Exhibition of prints and playbills to illustrate the history of the Boston stage, 1825-1850

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

Digitized by the Internet Archive

in 2008 with funding from

IVIicrosoft Corporation

http://www.archive.org/details/exhibitionofprinOOclub

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.

78S3630

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
Orieans, 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 reaped 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, Goto-

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." lEt. 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
RoUa, 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 Richelieu, 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

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 efforts 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 debut 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
Freischijtz. 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 similarit}^ 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 Falstaflf, 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 Delt., 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 La Belle Assemble e.
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
Duncombe. 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 time?, 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, as Albina Mandevillein"TheWiir'; 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 Season 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 IMrs. 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 Trois, 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.
15

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 effect 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'Ues 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 Athenasum, Oct. 16, 1865, on a tour through this
country, extending to the Pacific Slope; she went from there
to AustraHa, 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 footlights 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 Hght. 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

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 so.

56. AUSTIN (Mrs.) Engraved Portrait, as Rosetta.
Drawn by Holroyd. Engd. by Holl.

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," "Caliph 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

)0

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.

John R. Scott was born in Philadelphia, Oct. 17, 1808, and

made his debtit 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 debut 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

X two or three years later he was playing leading characters

■^elsewhere. Possessing a fine personal appearance and great

nal5u;Cal 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.

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 1816, 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 1 834, 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 Jefferson, 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,
made 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 pubHc, 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 lUman
& Pilbrow from a painting by Jarvis.

James H. Caldwell was born in Manchester, England, 1793,
making his debut there as The Page in "Court Scenes."
Made his first appearance in America as Belcour, in "The
West Indian," at Charleston, South CaroHna, 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 Tutor." Wood' cut.
Both on one sheet.

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 Norval 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 Nerval, 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 successfull3^ 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, ISIL
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 poptdar
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
183-1, 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 different 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 debut 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 debut 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
English 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 aflforded 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 debtU 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 Papillion 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.
Hi.'^ 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 (F., 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 debui 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 affection 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 public 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 Alonzo in "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 disastrotis, 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'Rafferty 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
McShane. In aU 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 Assemble e.
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 debut 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 J uly 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 Woolley 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 William 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 y,ears, 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. Hullmandel. 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 Juliet. 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.
Hullmandel. 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. vShe made her first
appearance, on any stage, at the Tremont 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 unique 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 JuHet." Susan played Juliet
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 1
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 1
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 j
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 Yojli, .Sep* „ ^
4, 1835. He was with Mr. and Mrs. Wood, at^lie Tremont, 4
Boston, in 1835, and made a hit as the Comet'in "La Sonnam- ^A
bula," a favorite opera in those days. He was again with
the same lady and gentleman at the Tremont, in December,

54

i

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, during which she appeared as Willia.m 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 II," 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 Sc.
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 1799, 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 a benefit of 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 pubUc 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 EngUsh 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 whifch 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 English 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 Hver, 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 Hay market, 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 Falstaff. 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
Jaffier 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 Melnottc, 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 Drawing.

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
Jaf&er, 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. 1 75.

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 diflFerent 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 Criiickshank &
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 Macready 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 sufficient 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 debiit 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 complimentary
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. Phillips 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 Norval. 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 Vandenhoff 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.

V

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 debut 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-
ingly 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 shghtest 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 1831, 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 Nevv^ 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 Nerval, 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 Couvreur, 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
"Camilla," 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 sc. 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. Fitzwilliam, 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 4
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
"Nathalie" 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 under the patronage of the Handel and Haydn
Society, there was slight curiosity to hear the veteran English
tenor in opera travestie, 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 majority 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 8c
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. vShepherd 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
debui 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 "King 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 Music, 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 New York, and was buried in Greenwood Cemetery

232. [BUCKSTONE (J. B.)] 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. HuUmandel. 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

"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 Tullus 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 jT^ears 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 compHmentary 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, pubHshing several works. After a time her

90

health became impaired from too close confinement to liter-
ary 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
was 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.

William Warren, Boston's favorite comedian, was born in
Philadelphia, Nov. 17, 1812. He made his first appearance
upon the stage, as Young Nerval 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 Buflfalo 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 daj^ 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, as JuLiAin 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 Astof 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

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 profound 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 Jenny 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.

Ollie, 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
bearing 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.

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. Kramer. 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," "Tancredi,"
"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 Truffi,
at Boston. Made his first appearance in New York 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 oflf 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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