Colnaghi & 
 & Puckle. 
 Lithograph. Proof. 
 
 108. [KEMBLE (CHARLES.)] Portrait, as Mercutio. 
 
 Quotation, Romeo and Juliet, Act 1, Sc. 4. Lane. 
 Plate 7 of a series of studies of him. J. Graf, printer. 
 Pubd. by Colnaghi & Puckle. 
 
 Lithograph. Proof. 
 
 Mr. Charles Kemble was born at Brecknock, Wales, Nov. 
 25, 1775, and was the youngest son of Roger and Sarah 
 Warde Kemble. At the age of thirteen, Charles entered 
 the Douay College in Flanders, where he remained three 
 years. On returning to England he received an appointment 
 in the Post Office, which he resigned for a position on the 
 stage, and, with little preparation, made his debzU at Shef- 
 field, England, in 1792, as Orlando in "As You Like It." 
 After playing at Newcastle and Edinburgh, he made his first 
 appearance in London, at Drury Lane, on the 21st of April, 
 1794, as Malcolm in "Macbeth," and PapilUon in "The 
 Liar." He continued at this theatre in winter, and at the 
 Haymarket during the summer seasons, until 1802, when ill 
 health compelled his retirement. In 1803, he was engaged 
 at Covent Garden, where his brother John was manager, 
 and where he principally continued until his visit to America, 
 and of which establishment at one time he had sole control. 
 His London reputation was founded principally on his 
 Hamlet, Romeo and Pierre, in tragedy, which, while the 
 
 39
 
 semblance of youth remained, he represented with extraor- 
 dinary effect, and on his Mercutio, Benedick, Faulconbridge, 
 Young Mirabel, Petruchio, Charles Surface, Duke Aranza, and 
 a long list of similar characters, in which, after the retirement 
 of Mr. Lewis in 1809, he was acknowledged to be unsur- 
 passed. His great, unvarying merits were his elegance of 
 action, his taste in costume, his intimate knowledge of his 
 author, and his refinement of manner, which always impressed 
 upon an audience the fact that Mr. Kemble, the high-bred 
 gentleman, stood before them — a fact that he himself never 
 for a moment forgot. With his daughter he visited America 
 in 1832, made his first appearance, Sept. 17, 1832, at the 
 Park Theatre, New York, in the character of Hamlet, and 
 his daughter, appeared the following evening. The sensa- 
 tion created by them had been equaled in kind only in the 
 days of Cooke and Kean, and in duration and intensity 
 was altogether unparalleled. The intellectual, the educated, 
 and the refined crowded the theatre when they performed, 
 and during their entire stay their popularity never waned. 
 He made his first appearance in Boston, Apr. 15, 1833, as 
 Hamlet, at the Tremont. During this engagement he ap- 
 peared with his daughter in "The Stranger," "School for 
 Scandal," "Romeo and Juliet," "Provoked Husband," 
 "Gamester," etc., and created great excitement in the dra- 
 matic world of Boston and vicinity. The tickets were sold 
 at auction, and crowded houses, composed of the beauty and 
 wealth of the city, assembled to honor them. They again 
 played at the Tremont, opening Sept. 4, 1833, for eighteen 
 nights; when the total receipts, with premiums, amounted 
 to $11,671.75. He played in many of the principal cities of 
 the Union, and on his return to England, he continued to per- 
 form occasionally, and frequently read the plays of Shake- 
 speare. In his last years, he received the appointment of 
 Reader of Plays in the office of the Lord Chamberlain, by 
 whom all must be approved before they are allowed to be 
 represented. In early life, he wrote or translated the fol- 
 lowing dramas: "The Point of Honor," "The Budget of 
 Blunders," "Plot and Counterplot," and "The Wanderer." 
 He died in London, Nov. 11, 1854, having nearly completed 
 his 79th year. 
 
 109. KEMBLE (FANNY.) Engraved Portrait. Sir T. 
 Lawrence. C. Picart eng. 
 
 110. KEMBLE FANNY (Miss.) Portrait, as Belvidera. 
 Vignette. T. C. Wilson DeL 
 Lithograph. 
 
 40
 
 111. KEMBLE (P., Miss.) Engraved Portrait, as Mrs. 
 
 Beverley. Engd. from an original drawing by Hy. 
 Dawe. Pubd. by T. Bird, 1830. 
 Mezzotint. 
 
 112. [KEMBLE (FANNY.) | Portrait, as Julia in "The 
 
 Hunchback." 
 Lithograph. Proof before all letters. 
 
 113. KEMBLE (FANNY, Miss.) Portrait, as Juliet. On 
 
 stone by Robert T. Stothard. Printed by Engelmann, 
 Graf, Coindet Co. Pubd. by J. Dickenson, 1829. 
 
 Lithograph on India paper. 
 
 114. KEMBLE (FANNY, Miss.) Engraved Portrait, as 
 
 Juliet. Read & P. Roberts. Pubd. by O. Hodgson. 
 
 115. KEMBLE (FANNY, Miss.) Engraved Portrait, in 
 
 the Character of Portia. C. F. Tayler pinxt. T. 
 Woolnoth Sculpt. Pubd. by E. G. Harding. 1831. 
 
 Miss Frances Ann Kemble was born in London, in 1811. 
 Her debut took place at Covent Garden Theatre, October 
 10th, 1829, in the character of Juliet, and the fame of her 
 success in that and other parts rang throughout the United 
 Kingdom, and soon reached our western shores where 
 all hearts and hands were eager to give her a cordial 
 welcome. Her triumph here was complete; she was acknowl- 
 edged Queen of Tragedy from Boston to New Orleans, 
 without a rival near her throne, nor were her smiles less effec- 
 tive than her tears. To the state and dignity of the Kemble 
 School, she added all the fire and impetuosity of her own 
 original genius, and from her mother she inherited a grace 
 and fascination in her comic delineations that none other of 
 the blood of Kemble ever knew. To her mother, also, she 
 was indebted in her girlhood for a dainty lightness of figure, 
 whose delicacy of outline was completely lost in her maturer 
 years, and for a pair of glorious dark eyes. Soft in repose, 
 but able with a single glance to express the intensest shades 
 of every varying passion. No actress that preceded her in 
 America ever held so powerful and deep a sway over the 
 hearts and feelings of her auditors. In the spring of 1834, at 
 Philadelphia, just before her final engagement at the Park 
 Theatre, where she last appeared on the 20th of June in that 
 year, she married Mr. Pierce Butler. Incompatibility of 
 
 41
 
 taste and temper soon alienated aflfection and after the lapse 
 of a few years, Mrs. Butler found it more consonant with 
 her feelings to soothe the declining years of her father in 
 London, than to occupy the position of a thwarted wife in 
 her husband's house at Philadelphia. A suit for divorce 
 ensued — Pierce Butler, plaintiff — which was so far defended 
 by Mrs. Butler as to fully protect her character from the 
 slightest imputation of criminality, although she cheerfully 
 concurred in the propriety of a final separation, which was 
 granted by the proper court. After that decree, she imme- 
 diately resumed her maiden name, and has ever since been 
 known as Mrs. Kemble. On her first return to England, 
 she appeared for a few times on the stage, but for the general 
 associations of the profession she always entertained a dis- 
 like, and since then has confined herself exclusively to dra- 
 matic readings, several courses of which she has given in her 
 native land, as well as in America, with extraordinary suc- 
 cess. She has written successfully for the stage and for the 
 closet. Her play of "Francis the First" was acted at Covent 
 Garden, before she had reached her 20th year. Her "Jour- 
 nal in America" contained much keen ridicule on various 
 national habits, which was offensive to national vanit}^; but 
 in her "Year of Consolation," published in 1847, she made 
 a sort of apology for her previous remarks. Her last dramatic 
 production was an adaptation from a play by Dumas, en- 
 titled "The Duke's Wager," and was acted at the Astor 
 Place Opera House, by Miss Julia Dean, in 1850. Her first 
 appearance in this country was at the Park Theatre, New 
 York, Sept, 18, 1832, as Bianca in "Fazio." She made her 
 first appearance in Boston, in the same part, on Tuesday 
 evening, April 16, 1833, at the Tremont Theatre, her father 
 enacting Fazio. On leaving her husband's house in 1845, 
 she shortly afterwards sailed for England, and reappeared 
 on the stage after a long retirement, April 16, 1847, at the 
 Theatre Royal, Manchester, as Julia in the "Hunchback." 
 She returned to America in 1848, gave a series of readings 
 and returned to England, and after a tour through Europe, 
 she revisited America in 1856. Pierce Butler died in Georgia 
 in August, 1867. She reappeared in New York as a reader, 
 in the fall of 1868 at Steinway Hall. She had been ill but 
 a short time before her death, which took place at the resi- 
 dence of her son-in-law, the Hon. and Rev. Canon James 
 Wentworth Leigh, No. 86 Gloucester Place, London, Eng- 
 land, Jan. 15, 1893, and was interred in Kensal Green 
 Cemetery, where her father is buried. 
 
 116. BARRY (THOMAS.) Manager of New York and Boston 
 Theatres. Engraved Portrait. Bust. Vignette. 
 Engraved by S. Hollyer, from the original Painting. 
 
 42
 
 Mr. Thomas Barry made his first appearance in America, at 
 the Park Theatre, New York, Dec. 16th, 1826, as The 
 Stranger (in the play of that name), which he personated with 
 rare ability. This gentleman is identified with the best recol- 
 lections of New York and Boston dramatic history. Soon 
 after his arrival, he was intrusted with the stage manage- 
 ment of the Park, where his correct taste and excellent judg- 
 ment were soon perceptible in the order, elegance and liber- 
 ality of his arrangements. He remained in the position, 
 until the summer of 1833, when he came to Boston for the 
 purpose of assuming the management of the Tremont Theatre. 
 His first move was to put the theatre in complete repair, 
 which it greatly needed. This he did at a cost of $5000, 
 which came out of his own pocket. The interior was re- 
 painted, new drapery provided, and gas introduced into the 
 body of the house, much to the satisfaction of the ladies, many 
 of whom could trace a ruined dress to a visit to the theatre, 
 owing to the dripping of the oil from the lamps. He engaged 
 a fine company, and commenced his season on the 2nd of 
 September, with "The Honeymoon," in which Mr. Barry 
 enacted Duke Aranza. This was followed by the farce of 
 "Turn Out," the receipts were $482.75. He directed the 
 business of the theatre, for six years to the entire satisfaction 
 of the public, but to the total ruin of his own fortune, and in 
 1839, his books, wardrobe, everything came under the auc- 
 tioneer's hammer, and Mr. Barry left Boston as poor as 
 Lazarus. The directors of the Tremont, in 1839, in a report, 
 made to the stockholders, admitted that the corporation 
 netted 50 per cent more than had been realized from any 
 preceding lessee, stating, "Mr. Barry is the only tenant we 
 have yet had who has both satisfied the pubHc and paid a 
 fair remunerating rent to the proprietors." At this time Mr. 
 Barry was somewhat in arrears for rent, and notwithstanding 
 this favorable report, and the fact that he had paid $16,000 
 for repairs, gas fittings, etc., they demanded and obtained 
 the full payment of the bond. He reappeared at the Bowery 
 Theatre, New York, as William Tell, on the 15th of July, 
 1839. After a long absence from Boston, he returned and 
 took the stage management of the National Theatre, and 
 remained here till the expiration of the season of 1851-2, when 
 he returned to New York, where he assumed the stage man- 
 agement of the Broadway Theatre. He was the lessee and 
 manager of the present Boston Theatre, which was opened 
 Sept. 11, 1854, on which occasion the opening play was "The 
 Rivals," Sir Anthony Absolute being enacted by the Boston 
 favorite, Mr. John Gilbert. The theatre remained under his 
 management until the season of 1858. In 1856 he was mar- 
 ried to Miss Clara Biddies (a sister of Mrs. Charles Calvert), 
 long a favorite in this city, who afterwards became Mrs. 
 William Redmund. On Friday afternoon, Feb. 7, 1873, 
 
 43
 
 a complimentary benefit was given to Mr. Barry, who at the 
 time, was an invaUd. The entire receipts, $3126.50, were 
 given to him. He died in England in 1876. 
 
 117. POWER (Mr.) Portrait. Facsimile autograph. W. 
 
 Clerk lith. 
 Lithograph. 
 
 118. POWER (Mr.) Portrait, in Character, singing 
 
 "The Boys of Killkenny." Lith. of M. Swett, N. Y. 
 
 Lithograph. Music Sheet. 
 
 119. POWER (Mr.) Portrait, as Corporal O'Connor. 
 
 From an original Portrait by Wageman. Facsimile 
 autograph. L. Haghe delt. Pubd. by Gooding and 
 Culleford, 1826. 
 Lithograph printed in colors. 
 
 120. POWER (TYRONE.) Portrait, in the Character of 
 
 Major O'Dogherty, in the drama of St. Patrick's 
 Eve. Drawn on stone by Hoffy, from a sketch taken 
 from life by Heidemens. J. T. Bowen's Lith. Pubd. 
 by C. Shepard, N. Y. 
 
 Lithograph printed in colors. 
 
 121. POWER (Mr.) Portrait, as Paudeen O'Rafferty. 
 
 Printed & Pubd. by N. R. Robinson, New York. 
 
 Lithograph printed in colors. 
 
 122. [POWER (TYRONE.)] View. The Steam Ship 
 
 President. J. McGee delt. Oblong. 
 Lithograph printed in colors. 
 
 Tyrone Power, known as "Paddy Power," was born at 
 Kilmacthomas, Ireland, Nov. 2, 1797. He made his debut at 
 Newport, in the Isle of Wight, in 1815, as Alonzoin "Pizarro." 
 In 1817, he married a Miss Gilbert, of the Isle of Wight, by 
 whom he had seven children, one of whom, Maurice Power, 
 played with small success at the Park Theatre, New York, in 
 1848. Towards the close of the year 1818 he came in pos- 
 session of his wife's fortune, and becoming disgusted with the 
 stage left it. In 1820 he sailed for the Cape of Good Hope, 
 and on arriving there, set off on an exploring expedition, but 
 
 44
 
 it proving very disastrous, he once more took to the stage, 
 making his first appearance in London, at the Olympic 
 Theatre, and subsequently played at the English Opera House, 
 the Lyceum, The Adelphi, and Covent Garden Theatre, 
 where he made his debut as Rolando in "The Honeymoon," 
 and where, in 1827, he first played an original Irish character — 
 viz., O'Shaughnessy in Peake's farce of the "£100 Note," 
 with such eclat that his fame was established as the only 
 legitimate representative of an Irishman on the British stage, 
 though it was not until his absence in America revealed to 
 the public how far superior he was to every Hibernian com- 
 petitor, that he rose to that high pitch of popular esteem and 
 favor with which he was overwhelmed on his return, and 
 which ever after continued to attend him. He made his first 
 appearance in America, at the Park Theatre, New York, on 
 the 28th of August, 1833, in Kenney's comedy of "The Irish 
 Ambassador," then first played here, in which he enacted Sir 
 Patrick O'Plenipo. His next character was the "Irish Tutor," 
 on the 29th, a part which some years previous he had refused 
 to play at the Adelphi Theatre, London, as being likely to 
 injure his growing repute in another line. Dennis Bulgruddery, 
 Major O'Flaherty, and Paudeen O'Raflerty followed in suc- 
 cession; and on the 6th of September, Bernard's farce of the 
 "Nervous Man," was played for the first time on the New 
 York stage, for the benefit of Mr. Power, in which he played 
 Mc Shane. In all of these characters, he made so great an 
 impression that he entirely eclipsed all predecessors in the 
 assumption of Irish character, in this country. He made his 
 first appearance in Boston, Sept. 30, 1833, at the Tremont 
 Theatre, as Sir Patrick O'Plenipo, and McShane, and was 
 warmly welcomed. He played in most of the large cities of 
 the Union, making his last appearance on any stage at the 
 Park Theatre, New York, March 9, 1841. He sailed from 
 New York for Liverpool, March 21, 1841, on the steamship 
 "President." She was seen on the 24th, laboring and strug- 
 gling violently, by a packet ship, but no tidings were ever 
 heard from her afterwards. There were one hundred and 
 nine persons on board. Mr. Power was an accomplished 
 writer and contributed freely to the magazines of his day. 
 He published his "Impressions of America," and two novels, 
 entitled "The King's Secret" and "The Lost Heir," and was 
 author also of the successful dramas of "St. Patrick's Eve," 
 "The Married Lovers," "Etiquette Run Mad," "How to 
 Pay the Rent," "Paddy Carey," "O'Flanagan and the 
 Fairies," and others. He was about five feet, eight inches in 
 height, with light hair and complexion, blue eyes, and a neat, 
 compact figure, inclining to stoutness. His mercurial tem- 
 perament, his genial but refined humor, the merry twinkle of 
 his eye, the rich tones of his voice, his skill in music, the grace 
 and heartiness of his dancing, his happy variations of brogue 
 
 45
 
 to the different grades of character he represented — in fact, 
 every requisite that nature and art could bestow, combined 
 to make him the most perfect comedian of his class ever 
 known to the American stage. 
 
 123. [WOOD (JOSEPH.)] Portrait. Vignette. Anon. 
 Water color Drawing. 
 
 124. WOOD (Mr.) Portrait. "List Thee Dear Lady," 
 
 sung by Mr. Wood, in opera of Fra Diavolo. Lith. of 
 Endicott. 
 Lithograph. Music Sheet. 
 
 125. WOOD (Mr. and Mrs.) Portrait. "On Yonder 
 
 Rock Reclining." Lith. of Endicott. 
 Lithograph. Music Sheet. 
 
 126. WOOD (Mr.) Engraved Portrait as The Prince, 
 
 in Cinderella. Pubd. by M. & M. Skelt. 
 
 127. WOOD (Mr.) Engraved Portrait, as The Sultan. 
 
 Page Junr. Sculp. From The Apollo, 1830. 
 
 Joseph Wood was born in England, March 7, 1801. Made 
 his debut as a vocalist, in 1826, in Dublin, Ireland, making his 
 first appearance upon the London stage, at the English Opera 
 House, June 30, 1828, as Edward in "The Freebooter." 
 He was at Covent Garden Theatre, in 1829, appearing as 
 Ivanhoe in the opera of "Maid of Judah," to Miss Paton's 
 Rebecca, and during the season as Lionel to Miss Paton's 
 Clarissa, as Edward to Madame Vestris's Mme. Germance, in 
 "Home, Sweet Home," as Adolphe to Miss Paton's Ninetta, 
 in "La Gazza Ladra," and other important operatic parts. 
 In the following year, at the same theatre, he made a hit 
 when the opera of "Cinderella" was brought out, and after- 
 wards became a great favorite. As the Prince in "Cinderella" 
 he made his first appearance in America, at the Park Theatre, 
 New York. In 1830, in May, he married Lady William 
 Lennox (Miss Paton). He made his first appearance in Boston, 
 4th of December, 1833, in "Cinderella," when he agreeably sur- 
 prised, nay even astonished his public by the grace and 
 fluency of his execution, the sweet mellow and full tones of a 
 voice ranging from the upper bass to high tenor, and the 
 manly elegance of his person. From the opening air "Morn- 
 ing its sweets is flinging," to his introduced solo in the ball 
 scene, all bespoke him such a tenor as Boston had never 
 
 46
 
 looked upon before. After this opera came "Guy Manner- 
 ing," "The Barber of Seville," "Love in a Village," "The 
 Waterman," "Der Freischutz," "The Devil's Bridge," "The 
 Marriage of Figaro," "Clara and the Slave," in all of which 
 the Woods sustained that enthusiasm and unequivocal pub- 
 lic favor their first appearance had produced. After playing 
 in opera about a month they left for the South. In October 
 and December, 1835, he and his wife were here again, when the 
 "Maid of Judah," "Fra Diavolo," "Robert the Devil," and 
 "La Sonnambula" were brought out. In the two former Mr. 
 Wood made a great sensation, by his singing of "When the 
 Trump of Fame," "Young Agnes," and "Proudly and Wide." 
 In both the characters of Ivanhoe and The Brigand, he looked 
 as admirably as he sang. Pending the production of "Robert 
 the Devil," Mrs. Wood chanced to be indisposed, and Mr. 
 Wood chose to be offended by a notice of it in the Post. He 
 wrote the editor a peppery note which received a severe reply, 
 and Mr. Barry, the manager, in a pet, stopped his paper, 
 advertisements, etc. After these mutual bickerings, when 
 "La Sonnambula" appeared, however, all came round again; 
 the public and the Post were alike delighted. The opera 
 took Boston by storm, and Mrs. Wood's superb acting and 
 singing, and Mr. Wood's presentment of "Still so gently" was 
 received by the audience with sincere approval of their efforts. 
 In March, 1836, another engagement was played at the 
 Tremont by Mr. and Mrs. Wood. Some years afterwards 
 the Woods revisited Boston, when it was found that his voice 
 had gained in volume and certainty during the interval, and 
 hers, on the contrary, had fallen off in both particulars. Mr. 
 and Mrs. Wood revisited America in 1840, when he made his 
 appearance, at the Park Theatre, New York, Oct. 1st, 
 as Elvino, and was heartily welcomed. He made his 
 last appearance in New York, at the same house as Macheath 
 in "The Beggars' Opera," in Nov., 1840. He died Sept. 6, 
 1890, aged 89. 
 
 128. PATON (Miss.) Engraved Portrait. Anon. Pubd. 
 
 1823, for La Belle Assemblee. 
 
 Hand colored. 
 
 129. PATON (Miss.) of the Theatre Royal Covent Garden. 
 
 Portrait. Engd. by R. Newton from a miniature by 
 W. J. Newton. Pubd. 1826, by Wm. Sams. 
 
 130. PATON (Miss.) Engraved Portrait, as Cinderella. 
 
 Pubd. July, 1830, by Hodgson & Co. 
 Hand colored. 
 
 47
 
 131. PATON (Miss.) as Floretta, in the opera of "The 
 
 Cabinet." Drawn & Engd. by Kennerley. 
 
 Hand colored. 
 
 132. PATON (Miss.) Engraved Portrait, as Mandane. 
 
 Pubd. by Orlando Hodgson. 
 
 Hand colored. 
 
 133. PATON (Miss.) Portrait, as Mandane in the opera 
 
 of "Artaxerxes." Drawn on stone by J. H. Lynch. 
 Lithograph. India Paper. 
 
 134. PATON (Miss.) Engraved Portrait, as Rebecca 
 
 in The Maid of Judah. Painted & Engd. by T. L. 
 Busby, for the Dramatic Magazine, 1829. 
 
 Hand colored. 
 
 Mary Ann Paton was born in Edinburgh, in October, 1802. 
 At the age of four she sung and played on the piano and 
 miniature harp with correctness, and when only eight, gave 
 six public concerts in one season. Soon after, her father re- 
 moved to London, where she sang in concerts with great 
 applause. A period of six years devoted to musical and other 
 studies was then passed in entire seclusion, then she appeared 
 in the concert rooms at Bath and London, with improved 
 powers and increased approbation, and fully sharing the 
 applause of the audience with the enchanting Miss Stephens 
 and Catalani. In 1822, Aug. 3, she made her debiit on the 
 stage at the Haymarket Theatre, London, as Susanna in 
 "The Marriage of Figaro," with such complete success that 
 the Covent Garden managers immediately engaged her for 
 three years, and she there first appeared on the 19th of Oct., 
 1822, as Polly in "The Beggars' Opera." In 1830, she ap- 
 peared at the Italian Opera as successor of the celebrated 
 Pasta, and on that stage received the same abundant evi- 
 dences of approbation. Her unhappy marriage with Lord 
 William Lennox, whose fortune did not allow him to with- 
 draw her from public life, and difficulties ensuing between 
 them, a legal separation was decreed in 1830, when she was 
 immediately united to Mr. Wood, then of Covent Garden 
 Theatre. After her marriage with Mr. Wood, and probably 
 in consequence of that event, her popularity in London de- 
 clined, but throughout every other district in Great Britain and 
 Ireland, she continued to be welcomed with unaffected and 
 ecstatic delight. In early life, Mrs. Wood possessed a lovely 
 and expressive countenance, a rather tall but delicately 
 
 48
 
 formed person, which expanded to robustness with advancing 
 years, and a voice of remarkable sweetness, power, compass, 
 brilliancy, and a wonderfully correct intonation. Her execu- 
 tion displayed the most thorough cultivation, and in scientific 
 musical attainments she has probably been excelled by no 
 English female singer, while her taste was as exquisite as her 
 powers were brilliant. In company with her husband she 
 made three visits to the United States, all of .which, so far 
 as she was concerned, were eminently successful. After their 
 final departure from our shores, in 1841, Mr. Wood purchased 
 a farm at WooUey Moor, Yorkshire, and in 1843, Mrs. Wood, 
 having embraced the Roman Catholic religion, took up her 
 residence in the convent by Micklegate Ear, York. The 
 change however was of short duration, and in July she quitted 
 the convent. In 1844 she was engaged at the Princess's 
 Theatre. She soon afterwards retired from her profession, 
 and settled with her husband at WooUey Moor. Here she 
 took a warm interest in the Anglican Service at Chapelthorpe. 
 She composed for it, formed and trained a choir, in which she 
 herself took the leading part. In 1854 they left Yorkshire 
 and went abroad. In 1863 they returned to Bulcliffe Hall, 
 in the neighbourhood of Chapelthorpe, and there she died, 
 July 21, 1864, leaving a son (born at WooUey Moor in 1838) 
 as the only representative of her family. 
 
 135. KNOWLES (Mr.) Engraved Portrait, as Master 
 
 Walter. Wageman delt. R. Woodman Sc. 
 
 Hand colored. 
 
 136. KNOWLES (JAMES SHERIDAN, Mr.) Engraved 
 
 Portrait, as Walter in The Hunchback. Pubd. 
 for the Proprietor of the Casket by B. Steill. 
 
 137. KNOWLES (SHERIDAN, Mr.) Engraved Portrait, 
 
 as W^iLLiAM Tell. Pubd. by A. Park, 1836. 
 
 James Sheridan Knowles was born in Anne Street, Cork, 
 Ireland, in 1784. His passion for the drama was so enthusi- 
 astic, in his early years, that he determined to choose the 
 stage as his profession; his family attempted to dissuade him, 
 but he would not listen to their remonstrances, and made 
 his debut at the Crow Street Theatre, Dublin, but this at- 
 tempt was not successful, and histrionics were for a time 
 abandoned. In the year 1809, however, he determined to 
 repeat his attempt, and joined Cherry's Company at Water- 
 ford, Ireland, and there made the acquaintance of Edmund 
 Kean. In the course of that season Knowles' first acted 
 drama, "Leo the Gipsy," was brought before the public, the 
 
 49
 
 principal part having been accepted and played by Kean. 
 Knowles remained two years with the company, playing 
 alternately at Waterford, and Swansea, in Wales. We next 
 find him in Belfast, seeking an engagement in Talbot's 
 company. Having repaired to Belfast, with a view to em- 
 ployment at its theatre, he found that there was a far better 
 opening for him as a teacher of elocution and grammar, and 
 here he commenced his career as a public instructor. Here 
 he produced his play "Brian Boroihme," an alteration of a 
 piece from another pen, and his "Caius Gracchus," first per- 
 formed by Talbot's company, in 1815, and subsequently in 
 London, in 1823, when Macready played the part of Caius. 
 The next in succession was "Virginius," first played in 
 Glasgow, Scotland, under Mason's management. It ran fifteen 
 nights when a friend of Macready who happened to see it, 
 earnestly recommended it to his notice. Macready's adop- 
 tion of the character, made not only the fortune of the play, 
 but his own. Next followed the "Beggar of Bethnal Green," 
 "The Hunchback," and "Alfred," an early effort remodelled. 
 In 1832, he made his first appearance at Covent Garden, as 
 Master Walter in "The Hunchback," and played in "The 
 Wife," at the same house, in 1833. In 1834, he revisited Cork, 
 his native city, playing in "The Wife," and "The Hunch- 
 back," afterwards playing in Dublin. He made his debut 
 in America, at the Park Theatre, New York, Sep. 29, 1834, as 
 Master Walter. He received the compliment of a public 
 dinner at Philadelphia, shortly after his arrival, and a com- 
 plimentary theatrical benefit in New York, on the 8th of 
 April, 1835. Made his first appearance in Boston, on the 
 13th of October, 1834, at the Tremont Theatre, as Master 
 Walter, and during this engagement he also appeared in 
 "The Wife," "William Tell," "Virginius" and "Macbeth." 
 On his opening night he was called out, and made a brief 
 speech, returning thanks for his enthusiastic reception, and 
 closing thus: "The least said, my friends, soonest mended; 
 if I try to say anything more, I know I shall make some 
 blunder — so God bless you!" On his return to England he 
 wrote "The Love Chase," which was produced at the Hay- 
 market Theatre; "Woman's Wit," for Covent Garden 
 Theatre"; "The Maid of Mariendorpt," for the Haymarket; 
 and his comedy of "Love," again for Covent Garden. This 
 is one of the best of his later plays. "Old Maids," and 
 "John of Procida,"for Covent Garden were his next attempts; 
 to which succeeded "The Rose of Arragon," at the Haymarket; 
 and in 1843, "The Secretary." About this time his health 
 began to fail, and he was given a pension of £100 per annum 
 by the government, increased to £200, and was afterwards 
 appointed Curator of the house of Shakespeare at Stratford- 
 upon-Avon. His plays have been collected and published 
 in three volumes. In addition to his plays he wrote much in 
 
 50
 
 prose and verse for various periodicals, and published a 
 volume of Tales, all of which had already appeared in various 
 annuals and magazines. He died at Torquay, England, 
 Sunday, 30th Nov., 1862. 
 
 138. PHILLIPS (Miss LYDIA.) Portrait, as Claudia in 
 
 RiENzi. Painted from life and drawn on stone by H. 
 F. Dawe. Printed by C. HuUmandel. Pubd. by Dawe 
 & Bartholomew. 
 Lithograph. 
 
 139. PHILLIPS (Miss.) Engraved Portrait, as Claudia 
 
 in RiENzi. Pubd. by D. Straker, 1828. 
 
 Hand colored. 
 
 She had been for several years a favorite actress at Drury 
 Lane, where she first appeared in 1829, as Claudia, in Miss 
 Mitford's "Rienzi." She made her first appearance in 
 America, as Juliet, at the Park Theatre, New York, Sept. 15, 
 1834. She was tall and dignified in person, with an expressive 
 countenance and very fine eyes, lady-like in her manners, 
 graceful in her action, a chaste and correct elocutionist, and 
 though neither cold nor unimpassioned, always quiet and 
 subdued in her style of acting. Her whole appearance indi- 
 cated the well bred gentlewoman. She made her first ap- 
 pearance in Boston, at the Tremont Theatre, Nov. 10, 
 1834, as JuUet. She played a farewell engagement at 
 Wallack's National Theatre, New York, making her last 
 appearance there, Oct. 1, 1836, as Lady Macbeth. 
 
 140. JARMAN (Miss.) Portrait. Vignette. Drawn and 
 
 Lithographed by Isaac W. Slater. Printed by C. 
 HuUmandel. Pubd. by I. W. Slater, 1829. 
 Lithograph. India paper. 
 
 Frances Eleanor Jarman (Mrs. Ternan) was born in Hull, 
 England, in 1805; played successfully at Bath, 1820; was 
 afterwards a leading actress at the Theatre Royal, Dublin, 
 making her first appearance there as Letitia Hardy in "The 
 Belle's Stratagem." She made her first appearance in 
 London, at Covent Garden, as Juliet, in February, 1827; 
 and made her American debut in the same character, at the 
 Chestnut Street Theatre, Philadelphia, Nov. 18, 1834. She 
 appeared in Boston, for the first time, on January 9, 1835, 
 as Julia in "The Hunchback," at the Tremont. Her hus- 
 band, Mr. Ternan, played Master Walter with considerable 
 discrimination, though the chief attraction was his wife. 
 
 51
 
 With a person tall and commanding, Miss Jarman possessed 
 a voice of much sweetness in its tones, and considerable 
 power. Her face was comely without being striking, and 
 her movements graceful. She proved a very attractive 
 actress. Mr. & Mrs. Ternan subsequently played several 
 engagements in this city. She and Mr. Ternan made their 
 first appearance in New York, on the 17th of December, 
 
 1834, at the Park Theatre, in "Romeo and Juliet." She 
 took her farewell benefit in America, at the Walnut Street 
 Theatre, Dec. 11, 1836, in the characters of Ion and Jeannie 
 Deans; shortly afterwards returning to England, and ap- 
 pearing at Drury Lane. 
 
 141. CUSHMAN (CHARLOTTE.) Portrait. T. H. 
 
 Maguire, 1846. Facsimile autograph. 
 Lithograph. 
 
 142. CUSHMAN (CHARLOTTE.) Engraved Portrait. 
 
 Bust. Vignette. S. Hollyer Eng. Facsimile autograph. 
 
 143. CUSHMAN (CHARLOTTE, Miss.) Portrait, as Lady 
 
 Gay Spanker. J. A. McDugall, pinxt. Lithographed 
 by A. Hoffy. 
 Lithograph. 
 
 144. CUSHMAN (CHARLOTTE and SUSAN.) Portraits, 
 
 as Romeo and Juliet. 
 
 Lithograph. Printed in colors. 
 
 Charlotte Cushman was born in Boston, July 23, 1816. 
 Her life long friend and playfellow in childhood — the grand 
 old veteran — John Gilbert, was born next door to her in 
 Richmond Street. In her youth she possessed a remarkable 
 voice, and after just passing her 15th year, she made her 
 first public appearance at a concert in Boston, on the 25th 
 March, 1830, and at once attracted attention. She was most 
 assiduous in her studies, and even when so young gave evi- 
 dence of the power of surmounting obstacles which was so 
 strong a characteristic of her later life. She made her first 
 appearance, on any stage, at the Trcmont Theatre, as the 
 Countess Almaviva in "The Marriage of Figaro," April 8, 
 
 1835, following it shortly after with Lucy Bertram in the 
 then popular operatic drama of "Guy Mannering," a play 
 which was afterwards forced into almost an immortality by 
 her imique and marvellous performance of Meg Merrilies. 
 So pronounced was her success, that offers of engagements 
 
 52
 
 seemed to pour in, and an exalted position upon the operatic 
 stage was marked out as if in store for her, but in her first 
 regular season, far from her native city, in New Orleans, 
 her voice suddenly left her, and almost broken-hearted, she 
 found that she could sing no more; and but for her indomita- 
 able courage, and a trust in her own powers, she must have 
 gone down beneath the weight of so much sorrow as then 
 oppressed her, and her failure as a singer made her the great 
 actress she became. Mr. Barton, an English actor, then 
 performing in New Orleans, gave her instructions, and per- 
 suaded her to adopt the dramatic stage. She followed his 
 advice, and appeared for his benefit as Lady Macbeth, thus 
 beginning a career which she made so illustrious. Whoever 
 Mr. Barton may have been, the world owes him a debt 
 of eternal gratitude for the suggestion which brought 
 to light the great dramatic powers of Charlotte Cushman. 
 She made her first appearance on the New York stage, Sept. 12, 
 
 1836, as Lady Macbeth, at the Bowery Theatre, and in 1856 
 she repeated her success as the Thane's wife, in the same 
 house. During this portion of her experience she encountered 
 the usual difficulties of the theatrical novitiate, and had to fight 
 her way through the many obstacles which beset her. In 
 
 1837, she appeared at the National Theatre, New York, as 
 the lovelorn Romeo, and soon afterwards, in May, she played 
 for the first time the character in which she won a world-wide 
 renown, Meg Merrilies. Her triumph in this part was such 
 as to become the talk of the town, and her performance was 
 said to be one of the grandest impersonations the New York 
 stage had ever witnessed. After this engagement she joined 
 the stock company at the Park Theatre, New York, and sup- 
 ported Edwin Forrest in the heavier leading roles. At 
 this house, she added to her fame by her performance of 
 Nancy Sykes, in which, though she had many imitators, 
 she never had an equal. For a brief period she managed 
 the Walnut Street Theatre, Philadelphia, and when Macready 
 came to this country, in 1844, she became his leading 
 support, and the favor with which her efforts were re- 
 ceived induced her to long for a wider field of triumph, so 
 that in 1845, she departed for London, and obtained an open- 
 ing, as Bianca in "Fazio," at the Princess's Theatre. Her 
 success was beyond all question, and she continued for 84 
 nights, playing many parts, and among them Lady Macbeth, 
 Julia in "The Hunchback," Mrs. Haller, Beatrice, Juliana, 
 Lady Teazle and Rosalind. After this engagement, she 
 toured the British provinces, where she was joined by her 
 sister Susan ; one of the strongest pieces in which they played 
 together, being "Romeo and Juliet." Susan played Jtiliet 
 and Charlotte, Romeo. After a brilliant season at the Hay- 
 market, London, she returned to the States, in 1849, re- 
 appearing at the Broadway Theatre, New York, as Mrs. 
 
 53
 
 Haller, supported by C. W. Couldock as the Stranger, this 
 being his first appearance in America. On the 8th of October, 
 1849, she made another brief visit to England, but returned 
 to her native country in 1851, and the year following took 
 a formal farewell of the American stage. After this, for 
 some time, she resided in Rome, Italy. She returned 
 again to America in 1856, and for two years made the tour 
 of the States, acting all her great characters, and adding 
 that of Cardinal Wolsey to her repertoire. She acted again 
 in New York, in 1860 and 1861, then returned to Europe, 
 and for nearly ten years she settled in her old home in Italy, 
 being drawn back again to give a series of performances in 
 aid of the Sanitary Commission, for which she realized the 
 sum of $10,000. The disease to which she at last succumbed 
 appeared about this period, and for a long time her life was 
 despaired of, but she recovered so far as to be able to give 
 readings from Shakespeare and other authors. Her last 
 engagement in New York, commenced in October, 1875, and 
 on the 7th of Nov. that year, she left forever the scene of her 
 many triumphs. She appeared many times, at different 
 theatres, in her native city, and her final appearance upon 
 the stage was made at the Globe Theatre, Boston, on the 
 15th of May, 1875, when the curtain fell for the last time 
 upon the greatest tragic actress of her period. Her bodily 
 suffering was great, almost beyond endurance, no hope was 
 held out to her by her physicians, but her courage sustained 
 her to the end, and she looked forward to the last to recover 
 from the disease from which she was suffering. She died on 
 the 18th of February, 1876, at the Parker House, Boston, and 
 was buried in Mt. Auburn Cemetery. 
 
 145. BROUGH (WILLIAM FRANCIS.) Portrait. On 
 
 stone by A. Newsam. P. S. Duval Lith. Facsimile 
 autograph. 
 Lithograph. 
 
 146. BROUGH (WM. FRANCIS.) Portrait, in "La 
 
 SoNNAMBULA." Lith. of Endicott. 
 Music Sheet. Printed in colors. 
 
 Francis William Brough, born in Wexford, Ireland, in 1798, 
 made his debut as a bass singer in 1818, at Sussex, England. 
 Was at the Haymarket, London, for three years. First 
 appeared in America, at the Park Theatre, New York,.S&p^. 
 4, 1835. He was with Mr. and Mrs. Wood, a>the'Tremont, 
 Boston, in 1835, and made a hit as the Comef'in "La Sonnam- 
 bula," a favorite opera in those days. He was again with 
 the same lady and gentleman at the Tremont, in December, 
 
 54
 
 1840. He was for some time the agent of the Webb sisters, 
 and while acting as such, died on his passage to England, 
 May 21, 1867. His body was brought to this country, Feb., 
 1868, and the funeral took place in Brooklyn, N. Y. 
 
 147. WATSON (Miss.) Portrait, as Celio in the opera of 
 
 Native Land. On stone by J. H. Bufford, from a 
 sketch by Stewart Watson. Lith. of Endicott. 
 
 Lithograph. 
 
 Miss Charlotte Watson was born in London, December 2, 
 1817. Her father being a professor of music, she was intro- 
 duced to the choir of Quebec Chapel, London, at a very early 
 age. During the celebrated Paganini's tour through Great 
 Britain, and afterward on the continent, he was accompanied 
 by Miss Watson, as vocalist. After the termination of their 
 engagement, he induced her, by offers of marriage, to elope 
 from her native land and meet him at Boulogne; but her 
 father, getting wind of the affair, immediately followed, and 
 arrived in season to receive the young lady, persuaded or 
 forced her unconditional return, and soon after brought her 
 with him to America. Many rumors circulated with regard 
 to this escapade of Miss Watson — harsh treatment at home, 
 etc. — but Paganini invariably asserted the purity and honor 
 of his intentions, and even afterwards made highly advanta- 
 geous offers to Mr. Watson for his daughter's hand, which 
 were unceremoniously declined. She made her first appear- 
 ance upon the American stage — after singing in concerts at 
 Niblo's Garden — at the Park Theatre, New York, Oct. 23, 
 1834, as Cherubino and The Four Mowbrays, with trium- 
 phant success. Her engagement extended to the 5th of Novem- 
 ber, duriag which she appeared as William in "Rosina," 
 Apollo in "Midas," Capt. Macheath, Mary Copp, Julia 
 Mannering and Little Pickle. She made her first appearance 
 in Boston, at the Tremont Theatre, April 13, 1835, as 
 Mary Copp in "Charles H," and as Cherubino in "The 
 Marriage of Figaro," supported by Miss Cushman and Mrs. 
 Maeder. Miss Watson married in New York, on the 25th 
 of Feb., 1837, Mr. Thomas Bailey. She continued to per- 
 form occasionally until 1847, making her last appearance at 
 the Park Theatre, New York, early in the fall of that year as 
 seconda donna to Madame Anna Bishop. She emerged from 
 her retirement Jan. 23, 1851, to sing a ballad for Mr. 
 Brough's complimentary benefit at Niblo's Garden, being her 
 final appearance in public, and on the same ground where she 
 had first appeared in America. 
 
 148. REEVE (JOHN— the Late.) Engraved Portrait. 
 
 Childe del. H. Barnett So. 
 
 55
 
 149. REEVE (JOHN, Mr.) Portrait, as Abrahamides in 
 
 "Quadrupeds." Pubd. by Ingrey & Madeley. 
 Lithograph. Printed in colors. 
 
 150. REEVE (J. Mr.) Portrait, as Acres in Sheridan's 
 
 comedy of "The Rivals." Drawn from the life and 
 on stone by J. H. Lynch. Printed & Published by 
 Engelmann, Graf & Co., 1827. 
 
 Lithograph in colors. 
 
 151. REEVE (JOHN Mr.) Portrait, as Cupid. Pubd. and 
 
 Lithd. by G. E. Madeley. 
 Lithograph in colors. 
 
 152. REEVE (JOHN Mr.) Engraved Portrait, "First vid 
 
 DE Grace." Pubd. by T. Williams. Presentation 
 copy "To Geo. H. Andrews (the well known actor) 
 from his sincere friend, Jno. Reeve, 1836." 
 Music Sheet. 
 
 153. REEVE (J. Mr.) Portrait, "The Hoppulant Man," 
 
 at the Theatre Royal, Adelphi. 
 Lithograph. Music Sheet. 
 
 154. REEVE (The late JOHN.) Portrait, in the Charac- 
 
 ter of Jack Rag. Sketched from life, a few months 
 previous to his fatal illness. By R. J. Hamerton. 
 Pubd. by Wm. Spooner. Printed by Madeley. 
 Lithograph. In colors. 
 
 155. REEVE (JOHN Mr.) Engraved Portrait, as 
 
 Marmaduke Magog. Pubd. by Hodgson. 
 
 John Reeve was born in London in 1 799, and early in life was 
 placed in a wholesale hosiers establishment, where he paid 
 far more attention to plays than to the shop, and was dis- 
 missed in consequence of his annoying the neighbourhood 
 by his rehearsal of dramatic scenes at night, on the roof of 
 the establishment. He was next in the banking house of 
 Messrs. Gosling, in Fleet Street, London, and became a 
 member of a well known amateur dramatic club. While a 
 member of this club, he played at Pym's Theatre, in Wilson 
 Street, Gray's Inn Road, in 1819, Othello and Sylvester 
 
 56
 
 Daggerwood, and with such success that he was requested 
 to repeat the latter (wherein he gave imitations of E. Kean, 
 Munden, Mathews, Farren, etc.),for abenefitof Mr. Rodwell, 
 at Drury Lane Theatre, where he made his first appearance, 
 on the 8th of June, 1819. He was at home in an instant; 
 caught the fancy of the public at once, was screamed at 
 throughout, and had made himself a favorite before the 
 curtain fell. He repeated the part the next night for Lanza's 
 benefit, and then played it a few nights at the Haymarket. 
 Soon after he was engaged at the English Opera House, under 
 Mr. Arnold's management, where he appeared in a sort of 
 monologue called "1, 2, 3, 4, 5 by advertisement," in which 
 he sustained five characters, and which ran fifty-two nights 
 during the season. In 1819 he was at the Adelphi Theatre, 
 London, where he discovered he had much to learn in the 
 art of acting, so he joined Macready's company at Bristol, 
 playing many characters in the regular drama, that he never 
 subsequently attempted. While here, in 1821, he married 
 Miss Aylett, a dancer, who died a few months after her 
 marriage. He was next at the Cobourg Theatre, London, 
 and rejoined the Adelphi in 1822. At the close of the season, 
 with Wilkinson, he gave the entertainment called "Trifles 
 Light as Air." He was next found at the Surrey and Cobourg 
 Theatres, then at the Haymarket. He returned to the 
 Adelphi, and in the dramas by Buckstone and others, achieved 
 a reputation that has never been exceeded. In the summer 
 he went to the Enghsh Opera House, or occasionally to the 
 Surrey, the Queen's, the City Theatre, &c. He was next at 
 the Queen's Theatre, and there he played until the summer 
 of 1835, when he sailed to America, and made his first ap- 
 pearance in New York, Nov. 30, 1835, as Marmaduke 
 Magog in "The Wreck Ashore," and as Tom Twigg in 
 "Catching an Heiress." He made his first appearance in 
 Boston, at the Tremont Theatre, Feb. 1, 1836, opening 
 in the character of Paul Pry. He was rarely perfect in his 
 parts, but made up for the defect by gagging and buffoonery; 
 and as he was always ready, quick and off-handed with his 
 jokes, and always maintained an easy manner and imperturb- 
 able expression of countenance, he often succeeded in con- 
 vulsing an audience with laughter, when he should have been 
 severely censured for an imperfect knowledge of the words, 
 as well as for inattention to the proper business of his part. 
 He had the general aspect of a high liver, and was inordinately 
 fond of his bottle. He made his last appearance in New 
 York, Aug. 23, 1836; and returning to England, appeared 
 in London, at the Adelphi. At the close of the season he 
 went with a portion of the company to the Surrey Theatre, 
 and on the production of a drama, called "The Wandering 
 Tribe," he played a part which he had himself chosen. He was 
 as imperfect as ever. On the second night of his performance 
 
 57
 
 on returning home he was taken ill, and it was discovered 
 that he had ruptured a blood vessel. He grew moody and 
 nervous, and his natural vivacity gave way to melancholy. 
 In October, 1837, his name was announced in the Adelphi 
 bills. At length his medical attendants declared that "live 
 he might, but act again he never could." This made a deep 
 impression upon him, and, as his state was such as to make 
 society dangerous, he was latterly left almost entirely alone. 
 He sank gradually, and died at his house in Brompton Row, 
 on Wednesday, Jan. 24, 1838, aged 39. 
 
 156. DIXON (GEORGE WASHINGTON.) The American 
 
 Melodist. Portrait. Shoener Pinxt. Pendleton's 
 Lithogy. Boston. 
 
 157. DIXON (G. Mr.) and (CLIFTON, Miss.) Portraits, 
 
 in the new opera of Far at Sea. Williams. 
 
 Lithograph. The only copy known. 
 
 158. [DIXON, G. W.] Portrait, Zip Coon. Pubd. by 
 
 Endicott & Swett, 1834. 
 
 Lithograph. Music Sheet. 
 
 George Washington Dixon made his first appearance on any 
 stage, at the old Amphitheatre, North Pearl Street, Albany, 
 N. Y., in 1827. He was one of the earliest negro minstrels, 
 and claimed for himself the honor of being the author of the 
 song "Old Zip Coon." He also became notorious through a 
 pretense of raising a brigade to participate in the Yucatan 
 troubles, and also as editor of The Polyanthus, a blackmailing 
 sheet, published in New York, whose attacks upon every- 
 body, from doctors of divinity to Madame Restell, are 
 still remembered. An assault upon the character of Miss 
 Missouri, sister of Josephine Clifton, is said to have caused her 
 death. Dixon was shot at, caned, and imprisoned a number 
 of times, and at last died in the Charity Hospital, in New 
 Orleans, in March, 1861. He made his first appearance in 
 Boston, on the 23rd of Feb., 1836, at the Tremont Theatre, 
 for benefit of Thomas Comer, as Henry Blunt in "The Turn- 
 pike Gate," in which he sang, "The Sea! the Sea!" 
 
 159. DOWTON (WILLIAM.) Engraved Portrait. 
 S. Dewilde pinxt. T. Cheesman, sc. 
 
 58
 
 160. DOWTON (Mr.) Portrait, as Balthazar in The 
 
 Fisherman's Hut. I. R. C. fecit. 
 Etching colored. 
 
 161. DOWTON (Mr.) Engraved Portrait, as Doctor 
 
 Cantwell in The Hypocrite. Drawn by De Wilde. 
 Engd. by R. Cooper. 
 Tinted in color. 
 
 162. DOWTON (Mr.) Engraved Portrait, as Sir John 
 
 Falstaff. Wageman del. Dean sc. Pubd. by 
 J. Cumberland. 
 India Proof. 
 
 163. DOWTON (Mr.) Engraved Portrait, as Francisco. 
 
 Alais sc. Pubd. by John Roach. 
 
 164. DOWTON (Mr.) (HARLOWE, Mrs.) (LISTON, Mr.) 
 
 Portraits, as Dr. Cantwell, Old Lady Lambert, 
 and Mawworm. Hypocrite, Act 2, Sc. 1st. Drawn 
 & Engd. from life by J. W. Gear. Printed by 
 C. Hullmandel. 
 Lithograph. Oblong folio. 
 
 165. DOWTON (Mr.) Portrait, as Major Sturgeon. 
 
 S. De Wilde pinx. T. Wageman sculp. Pubd. by 
 I. Clark, 1808. 
 Etching. Colored. Folio. 
 
 166. DOWTON (Mr.) Portrait, as Sir Robert Bramble, 
 
 June 8th, 1840. T. C. W. W. Clerk lith. Pubd. by 
 
 F. Glover. 
 
 Lithograph. 
 
 William Dowton was born at Exeter, England, in 1766, and 
 at the age of 16 was articled to an architect. During his 
 apprenticeship he performed Carlos in "The Revenge," at a 
 private theatre, so satisfactorily to himself that he joined a 
 company of strollers, and, after enduring various hardships, 
 was engaged at the Weymouth Theatre, whence he afterward 
 returned to Exeter, playing leading characters of tragedy with 
 success. He next joined a theatre in Kent, conducted by a 
 Mrs. Baker, whose daughter he married. He made his first 
 
 59
 
 appearance in London, at Drury Lane, as Sheva in "The 
 Jew," Oct. 10, 1796, with great success. In 1805, he was 
 engaged at the Haymarket, and in 1816 reappeared at Drury 
 Lane, as Shylock. He was afterwards manager of the theatres 
 at Maidstone, Canterbury, &c., but these he finally trans- 
 ferred to his son, and confined himself to the duties of an 
 actor, either in London or the provinces. He made his first 
 appearance in America, June 2, 1836, at the Park Theatre, 
 New York, in the character of FalstaflF. His first appearance 
 in Boston, was at the Tremont Street Theatre, June 23, 
 1836, and was the great feature of the season, and during the 
 engagement he played a variety of parts, among others Sir 
 Anthony Absolute, Old Dornton, Sir John Falstaff, Dr. Cant- 
 well, Sir Peter Teazle, &c., &c. The receipts on his benefit 
 night amounted $1040.25. He returned to England, and 
 becoming much reduced in his financial circumstances, a 
 benefit was given to him at Her Majesty's Theatre, London, 
 June 8, 1840, when the comedy of the "Poor Gentleman" was 
 performed, with a most excellent and remarkable cast, in 
 which he himself enacted Sir Robert Bramble. The proceeds 
 of this benefit were sufficient to purchase an annuity, ample 
 for the entire comfort of the remainder of his life. He died 
 at Brixton, England, April 19, 1851. In private life he was 
 a man of cheerful and gentlemanly demeanor — a pleasant 
 companion, and an excellent friend. 
 
 167. MURDOCK (JAMES E.) Portrait. Lith. by 
 
 F. D'Avignon, from Daguerreotype, by McClees & 
 Germon. Facsimile autograph. 
 Lithograph. 
 
 168. MURDOCH (J. E. Mr.) Portrait, as Hamlet. Lith. 
 
 by F. D'Avignon. Dag. by McClees & Germon. 
 
 Pubd. by McClees & Germon. 
 
 India Paper. 
 
 James E. Murdock was born in Philadelphia in 1813. He 
 early gave his attention to books and dramatic elocution, and 
 overcoming the objection of his friends, made his first pubhc 
 appearance upon the stage of the Arch Street Theatre, Phila- 
 delphia, in October, 1829, as Frederick in "Lovers' Vows," 
 and was at the Chestnut Street Theatre, the season following. 
 On the 27th July, 1836, he made his debut in New York, as 
 Jafficr in "Venice Preserved," at the Richmond Hill Theatre. 
 He made his first appearance in Boston, at the Tremont 
 Theatre, as Henry in "Speed the Plough," 8th of August, 
 1836. Made his debut in New York, at the Park Theatre, 
 as Claude Melnotte, being engaged to support Miss Ellen 
 
 60
 
 Tree, in a line of favorite characters, on the 4th of June, 1838. 
 About 1842, he withdrew from the stage for the purpose of 
 study, and at the same time gave lessons in elocution to 
 students and practitioners of law and divinity, and in the 
 theological colleges of Newton, Mass., and Bangor, Me. 
 He also lectured upon Shakespeare's characters, in Boston, 
 Philadelphia and New York. On his return to the stage, 
 he made his first appearance in the character of Hamlet, at 
 the Park Theatre, New York, Oct. 20, 1845. Afterwards he 
 toured the country from Canada to California, making his 
 debut in San Francisco, at the American Theatre, Aug. 23, 
 1853. He made a most successful trip to England, making 
 his debut at the Haymarket Theatre, London, Sept. 22, 1856, 
 as Young Mirabel. Returning to America, he made his 
 first appearance at Burton's Broadway Theatre, Sept. 7, 
 1857, as Young Mirabel. During the Civil War in this 
 country, he gave readings in aid of the Sanitary Commission 
 — read to and encouraged the men in the field, and helped the 
 sick and wounded. He reappeared upon the stage, Oct. 23, 
 1865, at Pike's Opera House, Cincinnati, which proved one 
 of the most brilliant engagements ever filled by any star in 
 that city. In 1836, the public soon discovered the merits 
 of this excellent actor, and he became at once very popular. 
 He had not been seen in public for five or six years, prior to 
 his death, his last public appearance being at the Odeon, 
 Cincinnati. He died May 19, 1893, at his home, Murdoch, 
 Ohio. For two years prior to his demise he had been a 
 sufferer from various ailments, which confined him to his bed 
 a greater part of that time, and during that period he wrote 
 the biographies of Eliza Riddle, Eliza Logan, and Julia Dean, 
 three famous western actresses. 
 
 169. CLIFTON (JOSEPHINE.) 
 
 India Ink Drawins:. 
 
 170. CLIFTON (JOSEPHINE.) Portrait. 
 Water Color. 
 
 Miss Josephine Clifton was born in New York, about 1813, 
 making her first appearance at the Bowery Theatre, as 
 Belvidera, supported by Barton as Pierre, and Hamblin as 
 Jafher, Aug. 21, 1831. Her surpassing beauty of face and 
 person, her youth and aptitude, her fine voice and expressive 
 action, commanded a success almost unprecedented for a 
 debutante, and she soon became an acknowledged star. In 
 1834 she crossed the Atlantic and made her debut on the 
 London stage, at Drury Lane Theatre, Oct. 4, 1834, as 
 Belvidera, being the first actress of American birth who 
 
 61
 
 visited England as a star. She made her first appearance in 
 Boston, Oct. 3, 1836, at the Tremont Street Theatre, as 
 Bianca in "Fazio." With a majesty of mien, unsurpassed 
 by any actress, she presented the varied passions of the tragic 
 scene in a manner which commanded respect and challenged 
 admiration. Her Bianca many recall with great pleasure, as 
 one of the theatrical portraitures which hang upon memory's 
 wall, as vivid to the mental eye as when first beholden. She 
 married Mr. Robert Place, manager of a theatre in New 
 Orleans, July, 1846; and died in that city, Nov. 22, 1847. 
 Her remains repose in Ronaldson's Cemetery, Philadelphia. 
 
 171. KEELEY(Mr.) Portrait, as Billy Black. "Keeley's 
 
 Bundle of Conundrums." Portrait. Drawn on 
 stone, from life, by J. W. Gear. Printed by C. 
 Hullmandel. 
 
 Lithograph. Music Sheet. 
 
 172. KEELEY (Mr.) Portrait, as Jacob Earwig in "Boots 
 
 AT THE Swan." This Exhibit has wrongly inscribed 
 on it — Keeley as Billy Black, in Mr. Peake's. 
 Farce of the £100 Note, "Do you give it up?" 
 Lithograph. Hand colored. 
 
 See Goodman's "The Keeleys on the stage and at Home, "p. 175. 
 
 173. KEELEY (Mr.) Engraved Portrait, in the Charac- 
 
 ter of Jemmy Green. Anon. 
 
 174. KEELEY (Mr.) Portrait, as Nichodahmus Crow- 
 
 quill. Robt. Cruikshank fecit. Pubd. by W. 
 Kenneth, 1827. 
 
 Etching. Proof. 
 
 175. KEELEY (Mr.) Portrait, as Orange Moll in "Nell 
 
 Gwynne." Lithogd. & Printed by G. E. Madeley. 
 From a picture by H. Meyer. 
 
 176. KEELEY (Mr.) Portrait, as Signor Sylli in "Maid 
 
 of Honor." 
 
 Proof before all letters. 
 
 62
 
 177. BYFIELD (Miss) and (KEELEY Mr.) Portraits, as 
 
 Rebecca and Wamba in The Maid of Judah. Drawn 
 from life and on stone by Hamberger, for the Dramatic 
 Magazine. Pubd. by Whittaker, Treacher & Co., 1829. 
 Lithograph. 
 
 Robert Keeley — "Little Bob" — was one of a family of sixteen 
 and was born in 1793 at Lincoln's Inn Fields, London. He 
 was originally a compositor, and when 20 years old he ap- 
 peared on the stage of the Richmond Theatre, England, and, 
 after a provincial tour, made his first appearance in London 
 at the Prince of Wales' Theatre, then known as the West 
 End. The season ending abruptly, he went to Birmingham, 
 where the great Elliston saw him and brought him back to 
 London, to the Olympic. Here, as Leporello in "Giovanni 
 in London," he made his first hit. This was in 1818, and the 
 year following he was at Drury Lane. Later he went to the 
 Adelphi Theatre, making his mark there as the original 
 Jemmy Green in Pierce Egan's "Tom and Jerry," and on 
 April 8, 1822, he astonished London by his great performance 
 of Jerry in the same play, at Sadler's Wells Theatre. In the 
 fall of that year he appeared for the first time at Covent 
 Garden Theatre, as Darby in "The Poor Soldier," and during 
 his engagement there he married Mary Anne Goward. He 
 and his wife joined the Cobourg Theatre, London, in 1833, 
 and three years later came to America, making their debut, 
 Sept. 19, 1836, in "The Loan of a Lover," and "My Master's 
 Rival," at the Park Theatre, New York. Keeley as Peter 
 Spyk and Paul Shack, and Mrs. Keeley as Gertrude and 
 Tibby Postlewaite. Mr. and Mrs. Keeley made their first 
 appearance in Boston, Nov. 7, 1836, at the Tremont Street 
 Theatre. Their stay in this country was brief, however, 
 notwithstanding their success, for they returned to England 
 the next summer, and soon joined Madame Vestris, with 
 whom they continued some years. For the next few years 
 the comedian was with different managers in London and 
 the provinces. At one time he joined Strutt in the manage- 
 ment of the Lyceum Theatre, London, and for a time was in 
 partnership with Charles Kean at the Princess's. His last 
 engagement was at Drury Lane, and it was at that theatre he 
 made his final salaried appearance on the stage in "The Cure 
 for the Heartache," although after his retirement he played 
 on two occasions at benefits. He died February 3, 1869, in 
 England. 
 
 178. GOWARD (Miss.) Portrait, as Lisette in "Home, 
 
 Sweet Home." Drawn by Robert Cruickshank & 
 Engd. by Richard Sawyer. Pubd. by Whittaker, 
 Treacher & Co., 1829. 
 
 63
 
 179 GOWARD (Miss.) Portrait, as Rosanthe. Wilde 
 pinxt. Page sculpt. Pubd. by John Duncombe. 
 
 180. KEELEY (MARY ANNE.) Portrait, in the Character 
 of Jack Sheppard. R. J. Lane. Pubd. by J. Mitchell. 
 
 Lithograph in colors. Framed. 
 
 Mary Anne Goward — Mrs. Keeley — was born at Ipswich, 
 England, in 1805. Spending a portion of her youth at Yar- 
 mouth, she came in contact there with all the local players, 
 and by them, apparently, was persuaded to join their ranks, 
 and it was there she made her professional debut as Lucy 
 Bertram in "Guy Mannering." Thence she went to Dublin, 
 figuring as Polly in "The Beggars' Opera," and thence to a 
 number of towns in the English provinces. At length came 
 the opportunity to appear in London, where she was engaged 
 for the English Opera House (Lyceum), making her bow on 
 the evening of Saturday, July 2, 1825, as Rosina in the popu- 
 lar operetta, and as Little Pickle in "The Spoiled Child." 
 That she achieved an instant triumph is shown by the man- 
 agerial note on the play-bill of the following Monday, which 
 we reproduce, "The whole of the Performances of Saturday 
 Evening, in which Mr. Thorne and Miss Goward experienced 
 the most unequivocal and decided success, having been re- 
 ceived with acclamations of applause, will be repeated this 
 Evening." In speaking of this appearance Mrs. Keeley 
 says, "I was so dreadfully frightened when I got on the stage, 
 that I turned round, and was going to bolt back to the wings: 
 but Broadhurst (the tenor in "Rosina") caught hold of me, 
 and, I think I swore." One of her Adelphi characters, Nydia 
 in the "Last Days of Pompeii," was much appreciated. In 
 the earliest theatrical version of "Nicholas Nickleby" she 
 achieved a veritable triumph as Smike. In her next essay 
 she was even more fortunate. Ainsworth's "Jack Sheppard" 
 had taken London by storm, and before long, in 1839, a 
 dramatic version of the story was brought out at the "Adelphi," 
 with Mrs. Keeley made up exactly according to Sir James 
 Thornhill's famous picture, as the housebreaking and prison- 
 breaking hero. Her acting — spirited, picturesque, never 
 coarse, and marked by many a gleam of humour and tender- 
 ness — supplied all that was needed to give the play what in 
 those days was a long run, and the prosperity of the theatre 
 rose to the highest point it had reached since the time of 
 "Tom and Jerry." From this time she held a high and assured 
 position on the stage. In 1842, after a brief season at the 
 new Strand Theatre, she joined Macrcady at Drury Lane, 
 there to play Nerissa in the "Merchant of Venice," playing 
 many parts afterwards most successfully. In 1844, she and 
 
 64
 
 Mr. Keeley undertook the management of the Lyceum 
 Theatre. Burlesques by Planche and Dance were the staple 
 entertainments here, but none of them did so much for her 
 fame as adaptations by Albert Smith of Dickens' "Cricket 
 on the Hearth" and "The Battle of Life," in which she was 
 Mrs. Perrybingle and Clemency Newcome, respectively. 
 Migrating to the Haymarket Theatre, towards the end 
 of 1847, she appeared as Susanne Grasset de Villedieu in 
 "The Roused Lion," Jane in "Wild Oats," and Rachel in "The 
 Rent Day." At the same house she acted Maud in "The 
 Wife's Secret," when that play was first produced in London, 
 by Charles Kean. In 1850 the latter and Robert Keeley 
 took the Princess's Theatre, opening it with a performance 
 of "Twelfth Night." Mrs. Keeley followed them thither, 
 though only to return almost immediately to the Adelphi. 
 In 1857, she went to Drury Lane Theatre to act Frank 
 Oatlands in "A Cure for the Heartache," and in 1859, to the 
 Lyceum Theatre to heighten the attractiveness of Robert 
 Brough's burlesque of "The Siege of Troy." With this her 
 connection with the stage virtually came to an end. In 
 possession of a sufhcient competency, she lived thenceforward 
 in tranquil and dignified retirement, emerging from it only 
 to take part in performances for the benefit of J. B. Buck- 
 stone, Mrs. Mellon, Charles Mathews, Celeste, and others 
 who had claim upon her good will. Perhaps the most im- 
 portant of her "retirement" performances was when, on 
 March 21, 1891, she revisited her birthplace, Ipswich, after 
 an absence of more than half a century, to take part in the 
 opening of a new theatre, called the Lyceum, which had been 
 recently erected there. She had the honour by a special 
 invitation from the Queen, who expressed a wish to see her, 
 of being received at Buckingham Palace, in March, 1895, 
 when she was presented to Her Majesty, to the Empress 
 Frederick, and to Princess Louise. She was tendered a 
 testimonial in honor of her ninetieth birthday on the after- 
 noon of Friday, Nov. 22, 1895, at the Lyceum Theatre, 
 London, one of the most remarkable occasions in modern 
 theatrical history. The affair was under the patronage of 
 the Queen, the Prince and Princess of Wales and others 
 of the royalty and nobility, and in the performance many of 
 England's prominent players took part. She died from 
 pneumonia, March 12, 1899, in London. 
 
 181. RICE (T. Mr.) Engraved Portrait, as Jim Crow. 
 
 Pubd. by J. K. Green. Lend., 1837. 
 
 182. RICE (T. D. Mr.) Portrait, "vSich a Getting up 
 
 Stairs." Madeley, lith. 
 Lithograph. Music Sheet. 
 
 65
 
 Thomas D. Rice, "Jim Crow"— was born in New York, May 
 20, 1808. He made his first appearance in negro character 
 at Ludlow's Amphitheatre, Louisville, Ky. He made his 
 Ethiopian debut in New York, at the Bowery Theatre, Nov. 
 12, 1832, in his song of Jim Crow, which attained a popularity 
 unequaled by anything of the kind before or since, and 
 "Wheeled About," its lucky chaunter from poverty to fame 
 and fortune. He was, ten years before, a supernumerary at 
 the Park Theatre. He was at the Lafayette Theatre, in 
 1832, and afterward went West, and played many low comedy 
 parts with success, but not until he commenced his negro- 
 singing and burlesque operatic performances, was he con- 
 sidered of sufficient note to render his name attractive. His 
 popularity for a while was unbounded. In 1836, he visited 
 London, sung with great applause at the Surrey and other 
 theatres— and toured the provinces. When he returned to 
 America, he was eagerly sought after by the managers. He 
 made his first appearance in Boston, at the Tremont Theatre, 
 in the season of 1837-8, and was there in 1841 and 1842; at 
 the National Theatre, Boston, in 1844 and 1845; and at the 
 Boston Theatre the season of 1847-8. He opened with 
 Wood's Minstrels, in New York, Aug. 4, 1858. About 1840 
 he was for a time deprived of speech and the use of his limbs 
 by an attack of paralysis, and suffered much until the day of 
 his death, which occurred in New York, Sept. 19, 1860. 
 
 183. HILDRETH (SARAH.) Portrait. Artist unknown. 
 India Ink Drawing. 
 
 Miss Sarah Hildreth, daughter of Dr. Israel Hildreth, of 
 Lowell, Mass. She was born in 1821. She became enamored 
 of the stage, and while on a visit to Brooklyn, N. Y., put 
 herself under the tuition of Mrs. Vernon, and made her 
 debut upon the stage, Aug. 10, 1837, at the Park Theatre, 
 New York, as Mariana in "The Wife," for the benefit of 
 Mr. Chippendale, and the season following, she was engaged 
 by Mr. Abbott for the juvenile ladies in his theatres at 
 Charleston and Columbia, S. C. She played the season in 
 those two cities, and a brief engagement in conjunction with 
 Louis F. Tasistro, at Savannah, Ga. She was next engaged 
 by Weston & Co., and performed in Wilmington and Fayette- 
 ville, N. C, and in Norfolk and Portsmouth, Va., returning 
 home from the latter place. In 1842, she was engaged for 
 the leads at the National Theatre, Cincinnati, where she 
 opened as Rosalind, but resigned her position, after three 
 months service, during which time she had played a star 
 engagement at Louisville, and received a compHmentary 
 benefit which was attended by the elite of Cincinnati, with 
 whom she had a large acquaintance, on which occasion she 
 performed the character of Ion with marked ability. General 
 
 66
 
 B. F. Butler, to whom she was then engaged, was present at 
 this performance. They were soon after married, and it is 
 said she exacted a condition from him that she should be 
 allowed to return to the stage at the end of a year, if she 
 wished; but the cares of a family changed her views, and she 
 has never since appeared before the public. She made her 
 debut in Boston in the season of 1837-38, at the Tremont 
 Theatre, and during the engagement played Mariana in 
 "The Wife," Bianca, Lady Teazle, etc. She died in Boston, 
 April 8, 1876. She had an only daughter who married 
 Genl. A. Ames of the U. S. Army. 
 
 184. TREE (ELLEN.) Engraved Portrait. Sir W. C. 
 
 Ross, A.R.A. J. C. Armytage. 
 Colored by hand. 
 
 185. TREE (ELLEN, Miss.) Engraved Portrait. Painted 
 
 by Eliza Drummond. Engd. by T. Woolnoth. 
 
 186. TREE (ELLEN.) Portrait, as Clemanthe. Lane. 
 
 Graf print. Pubd. by J. Mitchell, 1839. 
 Lithograph in colors. 
 
 187. TREE (ELLEN.) Portrait, as Hero in Woman's Wit. 
 
 Henri Heideman's, 1838. From a sketch by W. H. P. 
 N. Currier's Lith. Pubd. by J. & H. G. Langley, 
 N. Y., 1838. 
 Lithograph. 
 
 188. TREE (ELLEN, Miss.) Portrait, as Rachel in The 
 
 Jewess. 
 Lithograph colored. 
 
 189. TREE (ELLEN.) Portrait, as Rosalind. R. J. L. 
 
 J. Graf print. Pubd. 1836, by J. Mitchell. 
 Lithograph colored. India paper. 
 
 190. TREE (ELLEN Miss.) Engraved Portrait, as 
 
 ViOLANTE. Abm. Wivell del. 1826. PhilHps pinxt. 
 
 Colored by hand. 
 
 Miss Ellen Tree was born in London, England, in the month 
 of December, 1805. In 1823, she made her first appearance 
 
 67
 
 in London, at Covent Garden Theatre, as Olivia, in "Twelfth 
 Night," afterwards playing at the Bath and Birmingham 
 Theatres, at the latter, she was the leading actress in 1826, 
 and on the 23rd of September, in that year, made her debut 
 at Drury Lane Theatre, as Donna Violante. She afterward 
 went to Covent Garden, where she played her first original 
 tragic part, Francoise de Foix, in Fanny Kemble's "Francis I," 
 and here she played Julia in "The Hunchback," so well that 
 the character of Mariana, in "The Wife," was written ex- 
 pressly for her, and played by her over fifty nights in one 
 season. Talfourd's "Ion" also found in her its most success- 
 ful representative, and carried her reputation as a strictly 
 classical actress to the very highest point. In 1836, her popu- 
 larity became so universal in England and abroad that a trip 
 to America was determined upon, and on Dec. 12, she first 
 played in this country at the Park Theatre, New York, as 
 Rosalind, and as Pauline in a new play, entitled "The 
 Ransom." On the 2nd of Feb., 1837, she first played Ion in 
 this country, and her exquisite delineation of the unhappy 
 stripling created a profound sensation. On Feb. 20, 1837, 
 she appeared at the Tremont Theatre, as Julia in "The 
 Hunchback." Her reputation had preceded her to this city, 
 and in consequence she was received with an unusual degree of 
 enthusiasm from our playgoers. Her engagement in Boston 
 lasted five weeks. Her first American tour lasted two years, 
 and was successful far beyond her expectations or the hopes 
 of her friends. On returning to England, in 1839, she found 
 herself more popular than ever, winning not only the admira- 
 tion of the public, but also that of Charles Kean, who, on 
 Jan. 29, 1842, was married to her in Dublin. They had 
 first played in the same company as far back as 1827-8 when 
 Kean made his first appearance as Young Nerval. In 1842, 
 she appeared with Mr. Kean at the Haymarket Theatre, in 
 various Shakspearean and poetic dramas, and the two fol- 
 lowing seasons they acted together at the Haymarket and 
 Drury Lane Theatres. In 1845, they revisited this country 
 and were enthusiastically received, producing "The Wife's 
 Secret," "Two Gentlemen of Verona," and "King John," 
 with accessories of dresses, armor, scenery and properties 
 which made these performances among the most noticeable 
 events of that period. On Oct. 19, 1846, they began their 
 first joint engagement in this city at the Boston Theatre on 
 Federal Street in "The Gamester," and the remembrance of 
 their previous appearances here as separate stars called forth 
 a brilliant assembly of spectators. Shortly after their return 
 to England, Mr. Kean assumed the management of the 
 Princess's Theatre, London, where, in various famous Shake- 
 spearean revivals, she invariably acted the leading female 
 character, and occasionally appeared in the new plays of 
 Westland Marston, Douglas Jerrold, and others. These 
 
 68
 
 revivals ended in the fall of 1859. They played various en- 
 gagements until Mr. Kean's death, Jan. 22, 1868, including 
 another tour of this country in 1865-66, and a visit to the 
 Boston Theatre, in "King Henry VIII," "The Jealous Wife," 
 "The Merchant of Venice," "Louis XI," and "Macbeth." 
 Thereafter she lived in retirement, until her death, on the 
 20th of August, 1880. 
 
 191. VANDENHOFF (J.) Portrait. G. S. Freeman delin. 
 
 1836. On stone by E. Morton from a drawing by G. 
 Freeman. Printed by Graf & Soret. 
 
 Lithograph. India Proof. 
 
 192. VANDENHOFF (J.) Portrait, as Adrastus. Lane. 
 
 T. Graf print. Facsimile autograph. Pubd. by J. 
 Mitchell, 1839. 
 
 Lithograph, Tinted. 
 
 193. VANDENHOFF (J.) Portrait, as Cato. Lane. J. 
 
 Graf print. Facsimile autograph, July 25, 1839. 
 Pubd. by J. Mitchell, 1839. 
 Lithograph. Tinted. 
 
 194. VANDENHOFF (Mr.) Engraved Portrait, as 
 
 Coriolanus. Drawn & Engd. by W. H. Lizars. 
 
 195. VANDENHOFF (J.) Portrait, as Master Walter. 
 
 Artist unknown. 
 Water Color drawing. 
 
 Mr. John Vandenhoflf was born at Salisbury, England, March 
 31, 1790, educated at the Jesuits' College, Stonyhurst, and 
 intended for the priesthood. Preferring the stage, he made 
 his first appearance at SaHsbury, as Earl Osmond, May, 1808. 
 From that period until 1820, he continued to perform in the 
 provinces, and at the Liverpool and Manchester Theatres, 
 especially, was welcomed with enthusaism in the loftiest 
 characters of the drama. In 1820, he first appeared at 
 Covent Garden Theatre, but it was not until his performances 
 at the Haymarket Theatre, in 1834, that he was awarded a 
 position equal in rank with the most consummate artists of the 
 age. His style of acting has been described as lofty, grand, 
 and heroic, and his personations of Coriolanus, Cato, Brutus, 
 Virginius, Adrastus, and Creon, pronounced all but faultless. 
 He made his first appearance in Boston, Dec. 4, 1837, at the 
 
 69
 
 ,<" 
 
 Tremont Theatre, as Coriolanus, and during his engagement 
 played Macbeth, Cato, Brutus, Virginius, Othello, and 
 Hamlet. Words were wanting to express the admiration of 
 the critics of this gentleman's transcendent talents. Many 
 who remembered Cooke, pronounced Vandenhoff his superior, 
 and his Cato — a part in which even Garrick failed — and his 
 Hamlet, are remembered by many as perfect masterpieces. 
 He returned to Europe. He made his first appearance in 
 America, at the National Theatre, New York, Sept. 11, 1837, 
 as Coriolanus. At the end of the season he returned to 
 Europe, but revisited this country in 1839, with his daughter, 
 whom he brought out at Niblo's. He afterwards played at 
 the Park Theatre, and again at the National Theatre, when 
 rebuilt, and there took his farewell of America, March 6, 
 1841. He returned to England, played at Drury Lane and 
 throughout the country, and bade a final adieu to the pro- 
 fession he had graced for fifty years, at Liverpool, October 
 29, 1858. He died in October, 1861, in his 72nd year, at 34, 
 North-bank, Regent's Park, London. His performances in 
 America received the highest encomiums from the press and 
 the public, while his private character was such as to recom- 
 mend him to the undivided respect of all who knew him. 
 
 196. HAMBLIN (Mrs.) Portrait, as The Countess in 
 "Love." 
 
 Photograph Hand Colored. 
 
 ^ 
 
 197. SHAW-HAMBLIN (Mrs.) Portrait, as Young 
 
 NORVAL. 
 
 Process Print. Hand colored. 
 
 Mrs. Shaw (Mrs. Hamblin) made her first appearance in 
 America, on the 25th of July, 1836, at the Park Theatre, as 
 Mariana in "The Wife." This lady, of whom the public 
 knew nothing previous to her appearance, made a powerful 
 impression, and soon became one of the most popular and 
 attractive stars. Her maiden name was Eliza Marian 
 Trewar, and she made her first appearance on the stage, in 
 1816, at Drury Lane, in the ranks of the Liliputian army raised 
 to support the infantile pretensions of Clara Fisher to the 
 crown and truncheon of Richard IIL She was in the full 
 prime of womanly beauty on her arrival here, and rarely have 
 so many charms of figure, face and mind been united in one 
 individual. Her talents were happily adapted to either of 
 the higher walks of the drama, but though she appeared to 
 advantage in many tragic assumptions, her superior excellence 
 lay in the elegant and refined creations of the comic muse. 
 Beatrice, Rosalind, Lady Teazle, Violante, Juliana, Widow 
 
 70
 
 Cheerly, Lady Gay Spanker, and, above all, Constance in 
 "The Love Chase," of which she was the original American 
 representative, were among her most delightful personations, 
 and in which she won her greenest and most enduring laurels. 
 Yet there was a line of tragedy in which she appeared to 
 eminent advantage, her fine person lending her an aid too 
 often denied to female representatives of such youthful 
 heroes. This line included Hamlet, Romeo, Young Norval 
 and Ion, in which she far surpassed to our taste all ladies who 
 have dared attempt them. Miss Tree, in Ion, alone excepted. 
 In 1839, she joined the company at the Bowery Theatre, 
 making her debiit at that house. May 13, 1839, as Alice Darvil 
 in "Ernest Maltravers," and becoming the star and the 
 heroine of all the tinseled and glaring melodramas so delight- 
 ful to theatre goers on the eastern section of New York City. 
 By this move, Mrs. Shaw probably increased her pecuniary 
 emoluments, but she lost the well earned repute gained in the 
 first theatre of the country, and the prestige of her name 
 within its walls was gone forever, as she found to her sorrow 
 when, in after years, she once more attempted to tread its 
 boards in the proud position of its controlling spirit, as the 
 wife of its last manager. She was always announced as Mrs. 
 Shaw until May 13, 1850, when her name appeared on the 
 bills as Mrs. Hamblin, when she acted in "Love." Her 
 popularity at the Bowery Theatre was for many years un- 
 bounded, but finally fell off, and her matronly appearance and 
 increasing embonpoint limited her successful representations 
 to a very narrow range. Her first appearance in Boston, was 
 as Julia in "The Hunchback," on the 28th of Jany., 1838. 
 Her engagement was quite brief, during which, however, she 
 played Hamlet — this was at the Tremont Theatre. She 
 clung long to her profession, although it was understood that 
 the death of her husband left her in possession of a handsome 
 competence. In the art of dressing and making up she was 
 remarkably happy, and her ideas of stage management were 
 excellent. She lived in retirement for several years in New 
 York prior to her death, which occurred July 4, 1873, at her 
 residence, 146 West Twenty-Fourth Street. The funeral 
 occurred July 7. 
 
 198. MISSOURI (Miss.) Portrait, in the Character of 
 Alice Darvil. 
 
 Lithograph Colored. Framed. 
 
 Miss Louisa Missouri made her first appearance at the 
 Bowery Theatre, New York, on the 16th of April, 1838, as 
 Alice Darvil in "Ernest Maltravers." She afterward ap- 
 peared as Julia and Bianca, with a promise of future excellence 
 that remained unfulfilled, in consequence of her untimely 
 
 71
 
 death. Josephine CUfton and Louisa Missouri were the 
 daughters of the same mother, and, as the former once touch- 
 in gly remarked, "children of misfortune from their very 
 birth." Their mother was the notorious Mrs. Miller. Miss 
 Clifton was fully aware of the disadvantages of a debut at the 
 Bowery Theatre, or under the auspices of its manager; but 
 in an evil hour. Miss Missouri, whose talents had been culti- 
 vated under the most eminent masters, in opposition to her 
 advice, and that of her mother, placed herself under the care 
 of Mr. Hamblin for dramatic instruction, took up her resi- 
 dence in his family, and made her entree into the profession 
 as his especial protegee. A newspaper controversy was the 
 result. Miss Clifton being charged with attempting from 
 jealousy, to prevent her sister's appearance, and replying, 
 with becoming spirit, that her only desire was that she 
 should not be introduced to the public through the medium of 
 Mr. Hamblin. Finally, after Miss Missouri had played, in 
 addition to Alice Darvil, the characters of Julia and Bianca, 
 and gone through with an engagement of ten nights at 
 Boston, she was seized, on her return to New York, with a 
 brain fever (the result, no doubt, of excitement and over- 
 exertion), which, after a brief illness caused her death, on the 
 26th of May, 1838, at the age of seventeen. A certain press 
 endeavored to arouse a spirit of indignation against Mr. Ham- 
 blin, who was charged with abducting a young and inexperi- 
 enced girl from her friends, and suspicions of foul play were 
 also insinuated against his housekeeper, all of which were 
 happily put to rest by the testimony of several eminent 
 physicians, who, after a thorough post mortem examination, 
 declared that her death had occurred from purely natural 
 causes, and not the slightest ground existed for any imputa- 
 tion, that could sully the character of the unfortunate de- 
 ceased. She made her first appearance in Boston, at the 
 Tremont Theatre, May 9, 1838, as Ahce Darvil in "Ernest 
 Maltravers." 
 
 199. AUGUSTA [Mile.] Engraved Portrait, in the char- 
 
 acter of "La Sylphide." 
 
 Folio. 
 
 200. AUGUSTA [Mile.] Portrait, in the role of The 
 
 Bayadere. Henri Heideman. N. Currier's Lith. 
 Facsimile autograph. 
 Lithograph. 
 
 201. AUGUSTA [Mile.] Portrait, in the role of The 
 
 Bayadere. Drawn on stone by Hoffy from the 
 
 72
 
 original sketch taken from life by Heideman. J. T. 
 Bowen's Lith., N. Y. Piibd. by C. Shepard, N. Y. 
 Facsimile autograph. 
 
 Lithograph. 
 
 Mile. Augusta was born in Paris, and came unknown and 
 unheralded to this country, but on making her debut in a 
 scene from the ballet "Les Naiades," at the Park Theatre, 
 New York, Sept. 16, 1836, her pas seul was received with 
 demonstrations of the utmost delight, and she soon reached 
 the highest goal of popular favor. A tenderness in her full 
 dark eyes, and an expression of humility and maidenly re- 
 serve in her manners, heightened the effect of a lovely face 
 and a slender, sylph-like form, and there was a peculiar re- 
 finement, a fascinating gracefulness, and an appearance of 
 modest innocence in her every motion, that at once won every 
 heart. After a season at the Park, she "starred" throughout 
 the Union with great success, appearing in Boston, on the 
 29th of Jan., 1838, for the first time, at the Tremont 
 Theatre, in the operatic ballet "La Bayadere," which was put 
 on the stage in the most admirable style. She was married 
 to the Count Fitzjames, who was said to be a descendant of 
 the royal family of Stuart. After several years retirement, 
 she played her last engagement at Burton's Chambers Street 
 Theatre, New York, in 1851, and shortly after the death of 
 her husband, again came before the public at a complimentary 
 benefit, given her at the Metropolitan Theatre, New York, 
 May 10, 1855, being her last appearance on the stage, after- 
 wards becoming a teacher of her art in New York City. 
 
 202. SEGUIN (EDWARD.) Portrait. J. W. Bufford's 
 
 Lith. from a Daguerreotype by Southworth & Hawes. 
 Facsimile autograph. 
 
 Lithograph. 
 
 203. [SEGUIN (EDWARD.)] Portrait, as Devilshoof in 
 
 "Bohemian Girl." Endicott Lith. 
 Lithograph. 
 
 Arthur Edward Shelden Seguin, commonly known as Edward, 
 was born in London, April 7, 1809, and first appeared in 
 public in 1828 at concerts given by the pupils of the Royal 
 Academy of Music. His voice was a deep bass, of very ex- 
 tensive compass, and he met with a very favorable reception. 
 In 1 83 1 , he first appeared upon the English stage at the theatre 
 in Tottenham Street as Polyphemus in "Acis and Galatea." 
 In 1833 and 1834, he was at Covent Garden Theatre. From 
 
 73
 
 1835 to 1837 he was engaged at Drury Lane. In August, 
 1838, he appeared at the English Opera House, in "The 
 Devil's Opera," and soon afterwards came to America, making 
 his first appearance at the National Theatre, New York, as 
 The Count in "Amilie," and was extremely well received. 
 He made his first appearance in Boston, in November, 1838, 
 at the Tremont Theatre. When he first appeared here in 
 "Amilie, or The Love Test," he produced a marked sensa- 
 tion. A critic upon that opera, as then presented at the 
 Tremont Theatre for the first time, says of him: "The moment 
 Seguin opened his mouth one universal gasp of astonishment 
 infected all, such was the wonder produced by his magnificent 
 organ. At the first close of his recitative, the most enthusi- 
 astic applause appreciated that pure, legitimate, and ponder- 
 ous bass; of large and even quality, his distinct enunciation, 
 and such a body of tone, that Lablache alone will be placed 
 above him." The Seguins were very successful, and occupied 
 a large share of public attention, even from the date of their 
 first appearance in this city, Nov. 5, 1838, to May, 1847, 
 when Marti's Operatic Company eclipsed in their admirable 
 presentation of Italian opera, all the glories of former dra- 
 matic vocalists, and consigned English opera to neglect. 
 After a most prosperous starring career of several years, he 
 took up his residence in New York, and finding his strength 
 failing, he was obliged to desist from singing, and joined the 
 stock company at Wallack's Theatre, where he first appeared 
 on the 9th of September, 1852, as Humphrey Dobbin in "The 
 Poor Gentleman." His health, however, declining rapidly, 
 he played for the last time on the 11th of November, as 
 Hyssop in "The Rent Day," and on the 13th of December, 
 1852, he expired at his residence, in White Street, of a hasty 
 consumption, deeply regretted by the public and a large 
 circle of personal friends. 
 
 204. SEGUIN (ANNE.) Portrait. Bust. Vignette. With 
 
 autograph of the Lady. 
 
 Water Color Drawing. 
 
 205. SEGUIN (Mrs.) Portrait, "A Simple Rose." 
 
 Fleetwood. 
 
 Lithograph. Music Sheet. 
 
 206. SEGUIN (Mrs.) Portrait, "The Gypsey Queen." 
 Lithograph. Music Sheet. 
 
 74
 
 207. SEGUIN (Mrs.) Portrait, "Then You'll Remember 
 
 Me." E. Brown Jr., 1844. Lewis & Brown, Lith. 
 
 Lithograph. Music Sheet. 
 
 Anne Childe (Mrs. Seguin) was a pupil of the Royal Academy 
 of Music, and appeared in public as a soprano singer in 1828 
 in the same performances as her future husband, and with 
 equal success. In 1832, she sang at the concert of Ancient 
 Music, and in 1834 at the Westminster Abbey Festival. 
 After performing for two or three seasons at the King's 
 Theatre as seconda donna, she appeared on the English stage 
 at Drury Lane Theatre, Nov. 3, 1837, as Donna Anna, in the 
 English version of Mozart's "Don Giovanni." She accom- 
 ■ - panied her husband to America, and performed in opera 
 
 until his death, when she retired from the stage, and taught 
 music in New York. She made her dehut in New York, at 
 the National Theatre, as Rosina in "The Barber of Seville." 
 She at once became a favorite, gaining in one night a popu- 
 larity which she retained as long as she was on the stage. 
 She made her first appearance in Boston, at the Tremont 
 Theatre, in 1838. She was at the Park Theatre, New York, 
 on March 29, 1841, as Camilla in the opera of "Zampa," and 
 three years later, on Nov. 25, made her greatest American hit 
 at the same theatre as Arline, in the first production in this 
 country of "The Bohemian Girl." The opera proved a 
 grand success, and Mrs. Seguin's Arline a character in which 
 the public never tired of her, for she sang it over a thousand 
 times before she retired from the stage on the death of her 
 husband in 1852. After her retirement she settled down in 
 New York, where she taught music for the remainder of her 
 life. She died in New York, Aug. 24, 1888. 
 
 208. SHIRREFF (Miss.) Engraved Portrait. Engd. by 
 
 J. Thomson from a drawing by A. Wivell. 
 Hand Colored. 
 
 209. SHIRREFF (Miss.) Portrait, as Amilie. Pendleton's 
 
 Lithogs., Boston. 
 Lithograph. Oblong. 
 
 Jane Shirreff, soprano singer, was born in London, England, 
 appeared at Covent Garden Theatre, Dec. 1, 1831, as Man- 
 dane in "Artaxerxes," with great success, and remained at 
 that house until the season of 1834-35. In 1835, she com- 
 menced an engagement at Drury Lane, but in 1837 returned 
 to Covent Garden. In 1838, she came with the "Seguins," 
 and made her first appearance in Nev,' York, at the National 
 Theatre, as Amilie in "The Love Test." Oct. 13, 1838, and 
 
 75
 
 met with great success. She first appeared in Boston at the 
 Tremont Theatre, in 1838. Made her last appearance in 
 America, at the Park Theatre, New York, as Madeline in 
 "The Postillion of Longjumeau," May 21, 1840, and mar- 
 ried shortly after, Mr. Wallcot. 
 
 210. DAVENPORT (Miss.) Portraits, as Richard III and 
 Little Pickle in The Spoiled Child. E. W. E. 
 Pubd. by H. R. Robinson, 1838. 
 Lithograph colored. Framed. 
 
 Jean Margaret Davenport made her first appearance on the 
 American stage, on the 21st of May, 1838, at the National 
 Theatre, New York, as Richard III, and Little Pickle; and 
 her first appearance at the Park Theatre, New York, as 
 Young Norval, and played several characters in the farce of 
 "The Manager's Daughter." She subsequently appeared as 
 Shylock, Little Pickle, Dicky Gossip, Sir Peter Teazle, Sir 
 Giles Overreach, etc. On the 1st of October, 1838, she made 
 her first appearance in Boston, at the National Theatre, as 
 Richard III, and in "The Manager's Daughter." Miss 
 Davenport was at that time stated to be "only eleven years 
 of age," and was regarded, and justly too, as an infant phe- 
 nomenon. By many she was deemed fully equal to Master 
 Betty, in the best days of that prodigy, and far surpassed 
 Burke. Her conception of Richard, Shylock, and other 
 characters, was certainly astonishing, while her delivery was 
 not the mere repetition of a parrot, but was sensible, and 
 evinced the talent of an artist. Her success was fair; and 
 her father leased the Lion Theatre, in this city, and for a few 
 nights she played there. She was then about thirteen years 
 old. She displayed great ability for one so young, and on 
 reaching womanhood, developed talents, which gave her a 
 high position as a star. After an absence of ten years she 
 reappeared in New York, in September, 1849, at the Astor 
 Opera House, with great success, as Juliet. On the 13th 
 of October, 1860, Miss Davenport was married, at San Fran- 
 cisco, to Col. Frederick W. Lander, and left the stage. Her 
 husband was an officer in the Union army during the great 
 Rebellion, and after being promoted to the rank of General, 
 died in Virginia, March, 1862, from wounds received in 
 battle. Mrs. Lander soon after devoted her time and serv- 
 ices to the cause of the suffering soldiers in the hospital at 
 Port Royal, S. C. In February, 1865, she emerged from her 
 retirement and appeared with great approbation at Niblo's 
 Garden, N. Y., being then described as one embodying the 
 full majesty of intellect, with a most refined and graceful 
 culture. Her performances of Queen Elizabeth, Adrienne 
 Le Couvrcur, Mary Stuart, and other tragic roles will be 
 
 76
 
 remembered with delight by those who witnessed them. She 
 was one of the most notable Juliets known to the American 
 stage, between 1842 and 1850. She was the original 
 "Camille," in this country. To the sculptor her Medea was a 
 model. For classic beauty her Adrienne was a study, and for 
 a certain degree of truthfulness and nature her Peg Woffington 
 may be quoted. She died at Lynn, Mass., Aug. 2, 1903. 
 
 211. MARBLE (DAN.) Portrait. Bust. E. C. L. 
 India Ink Drawing. 
 
 212. MARBLE (D. Mr.) Portrait, as Jacob Jewsharp in 
 
 "Yankee Time." W. D. Jenks del. 
 
 Lithograph. 
 
 Made his first acknowledged appearance on the stage in New 
 York, as Robin Roughead, on the 11th of April, 1830, at the 
 Chatham Theatre, paying for the privilege the sum of twenty 
 dollars. Some few years later he gained repute in the country 
 theatres with Yankee stories and a few Yankee parts. In 
 November, 1836, he married Annie Warren, daughter of the 
 celebrated comedian of Philadelphia, and not long after made 
 his great hit at Buffalo, as the hero of a piece called "Sam 
 Patch." He was enthusiastically received in the various 
 cities of the South and West through which he toured with 
 the play. In 1838, he made his first appearance on the boards 
 of the Park Theatre, New York, as Solomon Swop. In 1841, 
 he was at the Surrey Theatre where he made his first appear- 
 ance in London, on the 14th of April, as Sampson Hardhead 
 in "The Game Cock of the Wilderness," with entire success, 
 and again appeared in London in 1844. His return to Amer- 
 ica was a complete triumph particularly in the West, where in 
 the height of his popularity, he played his last engagement 
 in St. Louis, early in May, 1849. Going thence to Louisville, 
 he was seized with cholera, which terminated his existence, 
 in that city, on the 13th of May. He was buried at Buffalo, 
 N. Y. He made his first appearance in Boston at the 
 National, Sept. 4, 1839, as Jonathan Ploughboy in "The Forest 
 Rose," and Sam Patch in "Sam Patch, or The Daring Yankee." 
 
 213. FITZWILLIAM (FRANCES.) Engraved Portrait. 
 
 J. W. Childe. H. B. Hall. Facsimile autograph. 
 
 214. COPELAND (F. E., Miss.) of the Surrey Theatre. 
 
 Engraved Portrait. Alais so. from an original Paint- 
 ing by Rose Emma Drummond. Pubd. for La Belle 
 Assemblee, 1820. 
 
 Colored by hand. 
 
 77
 
 215. FITZWILLIAM (Mrs.) Portrait, as Don Giovanni. 
 
 Pubd. by Dyer Senr., 1828. 
 
 Etching. Hand Colored. 
 
 216. FITZWILLIAM (Mrs.) Portrait, as Milly in the 
 "Maid with the Milking Pail." J. Brundard. 
 Lithograph. Proof on India Paper. 
 
 217. FITZWILLIAM (Mrs.) Engraved Portrait, as Poll 
 the Pet in The Pet of the Petticoats. Lond. 
 J. Fairburn. 
 
 Hand colored. 
 
 Fanny Copeland, afterwards Mrs. Fitzwilliam, was placed 
 on the stage of a theatre almost as soon as ushered to the 
 stage of life, and commenced her histrionic labors when two 
 years old, as one of the children in the play of the "Stranger." 
 She was born in 1802, in a house attached to the Dover 
 Theatre, England, of which her father was manager. At the 
 age of five, she played Tom Thumb, and sung all the inci- 
 dental music with wonderful accuracy. When ten years old, 
 she was withdrawn from the stage, and devoted her time 
 principally to the study of music, under able masters. The 
 accidental illness of an actress who was advertised for Norah 
 in "The Poor Soldier," caused her unexpected reappearance 
 at The Dover Theatre, where her musical proficiency and 
 general merit were so clearly recognized and warmly ap- 
 plauded, that she continued performing and singing to the 
 great delight of the audience, until 1816, when she went to 
 London for vocal instruction from Mrs. Bland, and was im- 
 mediately engaged for the Haymarket Theatre, where she 
 made her debut on July 2, 1816. Thence she passed 
 through the Surrey and Olympic Theatres, on her way to 
 Drury Lane, where she first appeared on the 5th November, 
 1821, as Fanny in "Maid or Wife," and on the 2nd of Novem- 
 ber, 1822, fulfilled an engagement with Mr. FitzwilHam, by 
 becoming his wife. She was afterward at the Adelphi 
 Theatre, and in 1832, was a partner of W. H. Williams in the 
 management of Sadler's Wells Theatre, which she relin- 
 quished for an engagement at the Haymarket Theatre, whence 
 she came to America, in the full maturity of her powers and 
 the very zenith of her fame, making her first appearance at the 
 Park Theatre, New York, in the old comedy of "The Country 
 Girl." She played Peggy, and appeared in Buckstone's 
 monopolylogue, written expressly for her, entitled the "Widow 
 
 78
 
 Wiggins." The latter was cleverly constructed, and its 
 intended effects were very happily rendered by Mrs. Fitz- 
 william, whose changes of character were so marvelously 
 rapid and dissimilar, as almost to surpass belief and to draw 
 down peal after peal of most enthusiastic applause. She 
 was one of the very few females who arrive at the age of forty 
 capable of personating a miss in her teens, without evincing 
 a palpable inconsistency. Her musical accomplishments 
 were not the least of her attractions, and so greatly were 
 they admired in America, that she was frequently called 
 upon to throw aside her most natural and exhilarating as- 
 sumptions in comedy, and take upon herself the rank and 
 emoluments of an operatic prima donna, which suggestions 
 she was wise enough to decline, although, as a vocalist, she 
 was superior to many who had occupied a similar position, 
 and as a singing actress, the very best that Europe has ever 
 sent us. She made her first appearance in Boston, at the 
 Tremont Theatre, Dec. 16, 1839, in "Widow Wiggins," in 
 which she sustained six characters. Her appearance on the 
 boards in this city, at a time when there was a depression in 
 business, was deemed a public benefit, for her faultless acting 
 chased away the clouds of despondency and smoothed the 
 furrows of care, and won the suffrages of all theatre-goers. 
 She played Rosalind to W. H. Smith's Orlando, and Freder- 
 ick's Jacques, for her benefit, and was honored by a full 
 house. She made two visits to America, both of which were 
 eminently successful. Her last appearance in New York 
 took place at Niblo's, on the 22nd of August, 1842, but as 
 late as 1852, she was one of the chief attractions of the 
 London Haymarket Theatre. Her death occurred on 11th 
 September, 1854, from general prostration, induced by a 
 severe attack of cholera. 
 
 218. ELLSLER (FANNY.) Portrait. Bust. Medallion. 
 A. Henning, Lith. C. Wildt. L. Sachse & Co., 
 
 Berlin. 
 Lithograph. 
 
 219. ELLSLER (FANNY.) Portrait. Kriehuber, 1830. 
 
 Lith. Just, in Wien. 
 
 Lithograph. 
 
 220. ELLSLER (FANNY.) Portrait. Jentzen, 1831. 
 Lithograph. 
 
 79
 
 221. ELLSLER (FANNY.) Portrait, in "Ballet du Diable 
 
 BoiTEUX," 3rd. Acte. A. Deveria, del d'apres la 
 Statuette d'A. Barre. Lith. de C. Motte. Public ^ 
 par Cattier. 
 Lithograph in colors. 
 
 222. ELLSLER (FANNY.) Portrait, in the Character of 
 
 La Cracovienne. E. Brown Jr. 
 
 Lithograph Colored. 
 
 223. ELLSLER (FANNY Madlle.) and (SYLVANI Monsr.) 
 
 Portraits, in "Pas Styrien." M. S. W. Sinclair's 
 Lith., Phila. 
 Lithograph. Music Sheet. 
 
 Fanny Ellsler was born in Vienna, June 23, 1810, and 
 made her debut when six years of age. She made her first 
 appearance in America, at the Park Theatre, New York, 
 May 14, 1840, in the pas seul "Cracovienne," and first 
 performance of "La Tarentule" ballet. Excited by the high 
 reputation which had preceded her, nothing could exceed the 
 enthusiasm created by the fair dancer's execution of the 
 dainty "Pas Cracovienne," unless it was the positive rapture 
 produced by the more elaborate and bewildering dances of 
 "La Tarentule." The perfection of grace attended every 
 attitude; the airiness of gossamer every step. All that can 
 be imagined of lightness undefinable and of movements 
 seemingly effortless were displayed in her various perform- 
 ances, and in these important requisites she has eclipsed every 
 dancer known to the American stage. In person she was 
 tall, but of exquisite womanly proportions, and her German 
 cast of features was set off by a complexion of delicate white- 
 ness, contrasting charmingly with the rich glossiness of her 
 classically-braided chestnut hair. She was fascinating be- 
 yond description, and her career throughout the Union was 
 one of unabated triumph to herself, but of disappointment 
 and disaster to almost every manager with whom she came 
 in contact. Her terms were never specifically less than $500 
 per night and a clear benefit, or half the gross receipts each 
 night and a clear benefit. She made her first appearance in 
 Boston, on the evening of September 7, 1840, at the 
 Tremont Theatre. The announcement of her advent was 
 hailed with joy, and our usually staid citizens indulged in 
 various bursts of enthusiasm, and many actually walked 
 before the Tremont House for hours, in hopes that the 
 divinity would show herself at the window. Twenty-one 
 boxes were sold on the Saturday previous, and on the morn- 
 
 80
 
 ing of Monday, the remainder were sold at auction. The 
 first week of her appearance was a notable one, aside from her 
 great attraction, assisted as she was by Mons. Sylvani. On 
 the 10th of September, the great Bunker Hill Convention was 
 holden, and a fair was held by the ladies to complete the 
 Bunker Hill Monument. It was an exciting week, but 
 "NathaHe" and "La Sylphide" were not lost amidst these 
 political and patriotic scenes. It was "Ellsler" on every side. 
 She was dreamed of, talked of, and idolized; and some wag 
 having circulated a report that "Fanny" would take an airing 
 in her barouche, quite a gathering took place on Tremont 
 Street. It was during this visit that Fanny contributed her 
 share of a benefit to completing Bunker Hill Monument, 
 which amounted to $569.50. Boston was somewhat laughed 
 at for accepting this gift and the scribblers had their jokes; 
 but after all it was Boston money. Her last appearance of 
 this engagement was on the 2nd of October, to a crowded 
 house, she was called out, and made a short speech. She 
 took her farewell benefit at the Park Theatre, New York, 
 June 23, 1842. She afterwards appeared on several occasions, 
 and on the 1st of July, waved her last adieux to the American 
 public. She returned immediately thereafter to her native 
 land where she died, Nov. 27, 1884. 
 
 224. BRAHAM (Mr.) Engraved Portrait. Engd. by A. 
 
 Cardon, from a Drawing by Jno. G. Wood. 
 
 225. BRAHAM (Mr.) Portrait, as Henry Bertram in 
 
 Guy Mannering. Drawn, Etch. & Pubd. by Richd. 
 Dighton. 
 
 Etching Colored. 
 
 226. BRAHAM (Mr.) Portrait, in the Character of 
 
 Orlando. Drawn, Etch'd. & Pubd. by Dighton. 
 Etching Colored. 
 
 John Braham (John Abraham) was born in London, in the 
 year 1772, of Jewish parents. An orphan at an early age, his 
 fine voice by accident attracted the notice of Leoni, the 
 celebrated musician, who, in 1784, took him under his pro- 
 tection, and after giving him the rudiments of a thorough 
 musical education, introduced him to John Palmer, manager 
 of the theatre in Wellclose Square, where he first appeared 
 as Cupid in "The Birthday." In 1789, his voice broke en- 
 tirely, and he withdrew from public notice and became a 
 teacher on the pianoforte until 1794, when he made his 
 appearance in concerts at Bath with such continued success, 
 
 81
 
 and under the instruction of Rauzzini, that in the spring of 
 1796, he was engaged for Drury Lane, and there made his 
 first appearance as Noureddin in the opera of "Mahmoud," 
 in the spring of 1796. Soon after becoming enamoured of 
 the fascinating songstress, Signora Storace, he accompanied 
 her on a continental tour and remained abroad until 1801, 
 when he reappeared at Covent Garden Theatre, London, as 
 AH Bensalla in "Chains of the Heart," with Storace as 
 Zulema. He then transferred his services to Drury Lane 
 Theatre, where his attraction was so powerful, that for more 
 than a quarter of a century his emoluments, with what he 
 received for occasional performances elsewhere, amounted to 
 an average of £14,000 per annum. His style of living was 
 that of princely magnificence and consumed a large portion 
 of his income, and his unfortunate speculation in the building 
 and management of the St. James Theatre, in 1835, reduced 
 his finances to so low an ebb that he was induced to try his 
 fortune in America. He came and made his first theatrical 
 appearance at the Park Theatre, December 21, 1840, in the 
 "Siege of Belgrade." He had previously given a series of 
 Concerts at Niblo's Saloon, which had been crowded with 
 fashionable and critical audiences, but on his transferring 
 himself to the stage of the Park Theatre, his name was found 
 insufficient to fill the house, and his engagement was neither 
 satisfactory to himself nor profitable to the management. 
 On Jan. 11, 1841, he made his first appearance in a Boston 
 theatre at the Tremont, in the character of Henry Bertram 
 in "Guy Mannering," without, however, any vocalist to 
 sustain him, the only show of opera being his own unaided 
 efforts. For his benefit and farewell to the Boston stage, he 
 played and sang in the second and third acts of "Masaniello" 
 and "The Waterman." Having previously appeared here in 
 concerts tinder the patronage of the Handel and Haydn 
 Society, there was slight curiosity to hear the veteran English 
 tenor in opera travestic, and the experiment of substituting 
 one singer, however brilliant, for an opera company met a 
 cold reception from the public. Mr. Braham was, unfor- 
 tunately for his stage popularity, no actor, but on the con- 
 trary marred every character by excessive awkwardness. He 
 never pretended to embody the graceful lover or hero for 
 which the bills announced him. Added to these drawbacks, 
 the want of a good stage presence destroyed all the illusions 
 of the scene, and brought the audience back to a cold reality 
 of John Braham, the great tenor, singing like a machine, and 
 giving not the least idea of Henry Bertram, Count Belino, or 
 Tom Tug. A few performances to wretched houses closed 
 this unfortunate exhibition, and Braham returned to his 
 appropriate field of action, the concert room, where he con- 
 tinued to reap a golden harvest, and by his expert vocaliza- 
 tion soon effaced all recollection of his failure in opera. 
 
 82
 
 England's greatest tenor, as already stated, was introduced 
 to Boston audiences by the Handel and Haydn Society. 
 On the 20th and 22nd of Nov., 1840, Bostonians were afforded 
 the opportunity of listening to the dulcet notes of Europe's 
 most celebrated songster, and the vast maj ority of the audiences 
 were fully satisfied that Braham's reputation had a solid 
 foundation in the great feats he accomplished. His remark- 
 able power, compass, and quality of voice, fairly astonished, 
 in their remarkable union, all listeners. They could not 
 credit the existence of their own senses, when they witnessed 
 such daring and brilliant performance of the greatest diffi- 
 culties, by a man acknowledged to be very near three-score 
 and ten. His wonderful command of the most extensive 
 tenor repertoire, and the thrilling energy and delightful verve 
 and expression, that gave all his music grace and color, 
 created a positive furore. After his failure at the Tremont, 
 he went into concert on his own account, besides singing 
 for the Handel and Haydn in oratorios and selections from 
 sacred music. His last appearance here was on Feby. 20, 
 1841. On his return to England, he frequently sung at 
 concerts and oratorios, and at the age of 80 attracted ad- 
 miring throngs at Exeter Hall, London, and although his 
 voice had then suffered from the ravages of time, enough 
 remained to show what it had once been. John Braham was 
 a marvel, and those who missed the opportunity to hear that 
 greatest musical wonder of this or any other age, must have 
 deeply regretted their inadvertance. He retained his energy 
 and command of the tenor scale longer than any other man 
 has ever done. He died in the month of February, 1856, at 
 the age of 84, while under the care of his daughter, Lady 
 Waldegrave. 
 
 227. CRESWICK (W.) Engraved Portrait, as Claude 
 Melnotte. Bust. Vignette. Drawn by A. Wivell. 
 Engd. by R. Pratt. Pubd. by Abraham Wivell & 
 Richard Pratt, 1851. 
 
 Proof. India Paper. 
 
 William Creswick was born Dec. 27, 1813, in the immediate 
 vicinitjr of Covent Garden, and educated for a mercantile 
 pursuit, he soon evinced a decided predilection for the stage. 
 In the summer of 1831 he accepted an engagement at a small 
 theatre in the Commercial Road, London, and here under 
 the name of Master Collins he first appeared. Soon after 
 he joined a company in Suffolk, remaining for two years, and 
 afterwards rose to a better position in the Kentish Circuit. 
 In 1834 he was playing leading business in the York Circuit, 
 where he met the pretty Miss Paget, of the Olympic Theatre, 
 destined to become Mrs. Creswick. Returning to London 
 
 83
 
 he made his first prominent appearance, at the Old Queen's 
 Theatre in Tottenham Street, Tottenham Court Road, Feb. 
 16, 1835, as Horace Meredith in Jerrold's comedy of "The 
 Schoolfellows." Going back to the York Circuit, he em- 
 bodied, with marked success, the leading part in "Ion," then 
 played in the provinces for the first time. In April, 1839, he 
 was at the Lyceum Theatre, London, where the season closed 
 in a fortnight. In 1839 he and his wife came to America, his 
 wife making her debut at the Park Theatre, New York, Aug. 
 30, 1839, as Emily Wilton in "Bachelor's Buttons," and her 
 husband made his first appearance on the 31st as Claude 
 Melnotte, playing for a season. They were in the stock com- 
 pany of the Tremont Theatre, Boston, the season of 1840-41, 
 afterwards playing in various parts of the Union and Canada. 
 He then returned to England, playing tragic parts at New- 
 castle-on-Tyne, Liverpool and Birmingham, finally in July, 
 1846, he joined Saml. Phelps at Sadler's Wells. In 1847, 
 he was at the Princess's, with Fanny Kemble Butler, and 
 he then played with Macready. This was followed by a 
 three years' engagement at the Haymarket, where he opened 
 as Claude to the Pauline of Helen Faucit. In 1849, he was 
 co-partner of Mr. Shepherd of the Surrey, opening as Alasco 
 in "The Rose of Arragon," and for three years afterwards 
 playing a round of Shakespearean characters. They again 
 renewed partnership in 1866 at the Surrey, and in 1871 Mr. 
 Creswick revisited America, when he acted in support of 
 Miss Charlotte Cushman. Returning to England, he ap- 
 peared with Phelps, at Drury Lane, remaining some time. 
 A benefit performance was tendered to him at the Gaiety, in 
 May, 1877, when he played Macbeth, and shortly after sailed 
 to Australia, where he was enthusiastically welcomed. Re- 
 turning from his triumphant tour, Mr. Creswick appeared 
 at the Surrey, in his favorite character of Virginius, and 
 starred at the Standard and other theatres. Oct. 29, 1885, 
 a complimentary benefit was given to him, at Drury Lane 
 Theatre, when he appeared in a scene from "King Lear," 
 and took his farewell of the stage. He expired Sunday 
 morning, June 17, 1888, and lies buried close to the remains 
 of Macready, in Kensal Green Cemetery. 
 
 228. LITTLE JULIA [TURNBULL. ] Portrait in Character. 
 
 Lith. & Pubd. by Currier & Ives. 
 Lithograph. 
 
 229. TURNBULL (JULIA.) Portrait in Character. 
 Water Color Drawing. 
 
 Julia Turnbull was born in New York, where she made her 
 debut in 1826, at the Lafayette Theatre, as the Duke of York; 
 
 84
 
 on the 26th of April, 1828, she made her first appearance at 
 the Chatham Theatre, New York, when she sung the popular 
 song of the "Dashing White Sergeant." She was probably 
 about six years old. She afterward became widely known as 
 a danseuse of merit. She appeared at the Tremont Theatre, 
 Boston, in the season of 1842-3. She announced her farewell 
 benefit, at the Bowery Theatre, New York, on the 3rd of 
 September, 1848. 
 
 230. BROUGHAM (JOHN.) Portrait. Facsimile auto- 
 
 graph. Vincent Brooks, Lith. 
 Lithograph. 
 
 231. BROUGHAM (JOHN.) Portrait. 
 Lithograph. 
 
 John Brougham, the noted actor, playwright and manager, 
 was born May 9, 1810, in Dublin, Ireland, where he was 
 educated for the medical profession. Having acquired a 
 love for the stage, he decided to try his luck in that direction, 
 and obtained an engagement at the Queen's Theatre, Totten- 
 ham Court Road, London, in July, 1830, in "Tom and Jerry." 
 This being his first appearance upon the professional stage, 
 on the occasion of his debut, he was required to impersonate 
 a number of unimportant characters. He labored assidu- 
 ously here until he at length made a hit as O'Slash in "The 
 Invincibles." He was a member of the Madam Vestris 
 Company at the Olympic Theatre, and was afterwards en- 
 gaged at Covent Garden Theatre, under the Vestris- Mathews 
 regime, in the season of 1841-2. In the summer of 1842, he 
 and his wife came to this country, and made their debuts at 
 the Park Theatre, New York, Oct. 4, 1842. The former as 
 O'Callaghan in "His Last Legs," and the latter as Lady 
 Teazle. His wife was known in London as Miss Emma 
 Williams. They were both warmly welcomed. They sub- 
 sequently played a number of star engagements in other 
 cities, and returned twice to the Park during the season. On 
 Dec. 29, 1842, he made his first appearance in the Bowery 
 Theatre, and in January, 1843, he made his first appearance 
 in Boston, in "London Assurance," at the old Tremont 
 Theatre. In the summer of 1844, he was a member of the 
 company at Niblo's Garden. When the Boston Theatre, 
 Federal Street, was re-opened in 1846, he became a member 
 of the stock company, playing, on the opening night, Aug. 24, 
 Tim Moore in "The Irish Lion." On April 5, 1847, with 
 Humphrey Bland, Mr. Brougham made his first venture in 
 management in this country, opening the Boston Adelphi 
 Theatre, in Court Street. Numerous burlesques were pro- 
 duced in excellent style, and the theatre became a favorite 
 
 85
 
 resort for the lovers of fun, yet it did not prove pecuniarily 
 successful, because the auditorium, even when crowded, 
 would not admit of sufficient receipts to yield much profit. 
 Brougham was the life of the place, and many burlesques 
 from his pen were produced during the season. The best 
 remembered of these are "Life in the Clouds," "Metamora." 
 "Tom and Jerry; or Life in Boston " drew well, owing to 
 its local hits. When Burton's Theatre, New York, opened, 
 July 10, 1848, Mr. Brougham was the stage manager, and on 
 the 24th of that month his dramatization of "Dombey & 
 Son," was first produced, the author acting Major Bagstock. 
 Dec. 3, 1849. "The Serious Family" was first acted in Amer- 
 ica, at this house, and it was played one hundred and twenty- 
 three times. Burton acting Sleek and Brougham, Capt. Ma- 
 guire. On Dec. 23, 1850, Brougham's Lyceum, a new theatre 
 on Broadway, just below Broome Street, New York, was 
 formally dedicated. One of the opening pieces was an ab- 
 surdity by Brougham, called "Brougham & Co.," in which 
 the whole company were introduced to the audience. Jan. 
 6, 1851, his version of "David Copperfield" was produced, 
 in which he played Micawber. The season closed July 8. 
 He re-opened the Lyceum, Aug. 25, with "Romance & 
 Reality." The season ended abruptly March 17, and the 
 theatre passed into the hands of J. W. Wallack. In 1853-4 
 several plays from his pen were produced. The season of 
 1855-56 opened with his new comedy "The Game of Love," 
 and on Dec. 24, his celebrated extravaganza of "Pocahontas" 
 was originally acted. June 30, 1856, he leased the Bowery 
 Theatre, opening it with "Macbeth." Nov. 13, 1856, he 
 played in New York and Philadelphia, the same night. He 
 acted in "The Stage-struck Irishman," at the Bowery, com- 
 mencing at 7 o'clock. With a portion of his company he 
 left Jersey City at 7.52, for Philadelphia, arriving at 10 
 o'clock precisely, arriving at the National Theatre, Walnut 
 Street, at 10.30, where he played Powhatan in his burlesque 
 of "Pocahontas," the curtain falling at 12 o'clock. He re- 
 tained the management until June, 1857, when he retired, the 
 venture having been a pecuniary failure. April 6, 1857, he 
 reappeared at Wallack's. At Burton's New Theatre (after- 
 wards the Winter Garden) he began an engagement, Nov. 30, 
 
 1857. June 23, 1858, he was at Niblo's, playing Dazzle in 
 "London Assurance." He returned to Wallack's Oct. 5, 
 
 1858, remaining till the close of the season, June 6, 1859. 
 The season of 1859-60 he was again at Wallack's. July 2, 
 1860, he was at Niblo's, playing Powhatan in "Pocahontas," 
 and on the 17th made his last appearance prior to a visit to 
 Europe. In the fall of 1860, he opened at the Haymarket 
 Theatre, London, and was heartily welcomed. Subse- 
 quently he joined the stock company at the Lyceum under 
 Fechter's management, and when "Arrah-Na-Pogue" was 
 
 86
 
 produced at the Princess's Theatre, he played the O'Grady. 
 Returned to New York in the fall of 1865, and reappeared, 
 Oct. 30, at the Winter Garden, as Dr. Savage in "Playing 
 with Fire." Began an engagement at the Walnut, Philadel- 
 phia, Nov. 20, and closed Dec. 23, and started en tour. 
 In the summer he opened at the Winter Garden, New York, 
 his season ending Sept. 4. The season 1866-7 he again starred 
 the country. He was to have opened at the Winter Garden, 
 New York, April 8, 1867, in his new play "The Lottery of 
 Life," but the theatre was destroyed by fire, March 23. He 
 commenced the season of 1867-8, at the Howard Atheneum, 
 Boston, where Sept. 23, his "Lottery of Life" received its first 
 representation on any stage. He began a summer season 
 at Wallack's, June 8, 1868. He was manager of the little 
 Fifth Avenue Theatre, West Twenty-fourth Street, New York, 
 which, after reconstruction, was opened Jan. 25, 1869, as 
 Brougham's Theatre, with a new comedy by him, entitled 
 "Better Late than Never." He withdrew from the manage- 
 ment April 3 and resumed starring. May 10 he received a 
 complimentary matinee benefit at Niblo's, the receipts being 
 $3,467, and a night performance at the French Theatre, 
 Fourteenth Street, New York, when there was not a vacant 
 seat in the house. Both performances netted $6,570. He 
 shortly afterwards went to San Francisco, Cal., opening at 
 the California Theatre, July 5, in "A Gentleman from Ire- 
 land," and "David Copperfield." He continued starring, 
 season of 1869-70, and in June, 1870, began an engagement 
 at Wallack's, and was a member of the stock company the 
 season following. Aug. 26, 1872, he was a member of the 
 Daly company at the Grand Opera House, Twenty-third 
 Street, New York, opening in the title role of "Kang Carrott." 
 Jan. 17, 1874, he was at Wallack's, but his performances, 
 several times during the season, were interrupted by illness. 
 In 1875 he joined Daly's Fifth Avenue company. In Sept., 
 1877, he started on a tour of the country, but through illness, 
 he was obliged to close his season and return to New York. 
 A benefit was given for him in the Academy of Miisic, after- 
 noon and evening, Jan. 17, 1878, netting $9,394.41, and 
 another matinee benefit at Wallack's, Feb. 14, 1878, netted 
 $884.15. Season of 1878-9 he was again at Wallack's, and 
 at Booth's Theatre, with Dion Boucicault, Sept. 4, 1879. He 
 made his last appearance on the stage during this engage- 
 ment, acting Coitier in "Louis XI." He was twice married, 
 his second wife was Mrs. Copleson-Hodges. He died June 
 7, 1880, in Nev/ York, and was buried in Greenwood Cemetery 
 
 232. [BUCKSTONE (J. B.)j Portrait. Bust, oval. E. 
 Matthews & Son, Litho. 
 Lithograph. 
 
 87
 
 233. BUCKSTONE (J. B., Mr.) Portrait, as Bob Acres. 
 
 Alfred Bryan. Maclure & Macdonald Lithe. 
 
 Lithograph. 
 
 234. BUCKSTONE (Mr.) Portrait, as Jemmy Wheedle, 
 
 in the Farce of Weak Points. On stone by J. W. 
 Gear. Printed by C. Hullmandel. Pubd. by T. 
 McLean. 
 Lithograph. 
 
 John Baldwin Buckstone, born at Hoxton, near London, 
 England, in September, 1802. Made his debut at Oakingham, 
 England, in 1821, where he played juvenile tragedy and 
 walking gentlemen, until in an emergency, he was cast for 
 Gabriel in the "Children of the Wood," in which he was so 
 effective that low comedy was thenceforward deemed his 
 appropriate sphere. He made his first bow in London, at 
 the Surrey Theatre, as Peter Smirk, in "The Armistice," and 
 afterwards played at the Adelphi, the Haymarket, Drury 
 Lane and Lyceum. He made his first appearance in Amer- 
 ica, at the Park Theatre, New York, on the 17th of August, 
 1840, as Peter Pinkey in his own comedy of "Single Life," 
 and as Jemmy Wheedle, in his farce of "Weak Points." He 
 made an agreeable impression, but his name was not suffi- 
 ciently attractive to fill the house, and his next appearance 
 was advertised in conjunction with Ellsler. He made his 
 first appearance in Boston at the National Theatre, under 
 Pelby's management. In America, his fame is more se- 
 curely based on his dramatic productions, of which he has 
 contributed to the stage more than one hundred and fifty, 
 scarcely any of which have proved failures, and most of them 
 have had a long career of popularity, and remain among the 
 best approved standard comedies, farces and melodramas of 
 the day. He was for many years the lessee and manager of 
 the Haymarket Theatre, London. He married first, Mrs. 
 Fitzwilliam, and secondly, Miss Bella Copeland, her cousin. 
 He died at Sydenham, near London, October 31, 1879. 
 
 235. ANDERSON (JAMES R.) Portrait, as [Hercule in 
 
 "Civilization."] J. H. Lynch lith. Mayall 
 Daguerreotype. M. & N. Hanhart print. 
 Lithograph Colored. 
 
 James Robertson Anderson, born May 8, 1811, at Hutchin- 
 sontown, Glasgow, Scotland. He commenced his profes- 
 sional career when a baby, and ran through every role from 
 Cora's child in "Pizarro," to Coriolanus, the Magpie (in the 
 
 88
 
 "Maid and Magpie"), to Macbeth, Cordelia's page to the 
 brain-stricken Lear, Tressel to Richard — and hundreds of 
 others, from the first step on the ladder to its topmost 
 rounds. He made his first appearance on the stage as Cora's 
 child, at the Edinburgh Theatre, in 1813, John P. Kemble 
 being the RoUa. After playing at various houses in the 
 provinces, he made his first appearance in London, at Covent 
 Garden, under the auspices of Mr. Macready, in September, 
 1837, as Florizel in the "Winter's Tale," in which he made a 
 decided hit, and in "Coriolanus," he played TuUus Aufidius, 
 scoring another success, Macready complimenting him upon 
 his makeup and performance of the part. He remained at 
 this house the season following, and then went starring through 
 the provinces. He joined Vestris at Covent Garden in 1839, 
 playing his first original part in "Love," enacting Huon. In 
 the summer he toured the provinces with Ellen Tree, playing 
 at Manchester, Birmingham, Liverpool, Dublin, Cork, &c. 
 On Sept. 7, 1840 he was again at Covent Garden Theatre, 
 playing the leading characters. At the end of this season he 
 was again playing in the provinces. In 1841, he was with 
 Macready at Drury Lane, and on the night of April 6, 1842, 
 he played Hamlet for the first time in London. Speaking of 
 this performance, Mr. Anderson, in his memoirs, says, "My 
 success was flattering, not brilliant. I was 'called for,' and 
 received an 'ovation,' not a triumph!" On the last night of 
 the season. May 23, he took his first benefit in London, 
 enacting The Moor in "Othello." On the closing of the 
 season, he made a tour with Miss Helen Faucit, appearing 
 in Dublin, June 19, 1843, as Romeo to Miss Faucit's Juliet. 
 He joined the Covent Garden Company, Sept. 28, 1843, and 
 business being poor, he joined Phelps and Mrs. Warner to 
 "scour the country round," first appearing at the Theatre 
 Royal, Bath, concluding this engagement after the first week. 
 In 1844, he was once more playing in the provincial theatres. 
 On the 19th of July, 1844, he signed an agreement for his 
 appearance in America, where he made his debut- as Othello, 
 Sept. 2, 1844, at the Park Theatre, New York, when he met 
 with a cordial reception. He then went to Philadelphia, 
 opening as Claude Melnotte. He made his first appearance 
 at the National Theatre, Boston, Oct. 21, 1844, as Hamlet, 
 playing a ten nights' engagement. He reappeared at 
 the Park Theatre, New York, November 11, opening in 
 "Hamlet." On the 25th of November, he opened at the 
 Chestnut Street Theatre, Philadelphia, in the same character. 
 Reappeared in Boston, at the National Theatre, Dec. 18, 
 for an engagement of eight nights. Then to New Orleans, 
 where he opened at the St. Charles Theatre, Jan. 11, 1845, as 
 Hamlet. Then to Mobile, and on March 19, he played a 
 second engagement at New Orleans. Then to New York, at 
 the Park Theatre, opening April 14, 1845, as Coriolanus, 
 
 89
 
 afterwards playing in Philadelphia and Baltimore. Com- 
 menced his farewell engagement at the Park Theatre, New 
 York, April 19, as Macbeth, and took his farewell benefit on 
 the 30th, as Shylock Returned to England, and in the year 
 1846 made a tour of the provinces with Mrs. Warner and re- 
 mained, playing in various theatres and companies until 
 1853, when he again visited the States, opening, Oct. 24, at 
 the old Broadway Theatre. In 1867 he starred in the prin- 
 cipal cities of Australia. In 1873-4 he was once again at 
 Drury Lane, appearing as Antony in "Antony and Cleo- 
 patra," and as Richard Cceur de Leon in Scott's "Talisman." 
 He died March 3, 1895, at his home in London, where for 
 some years he had lived in retirement. 
 
 236. LEE (MARY ANN, Miss.) Portrait, "La Smolenska." 
 
 B. W. Thayer's Lithogy., Boston. 
 Lithograph Colored. 
 
 This lady, a Philadelphian by birth, made her first appearance 
 on the stage, at the Chestnut Street Theatre, in her native 
 city, Dec. 30, 1837, as Fatima in the ballet of "The Maid of 
 Cashmere." She made her debut in New York, at the Bowery 
 Theatre, June 12, 1839, in a pas seul from "La Bayadere." 
 She toured through Europe, returning to America in 1845, 
 and appeared in the fall of that year at the Howard Atheneum, 
 and a more graceful danseuse has rarely been seen on our 
 boards. Her style was similar to that of Blangy, and, pos- 
 sessing a beautiful face, she captivated many susceptible 
 young Bostonians. On the night of a complimentary benefit 
 she appeared in "One Hour, or the Carnival Ball," and gave 
 evidence of the possession of vocal talent. She appeared 
 again in New York, at the Park Theatre, April 6, 1846, as 
 the heroine of a new ballet, called "La Fleur du Champs." 
 
 237. MOWATT (ANNA CORA.) Engraved Portrait. 
 Proof before all letters. 
 
 238. MOWATT (ANNA CORA.) Engraved Portrait, as 
 
 Beatrice. From a Daguerreotype by Paine. 
 
 She was born near Bordeaux, in France, the tenth of seven- 
 teen children, and when about 8 years old she came with her 
 parents to America. Until the age of fourteen she fre- 
 quently took part in private theatricals, the taste for which 
 seemed to have grown into a passion with her. In her 15th 
 year she was married to Mr. Mowatt, and after her marriage, 
 she passed several years of arduous study, and made her first 
 literary venture, publishing several works. After a time her 
 
 90
 
 health became impaired from too close confinement to liter- 
 arj' pursuits, and she visited Europe for recuperation. After 
 her return to this country her husband met with financial 
 difficulties, and with a view to aid him in providing support 
 she projected and successfully accomplished a series of 
 dramatic readings in Boston, Worcester, Providence, New 
 York, and other cities in the vicinity. But excitement and 
 labor again undermined her health, and for two years she 
 w'as compelled to forego all labor or mental excitement. 
 Sometime afterwards she wrote under the nom de plume of 
 Helen Berkley, a number of versatile articles which obtained 
 wide popularity in this country and were reprinted in Eng- 
 land, as well as being translated and printed in Germany. 
 Financial reverses again overtook her husband, and she 
 turned her attention to dramatic writing, and produced, in 
 1845, her comedy entitled "Fashion," which was produced at 
 the Park Theatre, New York, meeting with flattering success. 
 Encouraged by this she determined to adopt the stage as a 
 profession, and on June 13, 1845, she made her debut at the 
 Park Theatre, New York, as Pauhne in "The Lady of Lyons." 
 Her success was complete. She had actual talent, and this, 
 enhanced by her social prestige and literary ability, ensured 
 success from the start. She was a faithful, painstaking 
 artist, and being possessed of rare personal beauty, she won 
 respect at once from a fickle public, who raised her to an 
 exalted position. In 1847, after having played in the prin- 
 cipal cities of this country, she made a professional visit to 
 London, accompanied by Mr. E. L. Davenport, to play the 
 opposite roles to her. She made her first appearance at the 
 Theatre Royal, Manchester, Dec. 7, 1847, as Pauline in 
 "The Lady of Lyons," and her first appearance in London, 
 at the Princess's Theatre, in "The Hunchback," Jan. 5, 
 1848, and made an extended tour through the provinces. 
 In the year 1851, her husband, who had accompanied her, 
 died, and she returned to America and renewed her stage 
 triumphs. On the 30th of November, 1845, she made her 
 first appearance as an actress, at the Howard Atheneum, as 
 Pauline in "The Lady of Lyons," and gave her first reading 
 in Boston, at the Masonic Hall, Oct. 28, 1841. At her fare- 
 well benefit in this city the seats were sold at public auction, 
 and the premiums netted more than the house would hold 
 at ordinary prices. In June, 1854, after a career of nine 
 years, she bade farewell to the stage at Niblo's Garden, New 
 York, the occasion being a grand complimentary benefit, 
 the names appended to the call being those most eminent 
 in art, literature, science, business and society. Three days 
 after she was married to William F. Ritchie of Virginia. 
 During her career she gave lustre to the profession and proof 
 that the stage might be an honorable position to exert good 
 influences and proper teachings on any within woman's 
 
 91
 
 sphere. She died at Twickenham, near London, Eng., on 
 Friday, July 29, 1870. She had been ill for some time, unable 
 to cross the Atlantic, although she earnestly desired to do so. 
 Her disease, with which she had been afflicted more or less 
 from childhood, was bronchial consumption. 
 
 239. PLAYBILL. Boston Theatre, Federal Street. Opening 
 
 Night, Aug. 24, 1846. The opening address 
 WILL BE SPOKEN BY Mr. GILBERT. The comedy in 5 
 acts. Speed the Plough, and The Irish Lion. 
 Tim Moore — Mr. Brougham (who is engaged for 
 the season.) 
 
 240. WARREN (WILLIAM.) Engraved Portrait. Bust. 
 
 Engraved by H. B. McLellan, Boston. 
 Autographed Presentation Copy from William Warren. 
 
 241. WARREN (WILLIAM.) Portrait. Photograph. 
 The Rarest portrait known of him. 
 
 242. WARREN (WILLIAM.) Engraved Portrait. Vignette. 
 
 S. Holly er sc. Facsimile autograph. 
 
 WilHam Warren, Boston's favorite comedian, was born in 
 Philadelphia, Nov. 17, 1812. He made his first appearance 
 upon the stage, as Young Norval in "Douglas," at the Arch 
 Street Theatre, Philadelphia, Oct. 27, 1832, meeting with 
 such encouragement that he decided to become a professional 
 actor. He was at the Pittsburg, Pa., Theatre, Sept. 2, 1833. 
 The next season he was touring the West, in a company man- 
 aged by the second Joseph Jefferson, playing a varied range 
 of characters. He probably first directed his attention to low 
 comedy while at the Walnut Street Theatre, Philadelphia, 
 where he was engaged for several seasons prior to 1841, be- 
 cause when he appeared at the old Park Theatre, New York, 
 for one night only, April 14 of that year, he played Gregory 
 Grizzle in "My Young Wife and Old Umbrella." In the fall 
 of 1841, he was at the Amphitheatre, Albany, N. Y., and 
 again in that city in 1843, when J. B. Rice assumed the 
 management of the Museum, Nov. 27. In the meantime he 
 had played in Buffalo and other western cities. In 1845, he 
 visited Europe, and while in London, he played at a benefit 
 in the Strand Theatre, acting Con Gormley in "The Ver- 
 monter." He returned to America in the following summer, 
 and after playing a short time in Albany, took a farewell 
 benefit July 31. He was engaged at the Howard Athenaeum, 
 
 92
 
 when that theatre was first opened for the season, Oct. 5, 1846, 
 playing Sir Lucius O'Trigger, in "The Rivals," this being his 
 first appearance upon the stage in this city. The season 
 closed Feb. 27, 1847. Mr. Warren was engaged for the 
 Boston Museum, and made his first appearance on that 
 stage as Billy Lackaday in "Sweethearts and Wives," and as 
 Gregory Grizzle. He grew to be a great local favorite, and 
 was thereafter continuously connected with the Museum up 
 to the time of his death, with the exception of the season of 
 1864-5, when in company with Josephine Orton, Charles 
 Barron and others, he made a tour of the country under the 
 management of Henry C. Jarrett, the troupe being known 
 as the Warren-Orton Combination. On his return to the 
 Museum, he opened in Dr. Pangloss in "The Heir at Law," 
 and was most enthusiastically received. On Oct. 28, 1882, 
 he commemorated his fiftieth anniversary upon the stage, 
 when a grand all day benefit was tendered to him at the 
 Boston Museum. He appeared as Dr. Pangloss, at the 
 matinee, and as Sir Peter in "School for Scandal," at the 
 evening performance. Several of his fellow players sent him 
 a loving cup of silver and gold. Rhea presented him with a 
 laurel wreath, and the Boston Theatre Company gave him a 
 costly silver vase. On Nov. 17 that year, Mr. Warren's 70th 
 birthday, he was presented by his associates at the Museum 
 with a solid silver salad bowl. That was his last season at 
 the Museum and his final appearance in public. His re- 
 maining years were passed in retirement. In Boston he was 
 idolized by lovers of the drama as much as John Gilbert was in 
 New York. He was a man of much culture and delightful 
 personal traits. He was never married. He died Sept. 21, 
 1888, at his home in Boston, after an illness of twelve weeks. 
 The funeral occurred on the 24th, the services at Trinity 
 Chapel, when the edifice was filled to overflowing by his 
 many friends. The services were held at noon, and for 
 hours before the doors were opened the florists of the city were 
 busy arranging the beautiful tributes that came pouring in 
 from the actors of England and America, sent by the leading 
 actors of the two countries. 
 
 243. DEAN (JULIA.) Portrait. Bust. F. Davignon. 
 Lithograph. Colored by hand. 
 
 244. DEAN (JULIA.) PoRTRAiT,asJuLiAin the "Hunchback." 
 V. M. Water Color drawing. 
 
 Julia Dean Hayne Cooper was born in Pleasant Valley, N. Y., 
 July 22, 1830. Her mother was the well known western 
 actress, Mrs. Drake, who, at the time of her marriage with 
 
 93
 
 Mr. Dean, was the widow of Fosdick. In her eleventh year 
 she joined the family of her father, who was then the manager 
 of Buffalo and Rochester theatres. Becoming infatuated with 
 the stage. Miss Dean at length prevailed upon her father to 
 allow her to appear as Lady Ellen in "The Lady of the Lake." 
 Her success was triumphant, and there was no doubt of her 
 ability. It was in Louisville, Ky., that she took her first and 
 decided stand. At the close of the theatrical season, she 
 accepted an engagement at the Bowery Theatre, New York, 
 making her debut there as Julia in "The Hunchback," May 
 18, 1845, and for thirteen nights filled the immense theatre 
 to overflowing. On the 26th of October, 1846, she made her 
 debut in Boston at the National Theatre, as Juliet. The 
 counter attractions appearing against her were Mrs. Mowatt, 
 Madame Augusta, George Vandenhoff and Davenport, at 
 the Howard, and Mr. and Mrs. Kean at the Boston Theatre. 
 She married Dr. Hayne, of Charleston, S. C, Jan. 20, 1855. 
 On May 20, 1856, she went to California, where her success 
 was triumphant; returned East in Feb., 1858. Her proud- 
 est professional moment was in Charleston, during the con- 
 vention of 1860, when she played in "Lucretia Borgia," for 
 the benefit of the Catholic Orphan Asylum. Few houses 
 have ever been filled with an audience numbering so many 
 celebrities. For several years after her debut she proved a 
 powerful attraction at the Astor Place Opera House, the 
 Broadway Theatre and at Niblo's Garden. In September, 
 
 1866, she was divorced from Hayne in the Salt Lake City 
 courts, on the ground of failure to support her. She was then 
 married to James Cooper of New York. Her last appear- 
 ance in New York was at the Broadway Theatre, in October, 
 
 1867, as Ann Catherick, in "The Woman in White." When 
 Julia Dean appeared in New York as Julia her equal in that 
 character had never been seen, and her rendering of it when 
 she exclaims to Clifford, "Do it, nor leave the task to me!" 
 was made the subject of an engraving. As an actress her 
 merit was undoubted. Her conception of a character quick 
 and correct; her development of it always marked by in- 
 telligence, discrimination and good taste. Her elocution was 
 graceful, and her action subdued, but expressive. She died 
 at the residence of her father-in-law, 231 East Thirty-ninth 
 Street, New York City, March 6, 1868, in childbirth. 
 
 245. COLLINS (JOHN.) Portrait, as Paul Clifford. 
 Drawn from Nature and on stone by W. Sharp. Pubd. 
 by J. Dickinson, 1836. 
 Lithograph. 
 
 Was born at Lucan, near Dublin, Ireland, in 1811. He made 
 his debut in London, England, as Macheath in "The Beggar's 
 
 94 
 
 I
 
 Opera," gaining a musical reputation in advance of the 
 Hibernian dramatic. As a singer of Irish ballads he has 
 scarcely been matched on our stage, and in the gentlemen of 
 his nation or as the representative of dashing impudence and 
 reckless assurance, ranks far above any modern competitor. 
 He reappeared in London, at the Adelphi Theatre, Oct. 3, 
 1864, after an absence of eighteen years, and visited Australia 
 in 1866. He made his first appearance in America, at the 
 Park Theatre, New York, acting in "The Nervous Man" 
 and "Teddy the Tiler." He made a pronounced hit, and was 
 considered a worthy successor of Tyrone Power. In the 
 spring of 1863, he opened at Niblo's Garden, New York, 
 acting Carrickfergus in "The Duke's Motto." He was for 
 many years a highly popular and attractive star, and by his 
 professional labors he accumulated a fortune, the most of 
 which he subsequently lost by unfortunate business specula- 
 tions. He made his first appearance in Boston, at the 
 Howard Athenaeum, Nov. 9, 1846, as McShane in "The 
 Nervous Man," and Teddy in "Teddy the Tiler." He died 
 Aug. 13, 1874, in Philadelphia, after a long and painful ill- 
 ness. His age had never been correctly given to the public. 
 It was reported at the time of his demise, he was in his sixty- 
 third year, but it is thought that he was at least ten years 
 older. 
 
 246. HARVEST DANCE, The, by the Vienna Children. 
 
 Portraits. Group. Lith. & Pub. by N. Currier, 
 N. Y., 1847. 
 Lithograph. Oblong. 
 
 The Viennoise Dancers, a celebrated Juvenile troupe, forty- 
 eight in number, under the direction of Madame Josephine 
 Weiss, from the Imperial Theatre, Vienna, made their first 
 appearance in America, Monday, Dec. 4, 1846, at the Park 
 Theatre, New York, when, by their grace, precision, and ap- 
 parent artlessness, created a profovmd impression, and for 
 thirty nights attracted large and delighted audiences. They 
 made their first appearance in Boston, on the 11th of January, 
 1847, at the Howard Athenaeum, and continued till the close 
 of the season, filling the treasury beyond the receipts of any 
 attraction since offered. 
 
 247. PERELLI (NATALE.) Portrait. Drawn on stone by 
 
 F. Davignon. From Daguerreotype by P. Haas. 
 Facsimile autograph. 
 
 Lithograph. 
 
 Made his first appearance in Boston, at the Howard 
 Athenaeum, April 23, 1847, as Ernani in the opera of that 
 
 95
 
 name. His pure, flexible and expressive voice made him famous. 
 He first appeared in Philadelphia, at the Walnut Street 
 Theatre, July 27, 1847, and afterwards taught singing there. 
 During Jennj'^ Lind's visit to this country, he accompanied 
 her, as principal tenor, to New York, Boston, Baltimore, etc. 
 He died in Philadelphia, Feb. 28, 1867. 
 
 248. TEDESCO (FORTUNATA.) Portrait. Pubd. by J. 
 
 OUie, N. Y. 
 Lithograph. Music Sheet. 
 
 249. TEDESCO (FORTUNATA.) Portrait. Lemercier, 
 
 Paris. Pubd. by Brandies. 
 
 Lithograph. 
 
 Made her first appearance on the New York stage at the Park 
 Theatre, April 15, 1847, as Elvira in "Ernani," when the opera 
 was presented for the first time in this country. Appeared as 
 Norma, at the Walnut Street Theatre, Philadelphia, July 30, 
 1847. Made her first appearance in Boston, on the 23rd of 
 April, 1847, at the Howard Athenaeum, when Boston first 
 recognized genuine Italian opera in the performance of 
 Verdi's "Ernani." In this debut of a new composer and first 
 hearing of Italian opera, all the essentials to a great success 
 were found, and it would be difficult to decide whether Verdi, 
 the orchestra and chorus, or the principal singers, received 
 the majority of votes from a public well-nigh frenzied with 
 delight. The remarkable personal beauty of Tedesco, and 
 her rich, voluptuous, and easily produced volume of voice, 
 probably excited more enthusiasm than any other item of this 
 grand tableau. The delicious quality of her voice, its grace- 
 ful production, and the flood of melody she could pour out in 
 all the ease and freedom of a mocking-bird, overcame even 
 Puritan reserve, and the admiration she excited was intense. 
 The pecuniary result of this first season was a net profit of 
 $12,000 and the honors paid to Fortunata Tedesco attained 
 their greatest success in the casting at her feet of a warm 
 admirer's hat and cane, in token of his own entire prostration. 
 
 250. CRUISE (ANNA.) Portrait. Bust. 
 Process Print. 
 
 She was born in Belfast, Ireland, April 3, 1824. Made her 
 debut when thirteen years old, at Glasgow, as a vocalist. In 
 April, 1846, she was married to William Cowell, who died in 
 Philadelphia, in February, 1868. She visited America in 
 1846, with her husband, and made her first appearance in 
 New York, at the Chatham Theatre, as Rosalind (and later 
 
 96
 
 at the Olympic) in "As You Like It." June 29, 1846. She 
 made her first appearance in Boston, at the National Theatre, 
 Aug. 16, 1847, in the same character, and sang the Cuckoo 
 Song and gave the original epilogue to the play. 
 
 i 
 
 251. BISHOP (ANNA.) Portrait. Facsimile autograph. 
 
 On stone by F. Davignon. Print, by C. Currier, 1847. 
 Lithograph. 
 
 252. BISHOP (ANNA, Madame.) Portrait. On stone by 
 
 P. Elramer. P. S. Duval's lith. press Phila. 
 Lithograph. 
 
 253. BISHOP (ANNA, Madame.) Portrait in Character 
 
 singing "Ah Wherefore Flee so Rapidly." On 
 stone by P. Kramer. P. S. Duval, lith. 
 
 Lithograph. Music Sheet. 
 
 254. BISHOP (ANNA, Madame.) Portrait, as Madame 
 
 Carrillon in La Sfogato. M. Schmitz, from a 
 Daguerreotype by McClees & Germon, Philadelphia. 
 Lithograph Colored. 
 
 She was born in London, England, in 1816. Made her debut 
 in public in concert July 5, 1839, at the Italian Opera House, 
 London. In 1840, she visited Copenhagen, Stockholm, the 
 Swedish Provinces, and St. Petersburgh. In 1843 she went 
 to Italy with Bochsa for her musical director, closing in 
 Naples in 1845, and on the 4th of August, 1847, she made her 
 debut in America, at the Park Theatre, New York, as Linda in 
 "Linda di Chamounix." This remarkable woman, at this 
 time charming alike by her loveliness of person and fascina- 
 tion of manner, commanded the homage of brilliant audiences. 
 Beyond all cavil, the finest acting English vocalist who has 
 trod our boards. Anna Bishop, nee Riviere, was the second 
 wife of Henry R. Bishop, the celebrated English composer. 
 She has visited and sung in almost every corner of the Amer- 
 ican continent and the still more remote regions of Australia 
 and the Chinese Empire. She was a most accomplished 
 linguist, and had the repute of being able to sing in the ver- 
 nacular of every European capital. She made her first ap- 
 pearance in opera before a Boston audience, Aug. 26, 1847, 
 at the Howard Athenaeum, in scenes from Balfe's "Maid of 
 Artois," and followed up that success by scenes from "The 
 Barber of Seville," "Linda of Chamounix," "Tancrcdi," 
 "La Sonnambula," "The Love Spell," and "Anna Bolena." 
 
 97
 
 Her greatest success then was undoubtedly in the recitative 
 and aria from "Tancredi," which in her noble bearing, heroic 
 stage presence, and superb delivery of either recitation or 
 air, commanded universal admiration. At a subsequent 
 period she appeared in costume at the Melodeon and Tremont 
 Temple, exciting both wonder and enthusiastic applause by 
 her admirable personation of Othello and Desdemona. She 
 died in New York City, March 18, 1884. 
 
 255. BISCACCIANTI (ELISE OSTINELLI.) Portrait. 
 Lith. of Sarony & Major, N. Y. 
 
 Lithograph. 
 
 Elise Ostinelli made her first appearance upon the Boston 
 stage, at the Howard Athenaeum, Jan. 5, 1848, as Amina in 
 "La Sonnambula." She was extremely agitated during the 
 whole performance, and not being able to control her voice, 
 disappointed expectations wrought to a high pitch by New 
 York eulogiums. Nature had been prodigal in gifts of voice, 
 but a slight and extremely nervous frame often refused to 
 sustain her through an opera. She then betrayed an impurity 
 of intonation which, in contrast with the Italian vocalists so 
 recently here, chilled enthusiasm, and required all the efforts 
 of her especial friends to excuse and cover up by applause. 
 This friendly reception as the American prima donna and 
 her first show upon the Italian lyric stage in Boston, gave her 
 confidence, and her second appearance was a genuine tri- 
 umph, so far as a very petite figure could be converted into a 
 good stage presence by the charm of a fine voice under good 
 control, and its capability of wonders in vocalization. After 
 "La Sonnambula" had exhausted its attraction, she appeared 
 in "Lucia di Lammermoor," with great success, her flexibility 
 and beauty of voice having free scope in the cavatina and 
 rondo, and her union of good acting with a brilliancy and 
 ease of vocalization rarely equalled in the mad scene, taking 
 captive even the most exacting dilletanti, who freshly re- 
 membered Persiani and Jenny Lind in that character. She 
 accomplished this mastery of all difficulties with indifferent 
 support; and not until the last night of the opera, when 
 Benedetti and Beneventano appeared in aid, was her full 
 display of extraordinary vocal and histrionic powers mani- 
 fested here. She was at subsequent periods, highly success- 
 ful in concerts at the Melodeon and Tremont Temple. She 
 then visited Europe for improvement of style and method, 
 returning to give concerts in New York and Boston. She 
 was the daughter of Luigi Ostinelli, the leader of the orchestra 
 at the Tremont Theatre, in 1827. She made her first appear- 
 ance on the stage in New York, at the Astor Place Opera 
 House, Dec. 8 1847, as Amina in "La Sonnambula." 
 
 98
 
 256. BENEDETTI (SESTO.) Portrait. Hoffmann Lithogs. 
 
 Print, by Nagel & Weingartner, N. Y. 
 
 Lithograph. 
 
 Made his first appearance in "Lucia di Lammermoor," on 
 the last night of its presentation, in January, 1848, at the 
 Howard Athenaeum, Boston. A furore in anticipation of a 
 great performance, and Benedetti's first appearance, raised 
 $400 of premiums from the sale of tickets for that night, and 
 the excitement of the audience brought out an enthusiasm in 
 the performers seldom witnessed upon the lyric stage. In 
 the month of May, he appeared as Genaro in "Lucrezia 
 Borgia," when his glorious voice swept away the remembrance 
 of all other tenors. In May, 1850, he married Teresa Trufii, 
 at Boston. Made his first appearance in New Yoik at 
 Palmo's Opera House, as Viscount di Sirval in "Linda di 
 Chamounix," on its first presentation in this country. Jan. 
 4, 1847. 
 
 257. BENEVENTANO (G. F.) Portrait. Drawn on stone 
 
 by F. Davignon. From Daguerreotype by P. Haas, 
 Lithograph. 
 
 Made his first appearance in New York, Jan. 4, 1847, at 
 Palmo's Opera House, as Anthony in "Linda di Chamounix." 
 This famous basso was received with great approbation, but 
 his powerful organ soon exhibited more force than cultiva- 
 tion, and he grew rough and careless in its use, and finally 
 fell off in reputation. He made his first appearance in Boston 
 at the Howard Athenaeum, in January, 1848. 
 
 258. TRUFFI (TERESA.) Portrait. Lith. by Sarony & 
 
 Major, N. Y. Drawn by N. Sarony. 
 
 Lithograph. 
 
 Teresa Truffi made her first appearance in Boston, at the 
 Howard Athenaeum, May 31st, 1848, as the Duchess in 
 "Lucrezia Borgia," captivating her audience by the charms 
 of an elegant person, a graceful, expressive action, and a rich 
 well-managed mezzo soprano voice. She made her first 
 appearance at the Astor Place Opera House, New York, Nov. 
 22, 1847, at the opening of this theatre, when she appeared 
 as Elvira in "Ernani." 
 
 259. CHANFRAU (F. S.) Engraved Portrait in ovaL 
 Engd. by T. Bonar. Facsimile Autograph. 
 
 99
 
 260. CHANFRAU (F. S.) Portrait. 
 Photograph Colored. 
 
 261. CHANFRAU (F. S.) Portrait, in the Character of 
 
 "MosE." James Brown del 1848. Lith. & Pubd. by 
 E. & J. Brown, N. Y. 
 
 Lithograph. 
 
 262. CHANFRAU (F. S.) Portrait, as Mose in Fire 
 
 Scene. 
 Lithograph Colored. 
 
 263. CHANFRAU (F. S.) Portrait, as Sam. Lith. Chas. 
 
 Hart, N. Y. 
 Lithograph Colored. 
 
 F. S. Chanfrau was born in New York City, Feb. 22, 1824. 
 After receiving a respectable English education, he became a 
 ship-carpenter and joiner, and for a time worked diligently 
 at his trade. Becoming addicted to private theatricals, he 
 at length found his way to the stage of the Bowery as a super- 
 numerary, and there attracted notice by the excellence of his 
 imitations of Forrest and other Thespian celebrities. He 
 afterward went the rounds of the New York theatres, gaining 
 experience and reputation in a very diversified range of char- 
 acters, until at Mitchell's Olympic Theatre, New York, on 
 the 15th of February, 1848, his personation of the soaplock 
 fireman Mose in Baker's sketch, called "A Glance at New 
 York," was attended with such unbounded eclat, that it re- 
 sounded far and wide, and carried him as a star triumphantly 
 through every theatrical town in the Union. On the 23rd of 
 July, 1858, he married Miss Henrietta Baker, at Cincinnati, 
 whom he introduced to his New York friends, at Wallack's 
 Theatre, on the 30th of August following, as Jane Chatterly, 
 in the farce of the "Widow's Victim." In the fall of and 
 winter of 1865, he fulfilled an engagement of thirteen weeks 
 at Wood's Broadway Theatre, New York, during which he 
 attracted crowded houses to witness his ludicrous assumption 
 of Sam in the comedy of that name, by De Walden, which 
 he presented consecutively over one hundred times. We 
 find him at the National Theatre, Boston, on June 12, 1848, 
 when he presented Mose in a "Glance at New York in 1848," 
 and as Mose in "New York as it is," on the 19th of June, when 
 it was given for the first time in Boston. His benefit took 
 place, June 23, when he played Jeremiah Clip, Tinsel John, 
 Moustache Strappado, in the "Stage-Struck Barber"; also 
 
 100
 
 giving his Imitations of Celebrated Actors, and playing Mose 
 in "New York As It Is!" He was at the Howard Athenaeum, 
 in November, 1849, enacting Mose in "Mose in California"; 
 Jerry Clip in "The Widow's Victim"; Mose in "Mysteries 
 and Miseries of New York"; Bonifoni in "The Model of a 
 Wife, "etc. He presented "Kit" for the first time in Boston 
 at the Boston Theatre, Feb. 14, 1870, a play long identified 
 with the Boston Theatre, though it did not make a great stir 
 at the start. His appearance and manners were those of a 
 well-bred gentleman, and his private life and character were 
 such as to entitle him to the highest respect. He died in his 
 room at Taylor's Hotel, Jersey City, from apoplexy, in 1885, 
 and was buried at Long Branch, N. J. 
 
 101
 
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