{"title":"Keeping up appearances","description":null,"products":[{"product_id":"1894-d-i-y-tear-away-calendar-of-quotes","title":"1894 D.I.Y. page-a-day tearaway calendar of quotations","description":"\u003cp class=\"p1\"\u003eA collection of literary quotations\u003cmeta charset=\"utf-8\"\u003e, many in different hands and signed at the bottom in the style of a friendship album. \u003cmeta charset=\"utf-8\"\u003eLeaves are approx. 5 x 4.5 inches and include varying paper stocks, some of which appear to have been clipped from actual autograph albums, and others cut for purpose. Dates are written in red ink.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAssembled for 1894, including the complete run of dates from January 28-April 24 (detached but present); April 25-July 30 remain bound with a red ribbon. 27 additional slips with quotes are ready to be made up for future months. Unsigned; the compiler may have been a school teacher named Miss Cheever, from the upstate New York region. Frequent contributors include Alisa Winter and Sarah C. Bridge. A terrific and charming precursor to the modern mass-produced versions with inspirational quotes popular around the holidays.\u003c\/p\u003e","brand":"[made by hand]","offers":[{"title":"Default Title","offer_id":46336770769046,"sku":"Q2192","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec-city-278_f1ea812f-2173-4a70-8b7e-1c6a701da1d6.jpg?v=1789843113"},{"product_id":"let-virtue-be-calligraphic-manuscript","title":"\"Let virtue be...\" calligraphic manuscript copybook","description":"\u003cp class=\"p1\"\u003e13 leaves loosely bound with a few vernacular stitches; 9.75 x 7.75 inches. \u003cmeta charset=\"utf-8\"\u003e(5)p copybook exercises, (1) blank, (20)p verses with ornamental titles. No date; ca. 1840-50, purchased in Pennsylvania. Good to Very Good with short closed tears along the edges, outer leaves attached only toward the upper spine, light dampstaining and age toning. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSelections are not attributed, but many are recognizable from c\u003cmeta charset=\"utf-8\"\u003eontemporary anthologies of hymns and verse, heavy on Thomas Moore. \u003cmeta charset=\"utf-8\"\u003eNotable are Francis Scott Key's, \"If Life's Pleasures Cheer Thee,\" \"The Exile of Erin\" by Thomas Campbell, and \"Ode by S. Blaisdell.\" Other selections (from their headings) are \"The Spring\" (Thomas Carew), \"But who shall see... this World is all a Fleeting Show\" (Moore), \"The Hermit,\" \"Miriams Song,\" \"Sound the loud timbrel o'er Egypts dark sea! (Moore), \"The turf shall be my fragrant shrine\" (Moore), \"Our Native Shores\" (appears elsewhere as \"The wandring sailor\"), \"Hope of all passions most befriends...\" and \"Virtuous Elevation\" (Edward Young), and \"Thy judgements Lord are just\" (translated by Henry Kirke White).\u003c\/p\u003e","brand":"[made by hand]","offers":[{"title":"Default Title","offer_id":46336771129494,"sku":"Q2218","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-2_a2945099-476e-4c8b-b691-b26cc7ff0b26.jpg?v=1789846956"},{"product_id":"gilded-age-scrapbook-featuring-playbills-and-programs-from-new-york-and-brooklyn-productions-ca-1873-1881","title":"Gilded Age scrapbook of Brooklyn \u0026 NYC theater bills and ephemera, ca. 1873-1881, including rare Edwin Booth and Wallack’s Theatre publications (plus Gilbert \u0026 Sullivan, Sarah Bernhardt, and Brooklyn Theatre before it burned)","description":"\u003cp class=\"p1\"\u003e\u003ci\u003eHalf leather folio scrapbook, 15 x 10 x 2 inches. Yellow leaves bound into heavy pebbled cloth boards, gilt-stamped cover and spine. Heavy rubbing wear to the edges, with shallow loss to the heel and areas of perishing. Boards bowed, shaken, clumsy, but overall Very Good. (4) pages of personal items with assorted loose items laid in, followed by 54 blank leaves, (17) pages with mounted theater clippings, (33) blank leaves. Loose items grouped into sleeves (see list of contents).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHaphazardly assembled, but full of gems. Notable items are related to performances by Edwin Booth in \u003ci\u003eThe Fool's Revenge,\u003c\/i\u003e \u003ci\u003eBrutus, Cardinal Richelau, King Lear, \u003c\/i\u003eand \u003ci\u003eMerchant of Venice\u003c\/i\u003e; programs for Gilbert \u0026amp; Sullivan productions (\u003ci\u003ePatience\u003c\/i\u003e, \u003ci\u003ePirates of Penzance, H. M. S. Pinafore\u003c\/i\u003e); and a program from Sarah Bernhardt’s American debut in \u003ci\u003eCamille\u003c\/i\u003e, November 17, 1880. Edward Southern, Dion Boucicault, and Lotta Crabtree are also represented. Plus, many performances at the Brooklyn Theatre before the disastrous fire on December 5, 1876.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCollected by \u003cb\u003eGuy Du Val (1860-1949)\u003c\/b\u003e, the youngest son of Caroline and William Duval. The 1875 NY State Census records him living at Monroe Place in Brooklyn Heights with his parents, two sisters, a brother, a cook, a maid, and a coachman. The scrapbook includes some personal items, including “Whist Party” invitations, a ribbon for the Brooklyn Young Republican Club, and some clippings related to rowing—which appears to have stolen his interest away from theater. Du Val became a founder and director of the Brooklyn Chamber of Commerce, director of the Brooklyn chapter of the Red Cross, and president of the Long Island Historical Society.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBarely a teenager at the time of the earliest performances, the album feels like a fancy gift for which he had great, but not long-lasting, ambitions. He’s allocated the front pages for travel and personal ephemera, starting on the theater material halfway through. The clippings are nested for economy, but there is ultimately plenty of space to spare—the scrapbook format was abandoned, with 30 clippings laid in and most album pages still untouched.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003e\n\u003cb\u003eAn extensive but not exhaustive LIST OF CONTENTS\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003ePERSONAL \u003c\/b\u003e\u003c\/p\u003e\n\u003cul class=\"ul1\"\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eSouvenirs from a trip to Montreal, including:\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cul class=\"ul1\"\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Hotel Reporter. \u003c\/i\u003eVol. I, No. 56. Thursday, August 12, 1880. (4p, mounted to page)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eEphemera from Windsor Hotel, Montreal, including trade cards and stationery\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e“A story from the Burlington Daily Hawkeye. July 23, 1879. Roaming Robert. A trip from Montreal to Portland…” (Burlington, Iowa). 8pp narrative by Robert J. Burdette tipped into the gutter.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eItems related to the 1880 Brooklyn Heights Seminary Commencement\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLOOSE: \u003c\/b\u003ePartially clipped pages with personal letters and a “Brooklyn Young Republicans” badge; various invitations, rowing articles, etc. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eProgram for Burnham’s Academy of Physical Culture \u003ci\u003eGrand Gymnastic, Calisthenic, Pantomimic and Social Entertainment… \u003c\/i\u003eFeb. 14, 1873. “Comprising Gymnasia, Swedish Movement Cure, Electricity, Bowling Alleys, Turkish (hot air), Russian (steam), Sulphur, Vapor, and Medicated Baths of all kinds.” Bifolium program, folded and tipped to album on page 4 (blank, no obstruction).\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p2\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eTHEATER SECTION (approx. 26 items)\u003cbr\u003e\u003c\/b\u003ePerformance, location, and date (when noted, either in print or pencil)\u003cbr\u003e\u003c\/p\u003e\n\u003cul class=\"ul1\"\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eTicket-of-Leave Man. \u003c\/i\u003eBrooklyn Academy of Music, March 24, 1873.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e“Mr. Southern in as Lord Dundreary in \u003ci\u003eOur American Cousin. \u003c\/i\u003eBrooklyn Academy of Music,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eJune 7, 1873.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eCamille. \u003c\/i\u003eMay 27, 1874.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eMiss Clara Morris in \u003ci\u003eCamille. \u003c\/i\u003eDec. 24, 1874.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Two Orphans\u003c\/i\u003e (Jan. 11, 1875)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Shaughraun\u003c\/i\u003e (Jan. 22, 1875)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eFrou Frou. \u003c\/i\u003eBrooklyn Theatre,\u003ci\u003e \u003c\/i\u003eOct. 4, 1875.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Flying Scud\u003c\/i\u003e. Brooklyn Theatre, Oct. 19, 1875.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eAgnes\u003c\/i\u003e. Brooklyn Theatre, Oct. 5, 1875.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe School for Scandal\u003c\/i\u003e. Brooklyn Theatre, Nov. 9, 1875.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eHenry V\u003c\/i\u003e. Brooklyn Theatre, Jan. 1, 1876.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLed Astray\u003c\/i\u003e. Brooklyn Theatre, Mar. 17, 1876.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Hunchback. \u003c\/i\u003eDaly’s Fifth Avenue Theatre, May 26 [1876].\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLa Fille de Madame Angot \u003c\/i\u003e(Oct. 2, 1876)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Grand Duchess\u003c\/i\u003e (Oct. 4, 1876)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eGirofle-Girofla\u003c\/i\u003e. Brooklyn Theatre, Oct. 6, 1876.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eEdwin Booth in \u003ci\u003eThe Fool’s Revenge \u003c\/i\u003e(Academy of Music, Feb. 2, 1877)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eEdwin Booth in \u003ci\u003eBrutus; or, the Fall of Tarquin \u003c\/i\u003e(Academy of Music, Feb. 3, 1877)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eEdwin Booth in \u003ci\u003eCardinal Richelieu. \u003c\/i\u003eAcademy of Music, Feb. 8, 1877.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eEdwin Booth in\u003ci\u003e King Lear. \u003c\/i\u003eAcademy of Music, Feb. 10, 1877.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eEmma Abbott in \u003ci\u003eLa Figlia del Reggimento. \u003c\/i\u003eAcademy of Music, Feb. 28, 1877.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLohengrin. \u003c\/i\u003eAcademy of Music, March 15, 1877. “The first night of the Wagner Opera Festival”\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eClara Morris [in \u003ci\u003eMiss Multon\u003c\/i\u003e] Sept. 24, 1877\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eNiblo’s Garden Programme. \u003ci\u003eThe Three Guardsmen\u003c\/i\u003e (De.c 3, 1877)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eCountess Bozenta Modjeska in \u003ci\u003eCamille\u003c\/i\u003e (Jan. 19, 1878)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Duke’s Motto\u003c\/i\u003e (Niblo’s Garden Programme, Jan. 28, 1878)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003e“Edwin Booth presents \u003c\/b\u003e\u003cb\u003e\u003ci\u003eKing Lear\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e at the Academy of Music, Feb. 19, 1878.”\u003c\/b\u003e Monogrammed card.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eCount Joannes and Miss Avonia Fairbanks in \u003ci\u003eRichard III. \u003c\/i\u003eWood’s Theatre, Mar. 18, 1878.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eJohn S. Clark in \u003ci\u003eA Widow Hunt\u003c\/i\u003e and \u003ci\u003eToodles \u003c\/i\u003e(Mar. 21, 1878)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eA Celebrated Case.\u003c\/i\u003e April 2, 1878 (Merion Square Theatre? Shook\/Palmer, managers)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eMajeroni [Signor \u0026amp; Signora] in \u003ci\u003eCamille\u003c\/i\u003e. May 14, 1878.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLa Belle Hélène \u003c\/i\u003e(Offenbach) June 1, 1878.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eFirst Grand \u003ci\u003eWilhelmj Concert\u003c\/i\u003e, directed by Max Liebling (Oct. 8, 1878. Academy of Music)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eMary Anderson in \u003ci\u003eRomeo and Juliet\u003c\/i\u003e (Nov. 1, 1878)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003e\u003ci\u003eStandard Theatre. First production in this city of An Entirely New and Original Comic Opera, H.M.S. Pinafore.\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e Composed by Arthur Sullivan. Written by W. S. Gilbert. Originally produced at the “Opera Comique,” London, last May… \u003c\/i\u003e(New York: A. S. Seer, Theatrical Printer). January 29, 1879. Bifolium program with creasing and soil; only pages 1-3 are legible (p4 entirely pasted to album).\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eSmaller \u003ci\u003eH.M.S. Pinafore\u003c\/i\u003e playbill, unstated performance.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLed Astray. \u003c\/i\u003eAtheneum Society benefit, April 29, 1879. Printed card, tipped into gutter.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eNew Park Theatre variety program, week of May 6, 1878. Including “The Coming Man,” and performers Jenny Morgan, Harry Kennedy, Bryant and Hoey, Miss Kitty O’Neill, Tony Pastor’s Portfolio, Sharles S. Rogers and Miss Mattie Vickers in “Stage Struck,” Billy Barry, Watson and Ellis, “The Fontainbleaus,” Harry and John Kernell, K.-H.-K. (High-kickers), Emerson Clark, Daly Brothers.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eBanker’s Daughter\u003c\/i\u003e. Academy of Music, May 20, 1879.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eFaust. \u003c\/i\u003eAcademy of Music, Oct. 10, 1879.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eRigoletto. \u003c\/i\u003eAcademy of Music, Nov. 6, 1879.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e“Benefit of the Brooklyn Maternity, A Novel Extravaganza, Frog Opera.” Directed by W. S. Daboll. Academy of Music, Nov. 7-8, 1879.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eProgram for the Church of the Holy Trinity New Year’s Eve service, Dec. 31, 1880.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLucia di Lammermoor.\u003c\/i\u003e Academy of Music, Nov. 27, 1879.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eMadison Square Theatre Programme. \u003ci\u003eHazel Kirke\u003c\/i\u003e. 1879 bifolium color printed program, p4 mounted to album.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eAthenean Society Programme. Wednesday evening, January 21st, 1880. \u003ci\u003eHenry Dunbar\u003c\/i\u003e… under the direction of H. M. Ferris.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003e\u003ci\u003eThe Pirates of Penzance, or the Slave of Duty\u003c\/i\u003e\u003c\/b\u003e. Partial program with color illustrations, printed by A. S. Seer (March, 1880).\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eApollo Club of Brooklyn, private concert April 27, 1880.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eLotta in \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Little Detective; or, Woman’s Curiosity\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e (April 26, 1880).\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eEdwin Booth \u003c\/b\u003eand Mrs. D. P. Bowers in \u003ci\u003eMerchant of Venice\u003c\/i\u003e, ending with the trial scene, and \u003ci\u003eThe Taming of the Shrew\u003c\/i\u003e. (Academy of Music, May 8, 1880).\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe World\u003c\/i\u003e. By Paul Merritt, Henry Pettitt and Augustus Harris. Wallack’s [1881]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003e\u003ci\u003eWallack’s. The grandest success of the season. “The World.” With its extraordinary scenic effects\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e \u003c\/b\u003e(cover title). 32mo program booklet, 16pp,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003emounted under playbill. Lots of local ads; illustrated. “1881” penciled.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eHazel Kirke. \u003c\/i\u003e(Madison Square Theatre, 1881).\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eApollo Club of Brooklyn. Private concert, 1881.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eJoseph Jefferson in \u003ci\u003eThe Rivals.\u003c\/i\u003e Sept. 23, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eI Puritani\u003c\/i\u003e. Academy of Music, Nov. 25, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eCinderella at School\u003c\/i\u003e. Brooklyn Park Theatre. (Nd)\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eMlle. Sarah Bernhardt in \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCamille\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e. Nov. 17, 1880. \u003c\/b\u003eWith portrait and extra clipping.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eMefistofele\u003c\/i\u003e. Written and composed by Arrigo Boito, with an English adaptation by Theo. Marzials. London and New York: Samuel French. Libretto in glazed color wraps. 24pp with extra leaf of ads at rear. Tipped into album gutter [with] a review of the performance at the Academy of Music, from \u003ci\u003eBrooklyn Eagle\u003c\/i\u003e, Dec. 9, 1880.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p2\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eLOOSE MISCELLANY \u003c\/b\u003e[SLEEVE ONE, 10 items]\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cul class=\"ul1\"\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eMr. R. D’Oyly Carte’s Operatic Season at the Standard Theatre. First Production of the New Aesthetic Opera \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePatience\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e by W. S. Gilbert \u0026amp; Arthur Sullivan. Thursday Eve Sep. 22, 1881. \u003c\/b\u003eLoag, Pr., Philad’a. (Cover title) (4p).\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eManhattan Beach Railway Time Table 1882 \/ Gilmore’s Grand Concerts. September 1882. With map of NY \u0026amp; Manhattan Beach Railway route and shoreline view of Manhattan Beach.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eComplimentary Concert to Mr. G. N. Jacobs at Strong Place Baptist Church, Wednesday, November 30, at 8 p.m. Under the direction of Mr. M. B. Parkinson.\u003c\/i\u003e [4p program with pencil flirting on p4, probably written during the concert—“Her dress reminds me of a fancy ice \/ Do you like that vibratory style of singing?” A Spencerian flourished goose is captioned, “This is a picture of you.”\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Sleeping Beauty: A Fairy Tale in Pantomime, (Introducing Tennyson’s Poem,) for the benefit of the Mount Vernon Endowment Fund, Academy of Music, New York, Thursday and Friday Evenings, April 25 and 26, 1878. Given by the Mount Vernon Aid Society of New York. \u003c\/i\u003eNew York: A. S. Seer, 1878. 14pp. (Residue from being tipped into album)\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003ePhilharmonic Orchestra ft. \u003ci\u003eRafael Josefry. March 18-19, 1881. \u003c\/i\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003ePhilharmonic Orchestra. Ft. Annie Louise Cary. November 20, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eAcademy of Music, program for Dec. 16, 1881 opera performance featuring Mme. A Patti; second half was Act IV from \u003ci\u003eIl Trovatore.\u003c\/i\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cul class=\"ul1\"\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eAd for Theodore B. Starr salesrooms with portrait of Patti\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eApollo Club of Brooklyn, \u003c\/i\u003eFeb. 14, 1882, private performance program (split along fold)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003ePink program card for a recital featuring soprano E. J. Grant; elocutionist J. P. Silvernail, and “Prestidigitateur” Richmond Lennox (et al.). No date.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eLOOSE THEATER CLIPPINGS \u003c\/b\u003e[SLEEVE TWO, 20 items]\u003cbr\u003e\u003c\/p\u003e\n\u003cul class=\"ul1\"\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eThe Boston Ideal Opera Company does \u003ci\u003eOlivette.\u003c\/i\u003e Academy of Music, Feb. 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eComley-Barton Company, \u003ci\u003eOlivette\u003c\/i\u003e, March 3, 1881. “Bang up the best one I have ever been to”\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eComic Opera Company. \u003ci\u003eOlivette. \u003c\/i\u003e April 1, 1881.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eLotta in \u003ci\u003eLittle Nell and the Marchioness, or, The Old Curiosity Shop.\u003c\/i\u003e April 12, 1881. [Abbey Theatre?]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e“Grand Gala Concert of Mme. Etelka Gerster.” April 25, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eVokes Family (American tour) in \u003ci\u003eCousin Joe \u003c\/i\u003eand \u003ci\u003eBelles of the Kitchen\u003c\/i\u003e. Haverly’s Theatre, April 25, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eJohn T. Raymond in \u003ci\u003eFresh, The American\u003c\/i\u003e by Archibald C. Gunter. May 5, 1881.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eBrooklyn Park Theatre. Variety\/burlesque. Week of May 9, 1881. Tony Pastor’s Troupe, Harry McAvoy \u0026amp; Emma Rogers, Frank E. McNish and the Leland Sisters, French Twin Sisters, Tony Pastor, Irwin Sisters, Lillie Western, Lester and Allen, Ella Wesner, Lester and Williams, Furguson and Mack, and \u003ci\u003eOur School Girls; or, Fun in a Boarding School\u003c\/i\u003e.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eFatinitza\u003c\/i\u003e. (Academy of Music?) May 13, 1881.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eBirch \u0026amp; Backus’ San Francisco Minstrels from their Opera House, New York. \u003ci\u003eMelange Musicale \u003c\/i\u003e(Aug. 31, 1881) [with] “The Inimitable Grotesque Dancers and Comedians, Johnson and Powers,” “The California Quartette,” “the Screamin Burlesque, Salvini’s Othello,” and “The Great Ventriloquist Comedian Harry Kennedy.”\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Harrisons… and their Musical Comedy Company (Alice and Louis Harrison)…“\u003c\/i\u003ePresenting an Original Musical Improbability, entitled, Photos, a fusillade of mirth, replete with sparkling music and ecstatically utter effect.” Harry Warren plays Sarah Bernhardt. Week of Sept. 5, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Major\u003c\/i\u003e, ft. Edward Harrigan and Tony Hart. October 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eLester Wallack in \u003c\/b\u003e\u003cb\u003e\u003ci\u003eOurs\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e.\u003c\/b\u003e Oct. 10, 1881. \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eEdwin Booth\u003c\/b\u003e in \u003ci\u003eThe Fool’s Revenge\u003c\/i\u003e, Nov. 3, 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003eJos. K. Emmet in \u003ci\u003eFritz in Ireland\u003c\/i\u003e. November 1881.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eWilliam Tell\u003c\/i\u003e. Nov. 28, 1881. Ft. Malvina Cavallazzi.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLes Huguenots.\u003c\/i\u003e Dec. 22, 1881. Ft. Malvina Cavallazzi.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eAida\u003c\/i\u003e directed by Arditi, ft. Paolina Rossini (no theatre or date)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eThe Authorized Patience. Under the management of Comley \u0026amp; Barton. By arrangement with R. D’Oyley Carte. (Gilbert \u0026amp; Sullivan). \u003c\/i\u003eDec. 29, 1881. Ft. George Gaston.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"li3\"\u003e\n\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eLa Jolie Parfumeuse. Expressly written for Mme. Theo by the illustrious Offenbach, and originally performed by her in the principal cities of Europe. \u003c\/i\u003eOctober 19, \u003cb\u003e1882.\u003c\/b\u003e Only performance.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"[theater, scrapbooks]","offers":[{"title":"Default Title","offer_id":46429130719382,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-234_8a2a12ee-65fc-41da-868c-115327a7804b.jpg?v=1782140660"},{"product_id":"bunyans-pilgrims-progress-in-words-of-one-syllable","title":"Bunyan's Pilgrim's Progress in Words of One Syllable (and Rodolph Valentino scrapbook)","description":"\u003cp\u003ePictorial paper boards, small quarto, 96pp. Heavily worn around the edges and splitting along joints. A battered copy of the children's classic wherein lives the secret celebrity crush scrapbook\/altar to Rodolph Valentino. Clippings are inserted between the title page and p.26. A few pencil annotations, like, \"This one is so dear to me,\" and some of the more topical clippings (like Valentino's thoughts on women and education) make it a particularly evocative and charming surprise--and a very real sense of parents being tricked by their kid's bedtime reading.\u003c\/p\u003e","brand":"Samuel Phillips Day","offers":[{"title":"Default Title","offer_id":46547395281046,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-39_c4cda27a-942a-45de-9b9e-ede5fc3170ae.jpg?v=1788212322"},{"product_id":"book-of-questions","title":"“A Book of Questions, a.d. 1880.” Two lectures delivered by Rev. William J. Skillman at Sioux Falls, 1887-1889.","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eHardcover cloth composition book, 8.25 x 7 inches. Slightly shaken with rubbing to extremities, including shallow loss at the spine ends; mild age toning, Very Good+ overall.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTwo lectures transcribed in handsome calligraphy with manuscript pagination: “Truth is King: Lecture Delivered before the Sioux Falls University, February 11th, 1887” (28pp), and “What Shall Our Public Schools Teach? Sioux Falls, January 3d, 1889” (41pp). No attribution within the manuscript; authorship deduced from reports in the \u003ci\u003eArgus-Leader\u003c\/i\u003e (Feb 10, 1887, p4). Full of misspellings and the careful but amateur calligraphy of a youthful, and almost certainly female, hand, the manuscript was possibly made by one of Skillman’s daughters as a gift. Frequently quotable soundbites are the source of bemusement, but Skillman’s ideas and opinions ultimately feel unworthy of the reverently transcribed object of beauty through which they've survived.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDressed up in fine letters that suggest the words they spell must be \u003ci\u003eimportant\u003c\/i\u003e, Skillman’s bumbling addresses feel like the familiar echo chamber of pundits who talk much and say little, and rhetoric from leaders that generates emotion but not ideas, and certainly not solutions. They present the anxieties of a man with nominal authority, complaining about a world he sees moving away from Christian values and \u003ci\u003enatural\u003c\/i\u003e power structures, threatened by popular media and publicly funded education. Delivered in Sioux Falls in 1887 and 1889, just before the Dakota Territory transitioned to statehood, the context resonates with perceived threats to political and social norms in a changing American landscape.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSioux Falls University was a Baptist college founded in 1872 to provide assertively Christian education. Aptly written for his collegiate audience, “Truth is King” criticizes popular media, including “penny dreadfuls” and writing by women, whom he calls “crude scribbler(s).” One anecdote involves cringy Irish dialect and demeaning a woman in a bookstore for her taste in literature. Skillman particularly takes issue with newspapers, which he considers to promote moral decay:\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"padding-left: 40px;\"\u003e\u003ci\u003eTo be talked about is the spice of life, apparently, to their poor drugged souls, and a fairly heavenly solace to their miserable animalism. And so it is hence that we have well-dressed people every now and then making heroes of murderers, marrying assassins, anarchists, and what not, getting divorces to be married and marrying to get divorced – and the mischief supreme of all this is, that we have to be told of it every day, and our children told of it, as if we were all aching to hear about it. Pity, pity, our poor, dirty souls if we are… It has come to pass that we really cannot get an account – a reputable account, according to our need, of the doings of the day, of the price of goods, for instance, of the arrival of trains, or cannot learn where we can buy a horse or rent a house without having this veritable slime of Sodom thrust under our noses… \u003c\/i\u003e(17-18)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe second address, “What Shall Our Public Schools Teach?” explores the civic imperatives and justification for funding public education. Skillman first suggests that having a literate electorate is desirable, thus justifying the use of public funds for education; but he’s not sure about \u003ci\u003eequal\u003c\/i\u003e education. It’s one of the many places where his anxiety is not so subtly construed. He argues it is unfair to tax the public to educate children to a certain standard above their natural station, and that it is even a disservice, as those of lower classes and capacities “their education outrunning their abilities and opportunities.” He seems to favor a delineation between who can elect officials versus who can become one:\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"padding-left: 40px;\"\u003e\u003ci\u003eIs the state bound to make all her citizens capable of holding any office within her gift – bound to train every boy to be president? Or, rather is she simply bound to give all her citizens the means of becoming intelligent voters? \u003c\/i\u003e\u003cb\u003e\u003ci\u003eEither voters, or, at least, the mothers and sisters and wives of voters? For it may not be altogether safe yet to give women the suffrage. \u003c\/i\u003e\u003c\/b\u003e(viii-ix).\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt might be a moot point, anyway: “In as much as the public school is provided at public cost and maintained by the state, it will assuredly fail.” Even with literacy, which he supposes one might consider essential to an “intelligent voter,” he reconsiders, “Questionable, indeed, is it, seeing the political stuff men commonly read, whether the power to read is an all-around blessing.” He does have nice things to say about manual training.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSkillman’s closing remarks begin, “What shall our public schools teach then? Two things I affirm. The fundamentals, or the ‘Three R’s,’ and then everything that will make these more sure, more winsome, if possible, that will enlarge, emphasize and enforce them.” Skillman’s trouble counting is emblematic of his unchecked rhetoric—to which one might apply his own words:\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"padding-left: 40px;\"\u003e\u003ci\u003eIt loaded up, or rather loaded down, the mind with material as if, actually, that were the main thing to do—treating the mind as if it were a veritable beast of burden, a patient ass or an obstreperous ass, as the case might be, depending upon whether it kicked or not under the treatment, and if it kicked to be whalloped or be labored back into a properly subdued condition.\u003c\/i\u003e(xxiv-xxv)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e**\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eWilliam J. Skillman (1835-1909) was born in Somerset, NJ, and graduated from the New Jersey Theological Seminary of the Dutch Reformed Church in New Brunswick. He was pastor of the Presbyterian Church at Sioux Falls from 1883 to 1894, when he relocated to Philadelphia. His wife was a teacher. They had nine children. He is primarily noted for his genealogical work, \u003ci\u003eThe Skillman's of American and Their Kin\u003c\/i\u003e, which traced his family to the colonial era. (Ref. Genealogical Society of New Jersey \u003ca href=\"https:\/\/www.gsnj.org\/wp-content\/uploads\/2015\/12\/GSNJ-Skillman-Collection-Finding-Aid.pdf\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem\u003eGuide to the Collection of William Jones Skillman\u003c\/em\u003e\u003c\/a\u003e).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis doings in Sioux Falls were occasionally reported in the \u003ci\u003eArgus-Leader\u003c\/i\u003e, including ongoing tiffs with the paper itself: “Rev. Wm. Skillman, Mrs. T. A. Robinson and the Enforcement league which they control have called one of the editors of this paper a traitor, have refused him admission to their meetings, have stricken his name from their membership rolls, and have prayed God to blight his powers and wither his brains, but they still retain as an active member a well-known saloonkeeper. Thus do the righteous detect and thwart the wicked machinations of the enemy” (2\/19\/1890). None of his lectures appear to have been published.\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"[an object lesson in disappointment]","offers":[{"title":"Default Title","offer_id":46547420774550,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-156_0388e62d-e68e-454d-8091-f10857577bf6.jpg?v=1788213878"},{"product_id":"fergus-falls-woolen-mill-samples-for-spring-1896","title":"Fergus Falls Woolen Mill, Fergus Falls, Minnesota. Samples for Spring 1896.","description":"\u003cp class=\"p1\"\u003eNo. 3. Cloth Samples from Fergus Falls Woolen Mill, Walter Hogan, Prop'r. (cover)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePrinted card bifolium, approx. 8.5 x 7 inches. Card is fragile but overall Very Good with two shallow chips to the cover and two small punctures from the corners of thick samples, 2\" repaired tear to upper edge. Tidy Japanese paper repair to spine. Samples are remarkably fresh--18 fabric samples of wools for suiting, ladies' jackets and skirts, cloaking and blankets. Each swatch is tipped over descriptions, including prices in cash and trade for unprocessed wool. Not in OCLC.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe inclusion of German text reflects the prevalence of immigrants in the region and their vital economic role. The samples also provide a tactile connection to American history. The modern-day Fergus Mills historical marker notes: \"Organized in 1888, the Fergus Falls Woolen Mill reached an early peak by capitalizing on the 1896 Klondike Gold Rush by producing a tightly woven blanket called the Yukon.\" We suspect it corresponds to \"Style 51\" on this sample card, labeled \"Cow Boy or Outing Blankets,\" and marked with a manuscript price increase.\u003c\/p\u003e","brand":"[textiles, sample books]","offers":[{"title":"Default Title","offer_id":46556447473814,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-8_853b15d7-aba6-43ea-ac28-70a4f8596588.jpg?v=1788821729"},{"product_id":"minnesota-binders-mowers-dump-rakes-side-delivery-rakes-hay-loaders-cultivators-ropes-and-binder-twine-cover-title","title":"Minnesota Binders, Mowers, Dump Rakes, Side Delivery Rakes, Hay Loaders, Cultivators, Ropes and Binder Twine (cover title)","description":"\u003cp class=\"p1\"\u003eStaplebound quarto, 30pp. Very Good+ with subtle discoloration to wraps, contents crisp. Catalog features illustrations (some color) and halftone photographs with substantial product descriptions and testimonials. Reference to production methods skip mention of inmate labor—though there is a photo of hemp stalks being processed by workers in the Philippines. Best known for producing twine, MN Prison Industries expanded after moving to new facilities in 1914 and the introduction of large machinery like hay loaders and cultivators added \u003ca href=\"https:\/\/www.farmcollector.com\/equipment\/stillwater-mn-prison-labor\/\" target=\"_blank\" rel=\"noopener\"\u003earound 1927\u003c\/a\u003e. The foreword emphasizes relationships with local farmers. Published during Blanche La Du's tenure as Chairman of the Minnesota State Board of Control; she became the first female President of the American Prison Association. OCLC shows only 1 holding at the Clarke Historical Library (MI).\u003c\/p\u003e","brand":"Minnesota State Prison Industries (trade catalog)","offers":[{"title":"Default Title","offer_id":46556448424086,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-7_ec786264-9544-4d7e-bd59-cdc0333f5d44.jpg?v=1788822082"},{"product_id":"alphabet-leger-for-book-keeping","title":"Crochet scrapbook housed in \"Alphabet \u0026 Leger for Book Keeping\"","description":"\u003cp\u003e12.25 x 8 inches. Marbled wraps with emerald green printed label, \"Alphabet \u0026amp; Leger for Book Keeping.\" Folio account book repurposed and scrapbook for small lace samples with instructions clipped from magazines and newspapers. 7 full and 2 partial leaves, making for about 12 pages of content with additional items and extra \u003cmeta charset=\"utf-8\"\u003e3p manuscript instructions laid in. Le(d)ger dates to 1858; reused ca. 1880s-90s by a Connecticut women, based on dates and ads visible on the backs of the clippings. Wraps are in remarkably nice condition with a bright green label. 15 small samples; 2 loose, others pinned or stitched near the corresponding directions. Among the laid-in items are an 1887 article from 'The Delineator' and clippings from newspapers identified as from New Haven, CT, ca. 1898.\u003c\/p\u003e","brand":"[made by hand]","offers":[{"title":"Default Title","offer_id":46567362134166,"sku":"Q2348","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-11_7ebd659e-a9ba-4fca-a52f-61d6c251965c.jpg?v=1789852445"},{"product_id":"embalmers-anatomical-aid-a-manikin-of-superimposed-diagramatic-plates","title":"Embalmers' Anatomical Aid: A Manikin of Superimposed Diagramatic Plates","description":"\u003cp class=\"p1\"\u003e\u003ci\u003eShowing thoroughly the anatomy of the system and paying particular attention to blood-circulation. Designed to assist in embalming operations, reference and demonstration.\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eChicago \u0026amp; New York: Western Publishing House, (1888-1889). Title page lists copyright dates from 1884-1888; Patents dated 1886, “and other patents applied for.” Cover label updates latest patent to January 15, 1889.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003ePublisher's dark green pebbled cloth portfolio, 22 x 15.25 inches. Bound with two interior boards and tabs for folding an easel display, with additional half-length overlapping flap for closure; label \"Directions for opening the manikin\" mounted inside flap; upper part of the clasp is lodged in the lower, but the easel can stay erect without the clasps. Heavy rubbing to extremities, exposing boards at the corners; joint of the wraparound cover flap splitting along the left edge and heavily soiled; with dampstaining to that edge and two circular areas on the bottom board. Light fingersoil and wear from the pressure points of the metal clasps and tabs. The acetate layer of the eye is punctured, and outer flap of the female pelvic manikin and the overlay of the torso have creasing, but the lithographs and mechanical flaps are overall very well-preserved. Despite the exterior wear, it’s a functional, sturdy example of the rare large-format manikin.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong the plates is an \"Index of the Nerves, Veins, Arteries \u0026amp; Muscles,\" that identifies \"Points of Injection” for embalmers; but this aid is clearly for more than embalming. The manikin was to be accompanied by the textbook by Dr. H. E. Lewis, \u003ci\u003eEmbalmers' Guide: A practical and comprehensive treatise on embalming, together with a complete description of the anatomy of the human body, designed to accompany The Embalmers' Anatomical Aid. \u003c\/i\u003eThough later replaced with guides attributed only to Graham, even this earlier version of the text discusses elements of women's health, including the function of the clitoris, that would be too late to worry about post-mortem.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe omission of any reference to the female particulars raises the question of surreptitious packaging, whether related to the taboo or an effort to avoid running afoul of Comstock anti-obscenity laws. Each of the “leaves” is sewn in a way that variations would not have been hard to accommodate during binding.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNo ads for the \u003ci\u003eEmbalmers’ Aid\u003c\/i\u003e could be located, but Western Publishing House ran ads for its \u003ci\u003ePhysicians' Anatomical Aid \u003c\/i\u003ewith varying levels of detail about the obstetric content, but the “New and Superb” manikin of “Pelvic and Genital Anatomy,” as seen in this \u003ci\u003eEmbalmers’ \u003c\/i\u003eversion is most explicitly described in the 1898 \u003ca href=\"https:\/\/www.google.com\/books\/edition\/The_Homoeopathic_Annual_for\/kmlZFf6cE1UC?hl=en\u0026amp;gbpv=1\u0026amp;dq=%22Anatomical+Aid%22+%22knox%22\u0026amp;pg=PA20\u0026amp;printsec=frontcover\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eHomoeopathic Annual\u003c\/i\u003e\u003c\/span\u003e\u003c\/a\u003e, promising “the details of structure of those organs upon whose unhealthy or abnormal condition so much of the physical misery of humanity hangs\" (20). The ad identifies each layer: Exterior virgin structure; Early symptoms of pregnancy; Associated muscles, nerves, blood vessels, and glands; Vagina; Womb and its support (enfolded in peritoneum); Ovaries, Fallopian tubes, etc.; Vertical Section of all these organs; Pregnancy after about six weeks; After three months; After five months, when organization is practically complete; Pelvic receptacle back of generative organs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eSequence:\u003c\/b\u003e \u003cbr\u003e[lower cover] 1. \"The Body.\" Male torso with printed oilcloth overlay and 10 flaps of the internal organs nested into cover; \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCanvas-backed lithographs, recto-only leaves:\u003cbr\u003e2. \"Index of the Nerves, Veins, Arteries \u0026amp; Muscles,\" identifying \"Points of Injection.\" \u003cbr\u003e3. \"Diagrams of Nervous System.\" \u003cbr\u003e4. \"Blood Formation.\" \u003cbr\u003e5. \"Skeleton.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e[interior board]\u003cbr\u003e6. \"Sections of Upper and Lower Extremities.\" 6-layer views of the arm and leg, each with 5 flaps, mounted to board. \u003cbr\u003e7. [title plate], mounted to reverse. \u003cbr\u003e\u003cbr\u003e[second interior board]: \u003cbr\u003e8. Head (7 flaps), Ear (3 flaps, one with lithographs on both sides), and Eye (6 flaps, including acetate and tissue layers). \u003cbr\u003e9. \"Foetal Organization\" \u003cbr\u003e\u003cbr\u003e10. \"Sectional View of Female\" (single canvas-backed lithograph)\u003cbr\u003e\u003cbr\u003e[upper cover]\u003cbr\u003e11. \"Male Genital Organs\" (3 flaps) and \"Female Pelvic Organs\" (10 flaps).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e","brand":"Knox, J. Suydam; D. W. Graham; J. E. Owens","offers":[{"title":"Default Title","offer_id":46567362199702,"sku":"Q2523","price":1950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-82_96e7bda9-67d2-46f1-bbb7-cfcd9ef1291a.jpg?v=1790551726"},{"product_id":"an-excellent-collection-of-calling-cards-trade-cards-from-mass-vermont-new-hampshire-ca-1880s-1890-plus-rewards-of-merit-ca-1870s","title":"An excellent collection of trade \u0026 calling cards from Mass., Vermont, \u0026 New Hampshire, ca. 1880s-1890; \u000bplus rewards of merit ca. 1870s+","description":"\u003cp class=\"p1\"\u003eLeather backed cloth boards, 10.5 x 8 inches. A repurposed notebook laden with 240 calling cards, business\/trade cards, and rewards of merit. 25 leaves, some loose or with pieces cut out. 10 pages of visible manuscript content at rear, mostly scattered notes and a little poetry (including an excerpt, “But blame us women not if some appear too cold at time, and some too gay \u0026amp; light, Some griefs grow deep. Some woes are hard to bear.”)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn encapsulation of graphic tastes and business concerns of the period. From a visual perspective, the range (or, in many cases, repetition) speaks to trends—and the inevitable repetition of groups who patronize the same job printer, as suggested by the patterned paper variations and whatever paper finish has disintegrated into powder, effacing about 10-15 of the cards.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIncludes 214 printed calling and business cards, 8 manuscript or autograph cards, 17 rewards of merit, and 1 printed invitation. Among the standouts: \u003cmeta charset=\"utf-8\"\u003eFrank H. Sargent, “Geologist and collector of specimens;\" a birch bark ; a trade card for \u003cmeta charset=\"utf-8\"\u003ephysician\/surgeon\/tooth extractor W. F. Wallace; a gilt Oddfellows card for Will P. Holt; a hand-written card for E. F. Parker, Hairdresser, Springfield Mass; a color-printed trade card for Miss J. M. Thompson, Milliner \u0026amp; Dress Maker of Manchester, NH; autograph of F. F. Palmer, Mansion House, Greenfield, Mass; Mrs. M. E. Perkins, “Wadleigh’s fashionable ‘Head Gear’ Rooms, Boston; and Henry Little’s card, with Spencerian flourished dove.\u003c\/p\u003e","brand":"[ephemera, graphics]","offers":[{"title":"Default Title","offer_id":46567362265238,"sku":"Q2525","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-20_37c00b6a-f422-41e0-a12e-c05d10c5b98e.jpg?v=1789939166"},{"product_id":"jelco-surgical-hosiery","title":"JELCO Surgical Hosiery","description":"\u003cp\u003eTri-fold brochure, 6.25 x 3.5 inches. Pin puncture through the middle of the brochure and small impressions on the cover; light soil and toning, Very Good.  A \"condensed catalog\" picturing one dozen appliances, including \"Elastic stockings and bandages for relief of varicose veins, swellings, weak joints and sprains;\" and what appears to be their specialty, men's trusses and \"suspensories.\" Nicely illustrated, including the cover graphic of a Grecian woman in compression garments and the company trademark substituting sun rays for stockinged legs. Founded by John Ellwood Lee in Conshohocken, Pennsylvania, \"J. E. L. Co.\" produced supportive elastic stockings, trusses, bandages, and abdominal supporters. The company was acquired by Johnson \u0026amp; Johnson in 1905, which maintained the \"JELCO\" trademark and brand until around 1910, when the J. Ellwood Lee Co. transitioned to tire manufacturing. Often referenced in J\u0026amp;J's \"Red Cross Notes\" and \"Red Cross Messenger,\" which continued marketing the \"Jelco Truss.\"\u003c\/p\u003e","brand":"[medical aids]","offers":[{"title":"Default Title","offer_id":50520116461718,"sku":"Q2465","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-96_a9629965-2c88-4032-8531-69edbbcc7c9e.jpg?v=1790534911"},{"product_id":"chiquita-the-living-doll-age-27-yrs-weight-15-lbs-height-26-inch-greatest-attraction-of-the-age","title":"Chiquita, The Living Doll. Age 27 yrs. Weight, 15 lbs. Height 26 inch. Greatest Attraction of the Age.","description":"\u003cp class=\"p1\"\u003eCabinet card, 6.5 x 4.25 inches printed with graphic \"Chiquita, Little One.\" Pencil identification on reverse, \"Little women, 27 in high, California, Chiquita.\" Soil and faint tidemark to reverse, card slightly bent and rubbed around edges. An unusually desolate photograph showing her characteristically fashionable dress and eloquent fan, but foregoing the studio backdrop and props typically used to emphasize her scale.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlize Espiridiona Cenda del Castillo (1869-1945) was a singer and performer from Cuba. If her advertised age (27) is accurate, this is an early cabinet photo dating from around 1896, when she made her New York debut: \"She is said to be a university graduate; she must be a believer in dress reform, for she doesn't wear even a stiff waist under her dainty, modish gowns. She can play, sing, and dance; she is the most graceful little lady imaginable, and she is only two feet in height\" (\"Tiny Cuban Lady Who Dances,\" New York Times, 7\/24\/1896, p5). She became famous at the 1901 Pan-American Exposition, hosting receptions in a drawing room style salon where visitors asked questions and marveled at her fine gowns.\u003c\/p\u003e","brand":"[sideshow, cabinet cards]","offers":[{"title":"Default Title","offer_id":50520116822166,"sku":"Q2482","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-54_c00bf4e3-c06a-4021-b20e-22436dd84e9c.jpg?v=1790522349"},{"product_id":"rossows-midgets","title":"Rossow's Midgets","description":"\u003cp\u003eCabinet card photograph of \"the smallest and greatest fighters in the world\" published by Hall, Broadway and 34th St, New York, ca. 1895-1900. Reverse blank. Franz and Carl Actermeier were German-born vaudeville performers known as the headline attraction Rossow's Midgets. Newspaper archives show they began performing around 1895, billed as \"Midget Comedians\" at B. F. Keith's Boston theater in June. They were promoted to Keith's NY Theater by July. T\u003cmeta charset=\"utf-8\"\u003ehey were managed by Herman Rossow and toured as \"Rossow's Midgets\" until around 1909, when they successfully sued for $10,000 in back pay and the right to continue using Rossow's name after firing him.\u003c\/p\u003e","brand":"[vaudeville, cabinet cards]","offers":[{"title":"Default Title","offer_id":50520116297878,"sku":"Q2483","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-56_409d88fb-6ca1-4ddc-8ad9-ad25601ee5c0.jpg?v=1790557153"},{"product_id":"benjamin-and-sarah-village-preacher-and-wide","title":"Benjamin and Sarah, Village Preacher and Wife.","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eAlbumen photograph carte de visite, approx 4 x 2.5 inches. About Very Good with moderate soil and spotting. From a series of CDVs produced to promote the Children’s Missionary Society of the Lutheran Church. No date; ca. 1875-1876. Benjamin John was one of two \"native\" Lutheran preachers in Dachepalle, Palnadu, India, ordained alongside M. Nathaniel in 1877. A CDV of him as \"Rev. B. John\" was later produced, and other photos in the series have printed versos instead of the paper labels. This image not recorded, but OCLC locates 2 other images from the series at AAS and the Clements. “Presented to\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003e[blank] By the Children's Missionary Society of the Lutheran Church. This Society was organized in 1873–4, with a membership of about 20,000. Since that time it has not only supported a missionary in India who is known as the ‘Children's Missionary,’ but it has also aided to a great extent the schools and other efforts in behalf of the Children in our Missions in India and Africa. Let all the children of our church be enrolled. The annual payment of 25 cents constitutes membership and entitles the giver to the yearly present from the Society.”\u003c\/p\u003e","brand":"[CDV, missionaries]","offers":[{"title":"Default Title","offer_id":50520116428950,"sku":"Q2484","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-44_b5a36385-04f7-4a06-9a2f-bb73f5818863.jpg?v=1790538411"},{"product_id":"henri-manuel-cabinet-card-photograph-by-of-sarah-bernhardt-les-bouffons","title":"Henri Manuel cabinet card photograph of Sarah Bernhardt in 'Les Bouffons'","description":"\u003cp class=\"p1\"\u003eGilt-edged cabinet card with photographer's blindstamps to the front and ornate lithograph printed by Grimaud; small paper label of Gaston Bernard at center. \"Sarah Bernard\" clumsily penned in upper margin, otherwise Near Fine with minor bumping at the corners.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn uncommon, and uncharacteristically unglamorous, portrait of Sarah Bernhardt in Miguel Zamacoïs' \u003cem\u003eLes Bouffons\u003c\/em\u003e, \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eone of her few comedic performances. \u003c\/span\u003e\u003cspan class=\"iNqyIf\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-copy-service-computed-style='font-family: \"Google Sans\", Roboto, Arial, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);'\u003eHenri Manuel was renowned for portrait photographs of performers and celebrities; he would become the official photographer of France from 1914 to 1944. \u003c\/span\u003e\u003cspan class=\"iNqyIf\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-copy-service-computed-style='font-family: \"Google Sans\", Roboto, Arial, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);'\u003e\u003c\/span\u003eA copy of the photo auctioned in 2013 was inscribed by Bernhardt (transpated from French), \"This photograph is truly ugly, but since you like it, Mademoiselle, I have signed it.\"\u003c\/p\u003e","brand":"[cabinet photo]","offers":[{"title":"Default Title","offer_id":50520116560022,"sku":"Q2485","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-58_1079b0f0-0cef-46a6-8bad-67ab71a41a00.jpg?v=1790524456"},{"product_id":"fitchs-suggestions-for-the-care-of-the-hair","title":"Fitch's Suggestions for the Care of the Hair","description":"\u003cp\u003ePromotional booklet for Fitch's Dandruff Remover Shampoo. Staplebound pictorial wraps, 6 x 2.25 inches; 12, (4) pp. Printed with orange accents and halftone illustrations. VG+ with slight crease.\u003c\/p\u003e\n\u003cp\u003e\"Shampoo King\" Frederick Walter Fitch began making men's shampoo in 1893 and grew into major operation in the first half of the twentieth century. The rear wrap shows the \"Fitch Toilet Preparations\" factory in Des Moines. Additional products include Lemon Cream, Quinine Hair Dressing and Tonique Superbe, and a range of cosmetics and perfumes. Mentions demonstrations at the \"Pageant of Progress\" in Chicago in 1921 (7) and lists Chicago-area suppliers (10-12). Not in OCLC.\u003c\/p\u003e","brand":"[beauty culture] F. W. Fitch","offers":[{"title":"Default Title","offer_id":50520116789398,"sku":"Q2491","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city_cc87f112-4dfe-4450-9e7f-675f62c1adc0.jpg?v=1790534540"},{"product_id":"the-care-of-the-hair","title":"The Care of the Hair","description":"\u003cp\u003ePromoting Packer's Tar Soap and Packer's Liquid Shampoo. Orange printed wraps, 8vomo; 27, (1)pp. Light rubbing and bumping to the yapp edges, else VG+. An attractive volume printed by the Stillson Press with burnt orange accents. Generously illustrated with vignettes of fashionable ladies, including step-by-step illustrations for \"How to Shampoo,\" product packaging and ornamental accents. Addresses dandruff, hair loss, oily\/dry scalps, and even offers special consultation for \"special problems\" by mail. Coupon for a free sample of Packer's Charm lotion loosely inserted. Not in OCLC.\u003c\/p\u003e","brand":"[beauty culture]","offers":[{"title":"Default Title","offer_id":50520116363414,"sku":"Q2492","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-16_19771485-9b21-4ad7-89dc-1b875a5c0019.jpg?v=1790534650"},{"product_id":"1885-1886-greeting-cover-title-booklet-promoting-the-charming-young-american-prima-donna-abbie-carrington","title":"Greeting. 1885. 1886. (Booklet promoting \"The charming young American Prima Donna, Abbie Carrington\")","description":"\u003cp class=\"p1\"\u003ePale pink wraps, 4.5 x 3.75 inches. (4)p with additional text on the inner wraps. Very Good with minor handling wear and discoloration along the inner spine crease. Mid-career promotional booklet touting personal and professional accomplishments of \"The charming young American Prima Donna, Abbie Carrington.” Includes her selected repertoire and quotes of critical acclaim.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAbbie Carrington (1856-1925), born in Fond du Lac, Wisconsin, was a famous soprano. She initially toured with the C. D. Hess' Opera Company, but split with him in 1884 over mismanagement and unpaid wages. Hess turned an otherwise successful tour in Mexico into a financial disaster, and an ongoing quarrel after her return to New York led her to launch the Abbie Carrington Grand Opera Company. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRare and unrecorded—the booklet anticipates 1885-1886 bookings, but Carrington announced in December 1885, \"I have abandoned grand opera for this season, but for this season only... I don't believe I will accept any more engagements necessitating continuous travel or prolonged absence from my home. I am rather tired of it, and prefer to make short trips, if I can so arrange.\" (\u003ci\u003eMilwaukee Journal\u003c\/i\u003e, 12\/2\/1885, p4). 1886, Silas J. Pratt wrote the opera \"Lucille\" for Carrington, slated to be performed in Chicago in November that year, but she postponed the performance, leading to speculation that she was dissatisfied with the work (which she refuted, claiming illness as the cause).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePart of the text was reprinted nearly verbatim in the 1893 collection of biographical sketches edited by Frances Willard and Mary Livermore, \u003ci\u003eA Woman of the Century\u003c\/i\u003e (154-155): \u003ci\u003eIn 1883-84 Miss Carrington visited Mexico and achieved so pronounced a success that in Vera Cruz, Orizaba, Pueblo, Monterey and the City of Mexico she received in writing the thanks of the municipality for the great pleasure she had given their people during her stay among them, and as a declaration of their esteem and appreciation made and presented her subscriptions to the amount of $31,000, to re-visit them the following season with her own company.\u003cbr\u003e\u003cspan class=\"Apple-converted-space\"\u003e   \u003c\/span\u003eMiss Carrington returned to the United States early in April, and immediately sailed for Europe at the solicitation of Manager Ernest Gye, of Covent Garden Theater, London. While there she secured some of the excellent talent that supported her during the following season, commencing in Richmond, Va., going directly South and to Mexico. During 1884-85 the Abbie Carrington Grand Opera Company proved to be one of the most successful of the organizations on the road...\" \u003c\/i\u003e\u003c\/p\u003e","brand":"[Midwestern Prima Donnas]","offers":[{"title":"Default Title","offer_id":50520116625558,"sku":"Q2494","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-92_104b3897-d888-45c1-9114-5f216015b4f6.jpg?v=1790530437"},{"product_id":"philadelphia-college-of-pharmacy-class-of-1905-commencement-program","title":"Philadelphia College of Pharmacy Class of 1905 Commencement Program","description":"\u003cp\u003eEngraved by E. A. Wright, Philadelphia. Heavy embossed wraps, 7.5 x 4.75 inches, bound with a two-tone braided cord and tissue alternating with 6 engraved leaves. Very Good with bumping to corners and quarter-inch dent at the bottom edge, light soil and sunning. Very handsome vignettes of the College facilities and thematic illustrations finely engraved by E. A. Wright, whose business expanded to bank note printing around this time. Not in OCLC.\u003c\/p\u003e","brand":"E. A. Wright (engraver)","offers":[{"title":"Default Title","offer_id":50520116887702,"sku":"Q2510","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city_3057e0bb-a179-44a6-9dca-85c0f0d00968.jpg?v=1790530368"},{"product_id":"b-f-johnson-real-photo-illustrated-circular-to-agents","title":"B. F. Johnson real photo illustrated circular to agents","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\"Dear Friend: How-d' y-do?\" A two-page letter, ditto-printed on watermarked paper, 12 x 8.5 inches. Very Good with light toning and soil at the folds. Featuring an albumen portrait, just under 2 x 1.5 inches, inserted at the sentence, \"It can be done to better advantage, I am sure, if we stand face to face, looking each other in the eye, so here I am, dressed in my best Sunday clothes.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn addition to the graphic novelty, the letter is interesting as a version of \"job training\" for canvassers, who must \"have a warm, earnest description at your tongue's end so you can apply it it in an easy, natural manner.\" \u003cmeta charset=\"utf-8\"\u003eHe names the benefits of canvassing: \"the outdoor exercise that stirs your blood and sends it bounding through your system with new energy and force--contact with others which quickens the intellect and increases your business capacity--opportunities to help and cheer others which will enlarge your sympathies.\"\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eParts of the letter sound like a father trying to motivate a deadbeat son (\u003cmeta charset=\"utf-8\"\u003e\"...somehow what I have said to you in the past hasn't seemed to take hold... I don't think you begin to realize what can be accomplished...\"); but Johnson's youthful portrait seems to be more like a call to arms for the generation of men raised in the aftermath of the Civil War; the literal sons of the Confederacy. \u003cmeta charset=\"utf-8\"\u003e\"The time has come for strong, earnest, organized effort on the part of those who have pluck and energy to win their way...\" \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe message is left broad enough to apply to any canvassing book: \"We have placed in your hands a grand, good book, and one of the strongest sellers ever published in this country.\" At the time, \u003cem\u003eChrist in the Camp; or, Religion in Lee's Army\u003c\/em\u003e was a bestseller; as well as \u003cem\u003eThe Davis Memorial Volume; or, Our Dead President, Jefferson Davis\u003c\/em\u003e. B. F. Johnson became best known for their series of biographical readers featuring Confederate heroes.\u003c\/p\u003e","brand":"[canvassing, book trade]","offers":[{"title":"Default Title","offer_id":50520116396182,"sku":"Q2528","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-67_203e0c9c-feb8-4794-8842-2724da9e9783.jpg?v=1790527703"},{"product_id":"how-i-keep-young-at-my-grand-old-age-cover-title","title":"How I Keep Young, at my grand old age (cover title)","description":"\u003cp class=\"p1\"\u003eWaukesha, Wisconsin: (Edna Wallace Hopper, Inc., ca. 1922-1923). Staplebound, 5 1\/2 x 3 3\/8 inches, 16pp. 6 photos of Hopper and two package illustrations. Light creasing and soil to wraps, internal age toning and some discoloration from staple corrosion. Newspaper archives show the title used for a string of appearances in 1922-1923; the company address moved to Chicago in early 1924. Not recorded in OCLC.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdna Wallace Hopper (ca. 1874-1959) was an American stage and silent film actress, cosmetics entrepreneur, and businesswoman. Known as the \"Eternal Flapper,\" she became as renowned for her uncanny youthfulness as for her theatrical success. By the 1920s, her career shifted to the booming beauty industry. While plastic surgery was becoming more common, especially amongst celebrity entertainers, she was among the first to promote it as a form of cosmetic maintenance, rather than a corrective procedure to be kept hush-hush.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eShe made headlines by filming her own facelift, then hosting ladies-only matinee screenings paired with talks about her beauty secrets. Contemporary newspapers show the present title used as the headline for some of her appearances in 1922-1923, although the booklet fails to mention the role of surgical intervention in maintaining her “perpetual youthfulness.” She does, however, give ample credit to genetics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdna Wallace Hopper, Inc. was founded in Waukesha, Wisc., in 1922, with Otis E. Glidden as the manufacturing partner. Offering \"French discoveries\" to the American woman at accessible prices. The initial line advertised here included Facial Youth, a cleanser; Youth Cream, a skin cream; and White Youth Clay, a complexion clay; Hair Youth, a hair tonic, and two face powders available in \"white, flesh and brunette.\"\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis is likely the earliest publication for the company, and includes her remarks about the origin of the endeavor: \"This is not a pleasant undertaking. I am an artist, a singer, a stage star. Business is not to my liking. I do not like to see Edna Wallace Hopper's name and picture on cosmetic bottles... But there seems to be no other way. I am the example of results.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRef. James Bennett, \u003ca href=\"https:\/\/www.cosmeticsandskin.com\/companies\/edna-wallace-hopper.php\" target=\"_blank\"\u003e\"Edna Wallace Hopper\"\u003c\/a\u003e; \"Edna Wallace Hopper, Actress With Perpetual Youth, Is Dead,\" \u003ci\u003eNew York Times\u003c\/i\u003e, 12\/15\/1959; Joan Renner, “Vintage Powder Room: Edna Wallace Hopper.” LA Magazine, 10\/31\/2013.\u003c\/p\u003e","brand":"Hopper, Edna Wallace","offers":[{"title":"Default Title","offer_id":50520116854934,"sku":"Q2533","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-90_2970befb-ecff-40ae-a651-3b546f467498.jpg?v=1790439560"},{"product_id":"mourning-photograph-baby-funeral-flowers","title":"Mourning photograph \"Baby\" funeral flowers","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eStudio cabinet card from Goodnow, Mediapolis, Iowa, 4.25 x 6.5 inches. Abrasion to verso, identified only \"Theodore\" in pencil. Very Good with light toning and edgewear. \u003c\/p\u003e","brand":"[mourning photography]","offers":[{"title":"Default Title","offer_id":50521765380246,"sku":"Q2483","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0315\/9778\/9229\/files\/haec_city-77_de12edb8-a61f-4f07-a536-3eb5dc43702d.jpg?v=1790523107"}],"url":"https:\/\/alsobooksbooks.com\/collections\/keeping-up-appearances.oembed","provider":"Haec City \/ Also Books","version":"1.0","type":"link"}