Subject: Theater

Booklet containing the Act of Incorporation and By-laws of the Actors' Fund of America, first incorporated in 1882. Printed circa 1885. Lists Israel Fleishman as an actor and member of the Board of Directors. Includes a historical note referencing Fleishman's possible death in the Johnstown Flood (1889) as described in Willis Johnson's book on the subject. Edward Aronson, the publisher, was also a Board member, and Edward Dreifus served as the Fund's physician.

Four-page folded advertising card promoting the play "Sam'l of Posen; The Commercial Drummer" at Redmond's Opera House. The advertisement includes a description of the main character, a balance sheet detailing the character's various activities, and a poem entitled "Der Drummer" by Charles Francis Adams (or possibly Charles Follen Adams). The card is dated September 9th and 10th, 1884, and likely refers to Redmond's Opera House in Grand Rapids, Michigan.

Undated advertisement for the Mishler Theatre in Altoona, Pennsylvania, featuring an image of a woman on stage in barrels. The advertisement also mentions Murray and Mack.

This is an advertisement pamphlet featuring a steel engraving of Sarah Bernhardt, the famous French actress. Created by C. A. Walker, the pamphlet praises Bernhardt's acting talents. It was likely distributed around 1880 in Boston, Massachusetts.

Issue of the American Apollo newspaper from Boston, Massachusetts, published on December 18, 1794. Includes an advertisement for the play "The Jew", which is notable as one of the first English-language plays to portray a Jewish character as the hero. Also contains news from Pittsburgh regarding the Whiskey Rebellion.

Full-page black and white antisemitic cartoon titled "The American Stage...In the Role of the Lion's Bride." The cartoon depicts a lion with a Jewish face controlling the stage. Published January 17, 1901. Geographic context: New York, NY.

A full-page black and white antisemitic cartoon titled "A Distinguished Visitor," protesting alleged Jewish control of the theatre. Published January 2, 1896. The cartoon is contained within a newspaper.

A full-page black and white antisemitic cartoon depicting "Our Old Friend the Octopus" in the role of "The Theatrical Trust." The cartoon features a Jewish face and Jerusalem in the background. Published on December 9, 1897. The cartoon is characterized by its antisemitic imagery and themes.

A full-page black and white antisemitic cartoon from December 9, 1897, depicting the "Hebraization of the American Drama." The cartoon suggests that Jewish people have a significant influence on American theater. The image is from a newspaper. Further details can be found by looking at almost any New York theater.

A bookplate featuring an Art Deco design for the Belasco Theatre, located at 115 West 44th Street in New York City. This is one of nine in a lot. The bookplate was likely created around 1890, based on the provided date. The design incorporates the word "Arts."

A broadside advertising performances at the Boston Museum, likely dating from the 1860s. The broadside features the music of Julius Eichberg, and one of four such broadsides in the collection.

A broadside program for performances at the Boston Museum Theatre, advertising the works of Julius Eichberg. Published in Boston, Massachusetts, on November 21, 1861. The broadside includes biographical information about Eichberg, highlighting his musical career and compositions.

Lithographic broadside advertising the play *The Wife* at the Lyceum Theatre in New York, New York. The broadside likely dates from circa 1885, based on Daniel Frohman's management of the Lyceum Theatre.

Broadside advertising a performance of Verdi's Ernani by the Maretzek Italian Opera Company at the Boston Theatre in Boston, Massachusetts on November 17, 1866. The broadside details the performers and the date of the performance.

This broadside announces a performance of the opera "The Jewess" ("La Juive") at the Theatre Royal, Drury Lane in London, England. The date of the performance is listed as Saturday evening, March 26th, but the year is uncertain; possibilities include 1842 or 1853. The broadside also notes that this is the 8th time the opera was performed in America and provides details about the actors and scenes. It's considered possibly the earliest extant American broadside for this opera. The opera, composed by Fromental Halévy, premiered in Paris in 1835 and was a popular work in the 19th century. The storyline explores the theme of religious tolerance.

Broadside advertising a performance of the play "The Mistletoe Bough" at the Academy of Music in New York City on Tuesday evening, April 10, 1876. The performance was a benefit for the Mount Vernon Endowment Fund. The broadside lists prominent attendees, including Mrs. Uriah Hendricks (Fanny Tobias Hendricks, 1809-1881).

A broadside (7 x 14 inches) advertising the appearance of Miss Sophia Phillips, a celebrated tragic actress, at the Chestnut Street Theatre in Philadelphia on May 20, 1835. The broadside announces her performance in the tragedy *The Gamester* and also advertises a new play, *40 Winks, or, Blunders in a Bedroom*, for subsequent evenings. The broadside is dated 1835.

Song sheet broadside for the song "Courting in the Rain," as sung by Miss Jennie Worrell at the Alhambra Theater in San Francisco, California. Published and sold by I. S. Cohen on Kearny Street, San Francisco. Circa 1860s.

Playbill broadside advertising a performance by the Ullman and Strakosch Opera Company at the Boston Academy of Music on January 15, 1860. The program includes Donizetti's opera, *The Martyrs*.

A broadside program for a performance at the Boston Museum in Boston, Massachusetts on September 30, 1861. The program features performances by Julius Eichberg.

Silk broadside announcing a testimonial tendered to Mrs. Judah by the citizens of San Francisco and the dramatic and musical professions at the California Grand Theater on Wednesday afternoon, June 4, 1879. Sold from the Carroll Collection in 1988.

Cabinet photograph depicting a scene from David Belasco's play *May Blossom* at the Madison Square Theatre in New York, New York, on January 13, 1908. The photograph, possibly a publicity piece, is mounted on board. It is noted for being one of the first plays to command $5.00 tickets.

Cabinet photograph of Adolph Klauber Jr., taken by Star Gallery in St. Louis, Missouri, circa 1885. The photograph is from the collection of Judaica Americana. Adolph Klauber Jr. was the son of Adolph Klauber Sr. and nephew of E. Klauber, who moved to Louisville, Kentucky in 1853. Adolph Klauber Jr. is buried in The Temple Cemetery. He was a trustee of Cong. Adath Israel for over five decades. This should not be confused with the theatrical producer Adolph Klauber of Louisville, KY. Adolph Klauber (1879-1933) was an American drama critic and theatrical producer born in Louisville, Kentucky to Edward and Caroline Brahms Klauber. He worked for the New York Commercial Advertiser, New York Tribune, and the New York Times as a drama critic. He married actress and playwright Jane Cowl and worked with Archibald and Edgar Selwyn of Goldwyn Pictures.

Carte-de-visite (CDV) photograph of Adah Isaacs Menken as Mazeppa. The photograph was taken by Charles D. Fredricks & Co. in New York, New York, in 1863.

Carte-de-visite (CDV) portrait photograph of Madeline Henriques. The imprint on the back of the mount reads "Brady's Broadway & 10th, NYC." Madeline Henriques debuted in "The Model Hypocrite" at Wallack's Theatre in Manhattan in 1860. Her father was David H. Henriques of the West Indies. She married Louis Jennings in 1867.

This book, "Crochets and Quavers: Or Revelations of an Opera Manager in America," by Max Maretzek, offers a personal account of the author's experiences managing opera companies in the United States during the mid-19th century. Published in New York around 1855, the book comprises 346 pages plus advertisements and details Maretzek's involvement with prominent opera houses and companies, including his contributions to the early development of opera in New York City. The book covers a wide range of topics, including music in New York in 1848, the Astor Place Opera House, opera quarrels, the Astor Place Riots, New York fashions, New York critics and criticism, fancy dress balls, Mozart's Don Giovanni, Mexico, opera and bull fights, and Mexican revolutions.

This pamphlet contains the English and Italian texts of "Deborah," a drama in four acts. Adapted expressly for Madame Ristori and her Italian Dramatic Company under the management of J. Grau, the Italian translation is by Sig. Gaetano Cerri. Published in New York in 1866.

Envelope advertising the "Marquis of Michigan" vaudeville show featuring Sam Bernard and a company. The envelope was mailed from Greenfield, Massachusetts to New York, New York on October 1, 1898.

This program details the Fourth Annual Reception and Ball of the employees (attachees) of H.R. Jacobs' Thalia Theatre, held at Everett Hall in New York City on February 28, 1889. The program includes the order of dances, a space for recording dance partners, a list of officers, and a reception committee. The front cover features an embossed red wax seal and the motto "Dum Vivimus, Vivamus" ("While We Live, Let Us Live"). The back cover includes a photograph and facsimile signature of M.J. Jacobs. The event featured music by the Dodsworth Military Band.

Broadside announcing the performance of "Il Trovatore" at the Academy of Music in Philadelphia on February 26, 1877, as part of the 20th anniversary celebration. The performance was conducted by Max Maretzek, featuring Marietta Gazzaniga, Pasquilino Brignoli, and other performers. The broadside lists ticket prices and the location of the box office.

Issue of the *Independent Chronicle and the Universal Advertiser* newspaper published in Boston, Massachusetts on March 14, 1796. This issue contains an advertisement for a showing of the play "The Jew" by Richard Cumberland.

Invitation letter to Erwin Piscator from Gabriel Wechler, National Secretary, inviting him to a National Proclamation Dinner. Dated December 2, 1942. The letter notes Piscator's role as director of the School of the Theater at the New School for Social Research and mentions the Committee for a Jewish Army of Stateless and Palestinian Jews. Piscator signed the letter. The invitation is part of the Ms. Coll. 1410 collection.

Invitation to Erwin Piscator from Pierre van Paassen, National Chairman of the Committee for a Jewish Army of Stateless and Palestinian Jews, to attend the National Proclamation Dinner on August 15, 1942. Piscator, a noted director and the director of the School of the Theater at the New School for Social Research, signed the invitation.

Invitation letter addressed to Dr. Erwin Piscator, a noted director and director of the School of the Theater at the New School for Social Research. The invitation is from Gabriel Wechler, National Secretary, to attend the National Proclamation Dinner. The letter is dated November 25, 1942. Dr. Piscator's signature is present on the letter. The letter also mentions the Committee for a Jewish Army of Stateless and Palestinian Jews.

This is a first edition copy of Gotthard Deutsch's play, *Israel Bruna*, published by R.G. Badger in Boston in 1908. The play is a five-act tragedy based on the life of a 15th-century Jew, Israel Bruna ben Hayyim, from Brunn (Brno), Czech Republic. This particular copy is notable for its provenance: it was inscribed by the author to Kaufman Kohler in September 1908, and later owned by Solomon B. Freehof. The bookplate of Leonard Levy is also present.

A two-page handwritten letter dated October 28, 1946, from Albert Flingcbbavn? to Erwin Piscator. Flingcbbavn? requests acceptance to Piscator's school of drama at the New School for Social Research. The letter mentions Piscator's career beginning in Palestine and his directorship of the school's theater.

A two-page handwritten letter dated October 28, 1946, from Albert Flingcbbavn? to Erwin Piscator. The letter concerns acceptance to Piscator's school of drama at the New School for Social Research. Piscator is identified as a noted director and director of the school's theater. The letter mentions Piscator's career beginning in Palestine.

A letter dated January 13, 1944, from Aron Z. Propes, Executive Director of the Rally of Hope Committee, to Erwin Piscator. The letter discusses a rally held on January 2, 1944, at Manhattan Center. Dr. Piscator was a noted director and the director of the School of the Theater at the New School for Social Research. The letter is from Ms. Coll. 1410, M, Box 8, Folder 18.

Letter from Dr. Felix Boenheim, Secretary of the German American Emergency Conference, to Erwin Piscator, dated April 20, 1942. The letter invites Piscator to be a member of the Advisory Committee. Dr. Piscator was a noted director and the director of the School of the Theater at the New School for Social Research.

A letter dated July 6, 1942, from Herman Finck, Associate Secretary of the Committee of Jewish Writers and Artists, to Erwin Piscator. The letter expresses gratitude to Piscator for speaking at a national reception committee for a delegation from the USSR. Piscator's role as a noted director and director of the theater at the New School for Social Research is also mentioned.

Letter from Herman Finck, Associate Secretary of the National Reception Committee for the Delegation from the USSR, to Erwin Piscator, dated July 6, 1942. The letter expresses thanks from the Committee of Jewish Writers and Artists to Piscator for speaking at a national reception. Piscator is noted as the director of the School of the Theater at the New School for Social Research.

A letter dated December 2, 1942, from Joseph Brainin of the National Reception Committee to Erwin Piscator. The letter requests Piscator's participation in building cultural ties with the USSR. Brainin notes Piscator's position as a noted director and director of the School of the Theater at the New School for Social Research, and mentions the Committee of Jewish Writers and Artists.

Letter dated December 19, 1942, from Lotte Loeb to Erwin Piscator. The letter concerns assistance in getting Hertha Verdier, author of "The Jews of Corfu," into the United States. Piscator is identified as a noted director and the director of the School of the Theater at the New School for Social Research. The Emergency Rescue Committee is also mentioned in connection with this request.

An 8.5" x 14" letter written and signed by Mordecai Manuel Noah on October 22, 1834, in New York City. The letter is a review of the play "The Merchant of Florence," performed at the Bowery Theatre in New York City. The letter was originally folded and placed inside a leather notebook containing the handwritten manuscript of the play (also part of this collection). Noah's multifaceted career as a playwright, theater owner, critic, and newspaper owner suggests various motivations for writing this review. This item is part of a larger collection of materials related to Mordecai Manuel Noah, a prominent Jewish figure in 19th-century America, notable for his attempt to establish a Jewish homeland at Grand Island, Niagara River, named "Ararat."

A letter dated February 20, 1942, from Orson Welles to Erwin Piscator. Welles, on behalf of American Youth for a Free World, invites Piscator to serve on an advisory committee to observe World Youth Week. The letter references Piscator's notable directorship at the New School for Social Research's School of the Theater.

Letter from Orson Welles to Erwin Piscator, dated February 20, 1942, regarding Piscator's potential involvement in the Advisory Committee to American Youth for a Free World to observe World Youth Week. Rabbi Stephen S. Wise was also on the committee. The letter is part of the Ms. Coll. 1410 collection, housed in Box 8, Folder 18.

Letter from Pierre van Paassen, National Chairman of a committee for a Jewish Army of stateless and Palestinian Jews, to Erwin Piscator, noted director and director of the School of the Theater at the New School for Social Research. Van Paassen requests Piscator's signature on a proclamation. Dated September 16, 1942.

A letter dated October 22, 1942, from Pierre van Paassen, National Chairman of a committee for a Jewish army of stateless and Palestinian Jews, to Erwin Piscator. Van Paassen seeks Piscator's approval of a proclamation. Piscator was a noted director and director of the theater at the New School for Social Research. The letter is from Ms. Coll. 1410, M, Box 8, Folder 18.

Letter of thanks to Erwin Piscator from Hattie Grossman, Co-Chair of the Rally of Hope Committee. The rally was held on January 2, 1944, at Manhattan Center. Dr. Piscator was a noted director and the director of the School of the Theater at the New School for Social Research.

A lithograph advertisement for a theatrical production titled "The Fatal Card." The advertisement features vibrant color graphics depicting a scene from the play. Published September 30, 1896. Geographic location: New York, New York.

A photographic portrait of Louise Beaton in character as Rachel Goldstein. The photograph appears to be related to Yiddish theater. Created circa 1910.

A pamphlet of the play "Love Laughs at Locksmiths," a musical farce in two acts by George Colman the Younger. Published by Samuel French at 122 Nassau Street. The cost was 15 cents. The pamphlet includes a scene where Beldaire disguises himself as a Jewish art dealer. Publication date is estimated as circa 1830 based on the publisher's address.

Advertising broadside for the Olympic Theatre in New York City, for the week ending February 7, 1873. Published by the Olympic Theatre.

A pamphlet containing the text of Thomas Dibdin's farce, "The Jew and the Doctor." Published in Philadelphia by T.H. Palmer in 1823. The pamphlet is in 12mo format and its binding is lacking. According to American Imprints 12371, only one copy is known to exist. Dibdin's 1798 English farce was part of a trend toward more sympathetic portrayals of Jewish protagonists at the turn of the 18th century.

A photograph of Al Jolson. The photograph is undated, but based on contextual clues, it's likely to be from around 1918. The image is part of the M Collection at the university library.

A photograph of Al Jolson. The photograph dates from January 1, 1918. The photograph's location is unknown.

This is the first American edition of August von Kotzebue's play, Pizarro, published in 1799 by Naphthali Judah at 47 Water Street, New York. This edition is notable for its rarity; only one other incomplete copy was known to exist at the time of the description, located in a New York City library. The book includes a list of five other works published by Judah. This copy is bound in full leather and is in good condition.

Playbill advertising the performance of "The Jew" at the Theatre Royal, Drury Lane in London, England on June 13, 1797. This playbill is a single sheet and is printed in English. The play was also performed in the USA in 1795.

Broadside playbill advertising the final performance of Mordecai Noah's play, "She Would Be a Soldier, or the Plains of Chippewa," at the Park Theatre in New York City on February 11, 1820. The playbill features headlines commemorating the anniversary of George Washington's birth and includes a full-length portrait of Washington. This is the only known copy of this playbill, advertising Noah's first original play.

Playbill for a performance at the Boston Museum on Monday evening, January 13, 1862, featuring Julius Eichberg as leader and musical director. The broadside advertises the performance and highlights Eichberg's role. Published in Boston, Massachusetts.

Playbill for a performance at the Boston Museum theater on January 16, 1865. The playbill features the name of Julius Eichberg as Music Director four times, highlighting his contributions to the evening's entertainment, including original compositions. The playbill lists various events of the evening and features bold, multi-style typeface. Published in Boston, Massachusetts, United States.

Playbill for a performance of "Yoshe Kalb" by I. J. Singer. The playbill features numerous images. The date of the performance is January 1, 1933.

Playbill for the performance of "Yusef Caramalli, or the Siege of Tripoli," a play written by Mordecai Manuel Noah, at the Park Theatre in New York City on January 20, 1822. The broadside provides a detailed description of each act, including stage scenery. This is considered the only known surviving copy of this playbill.

Mid-19th-century portrait engraving of Daniel E. Bandmann, a renowned German-American Shakespearean actor and Montana rancher. The engraving includes Bandmann's signature affixed to the print. Measures 10" x 12".

Program for a performance of "The Dybbuk" by the Moscow Habima Theatre, presented during its first and only American engagement in 1926. Includes a testimonial by Maxim Gorky on Habima and a review from the New York Times. The program was likely printed in New York City.

Broadside program for a Jewish farce titled "The Kosher Kitchen," performed at the Standard Club Hall in Fort Wayne, Indiana, on January 5, 1891. The program lists male actors with Yiddish names playing Yiddish characters, and indicates a supper is included for 50 cents. The performance begins at 7:30 PM, followed by supper at 11:00 PM.

Four-page program for a production of "The Mikado" at the West Brighton Beach Casino on August 2, 1886. The program features advertisements from Jewish merchants in the Lower East Side, Brooklyn, and New York City. The back page contains a Bloomingdale Brothers advertisement announcing a sale at their 3rd and 56th Street location prior to moving to their new location at 59th and 3rd Avenue.

A play titled "Sabbatai Zevi: A Tragedy in Three Acts," published by the Jewish Publication Society (JPS) in Philadelphia, PA, in 1930. The play is signed by Rabbi Solomon Freehof, a renowned religious leader from Pittsburgh.

Silk broadside (handbill or program) advertising Fanny Davenport's farewell benefit performance of *Lionette, or The Princess de Bagdad* at the Grand Opera House in Cincinnati, Ohio on January 20, 1882. The broadside lists the cast, including George Clarke, Charles Fisher, Lewis Baker, Harry Hawk, and Sallie Cohen. Printed by Commercial Job Rooms Print.

Silk souvenir broadside advertising the final performance of "The Beggar Student" by the McCaull Opera Comique Company at the Casino Theatre in New York, New York on February 2, 1884. The broadside features the name of Rudolph Aronson.

Souvenir program from Nixon's Apollo Theatre in Atlantic City, New Jersey, circa 1910. Features advertisements, including one for Braunstein's Department Store. Contains a 24-page insert serving as a souvenir program for a benefit performance of Elsie Ferguson as Dolly Madison, supporting the building fund of the Bet Israel Congregation. The program includes numerous advertisements from Jewish businesses. Atlantic City was a significant Jewish resort area by 1910.

This 27-page melo-drama, *The Evil Eye*, was written by Jonas Phillips and published in New York by E.B. Clayton in 1831. The book measures 5 3/4 x 3 1/2 inches and is bound in paper boards. Notably, this particular copy is signed by Edgar Allan Poe on the dedication page, making it a significant item for collectors of Poe's memorabilia.

Pamphlet containing the first play published by Mordecai Manuel Noah, though it was never produced. Published in New York City in 1808. This is considered Noah's first published work and the first play written by a Jew in the United States. Approximately 12 copies are known to exist. Exhibited at the Museum of the City of New York's Jewish History Exhibit from May to December 2005. Information from Kestenbaum 6/23/2016 Auction and Singerman 148.

This is a first edition, presentation copy of *The Italian Bride*, a play in five acts written by Samuel Yates Levy for the actress Eliza Logan. Published by John M. Cooper & Co. in Savannah in 1856, this uncommon work was published for private distribution. The copy is inscribed by the author to Alfred J. J. Blois. Samuel Yates Levy (1827-1888) was a Jewish author who later served as a Confederate officer during the American Civil War. Eliza Logan (daughter of Cornelius Logan, a comic actor and playwright) was a popular actress in the antebellum South.

Pamphlet of Richard Cumberland's play, "The Jew, or, Benevolent Hebrew," printed by T. M'Donnel in Dublin in 1794. This comedy, first performed at the Drury Lane Theatre in London in May 1794, is notable for portraying a Jewish character as the hero, a departure from the typical negative portrayals of Jews in earlier dramatic works. The play enjoyed considerable success in Ireland and North America, where it was performed under the revised title "The Benevolent Hebrew." The pamphlet's description highlights the play's mirroring of Shakespeare's *The Merchant of Venice* but with a focus on the protagonist's charitable nature.

First edition of Richard Cumberland's play, *The Jew: A Comedy*, printed in London by C. Dilly in 1794. This play, performed at the Theatre-Royal, Drury-Lane, presents a sympathetic portrayal of Sheva, a wealthy Jewish usurer, challenging conventional antisemitic stereotypes prevalent in English theatre. The play's success and positive reception, including praise in *The Analytical Review*, marked a shift in the representation of Jews on the English stage. This copy is described as having some minor soiling and toning but is otherwise in good condition.

Pamphlet containing two plays: "The Jew," a comedy in five acts by Richard Cumberland, and "Lionel and Clarissa." Both plays feature illustrated title pages. "The Jew" was first performed at the Drury Lane Theatre in London in May 1794 and is significant for its portrayal of a Jewish moneylender as the protagonist. Published circa 1810.

Pamphlet of Richard Cumberland's play, *The Jew: A Comedy*, first performed in England in 1794. This is the first American edition, published circa 1795. The play is notable for its sympathetic portrayal of Sheva, a wealthy Jewish moneylender, as the hero, a rarity in English theatre at the time. The play's success in Great Britain, America, Germany, and Paris is discussed, along with Cumberland's later disappointment at the lack of financial gratitude from the Jewish community. The pamphlet also touches on the play's popularity and its relationship to Shakespeare's *The Merchant of Venice*.

Pamphlet of a play, *The Jewess*, by W.T. Moncrieff. Published in New York by O. Phelan, circa 1840. The pamphlet is described as an "Acting Copy" with stage directions, indicating it was intended for theatrical use. The play was performed in London and New York theatres.

This pamphlet contains the text of John O'Keeffe's farce, *The Little Hunch-Back; or, A Frolic in Bagdad*, as performed at the Theatre Royal, Covent Garden. Published in Dublin in 1790, this is the first Irish edition, following the London edition of 1789. The pamphlet includes a significant addition: a handwritten list of dramatis personae for a 1791 New York performance, possibly the play's American debut. The play features a Jewish character who is depicted as stingy and a storyline involving a Jewish/Christian marriage, making it noteworthy for its representation of Jewish characters in 18th-century theater. The text also mentions an edict that imposed the death penalty for a Jew killing a Muslim.

Set of three trade cards advertising the play "My Partner" during its fourth year. Each card features a full-length portrait of an actor with a quote. Only one card lists the business manager. The reverse of each card contains a full advertisement, with variations among the three. A New York Herald quote is included on at least one card. The cards are undated, but associated metadata suggests a date around 1879.

Trade card advertising three plays at the State Theater, circa 1885. The reverse side features an advertisement. The front of the card depicts a woman's face against a black background. Cast names are featured in the advertisement.

This trade card advertises F. Abraham, a tobacconist located at 25 Court Street, Boston, Massachusetts. [Adelaide Neilson, an English stage actress, appears on the card in a theatrical pose, with a shawl around her shoulders and an outstretched hand. ] The card is printed in black and white with a dark border and a white rectangle in the center. It contains white text on a black background. The back of the card is blank.

This trade card advertises Goldstein & Cohn, manufacturers of theatrical wigs, switches, curls, and chignons. The card features a woman with blonde hair, wearing a costume, and holding a fan. The card is decorated with a border and is designed to look like a stage curtain. On the front, it states that Goldstein & Cohn specializes in human hair and offers wigs for theatrical and masquerade purposes. The card also notes that the company offers wig rentals and face makeup. The back of the card is full of advertisements. [Goldstein & Cohn was located at 822 Market Street, Phelan's Building, San Francisco, California, and the card's design suggests an active business in the late 1800s, contributing to the history of theatrical and stage performance in California.]

This trade card advertises M. Cohn, a clothier located in West Winsted, Connecticut. [The business is associated with Dudley Bock.] The front of the card features a portrait of actress Eliza Stockton. The back of the card provides a full advertisement for M. Cohn.

This trade card advertises the Great Comic Opera Company performing at the Grand Opera House. [The card is identified as being connected to the H.R. Jacobs Thalia Theatre which operated for one year, from 1889-1890. The Thalia Theatre was previously known as the Bowery Theatre, a famous New York theatre that opened in 1826 as the New York Theatre. It burned down in 1828 and was rebuilt as the Bowery Theatre. Over the years, the theatre burned down several times and changed hands several times. In 1879 it became the Thalia Theatre. In 1889-1890 it was subleased to H.R. Jacobs, a Jewish company of actors that performed in Yiddish, as the Thalia previously put on plays in German.] The card depicts a large tulip with a green stem and leaves. The top of the card features the company name, the location of the performance, and the manager's name in bold font. The back of the card is blank.

This trade card, from the Gustave & Charles Frohman theatrical company, features a dramatic illustration on the front. A woman in a white dress kneels with her head in her hands, while a man in a fine suit appears poised to strike her. The image is set against a dark backdrop. Text at the bottom of the card reads, "The Veil for You, The Shroud for Him." The back of the card is blank. A second image from this record shows a similar dark illustration, with a woman and man in period clothing. This record also includes biographical information on Daniel Frohman.

This trade card advertises the Wilbur Opera Company's performance at Jacobs & Proctor's Academy of Music in New York City. The front of the card depicts a hand holding flowers, announcing the opera company's commencement on May 4th. The back of the card features a full advertisement for Jacobs & Proctor's Academy of Music, stating admission is 10 cents. The card's design and illustration style suggest it is from the late 19th century. [The H.R. Jacobs Thalia Theatre, which operated from 1889-1890, was formerly known as the Bowery Theatre, a renowned venue that hosted famous guests such as Charles Dickens, Walt Whitman, and several U.S. Presidents. In 1889-1890, it was subleased to H.R. Jacobs, a Jewish theatre company that performed in Yiddish.]

Circa 1885 trade card advertising Max Fehrmann's performance in the Hebrew play "Uncle Isaac." The card features an illustration of a child smelling a flower with text mentioning McVicker's Theatre and describing Fehrmann as a "Great German-American Dialect Actor."

Trade card advertising McVicker's Theatre in Boston, Massachusetts. The card features an image of a child in bed and text mentioning the German-American dialect actor Max Fehrmann's performance in the play "Uncle Isaac." Circa 1885.

A trade card advertising the Danicheffs' performance at the Union Square Theatre in New York City, circa 1885. The card features the name of the theatre, the date of the performance (April 17th), and an image of a child on a burro (possibly related to the performance). The card is part of a larger collection of ephemera related to 19th-century American commerce.

This trade card advertises the Union Square Theatre and a performance by The Danicheffs. The front of the card depicts a girl riding a donkey. The image is likely illustrative of a scene or character from their act. The back of the card features an advertisement for the performance. The text on the back reads, "THE GREAT UNION THEATRE NEW YORK SUCCESS...THE DANICHEFFS" AT; THE OPERA HOUSE. The style of illustration and the overall presentation of the card suggest a late 19th-century aesthetic.

Trade card advertising Zoe Meleke and her trained canaries. The reverse side features a full advertisement for Gen'l Tom Thumb and his entire troupe at Low's Opera House on November 20. The card is associated with the H.R. Jacobs Thalia Theatre, which operated for one year (1889-1890) and was previously known as the Bowery Theatre. The Bowery Theatre, opened in 1826, was a renowned theater with notable audience members including Charles Dickens, Walt Whitman, and several U.S. Presidents. Circa 1885.

This playbill advertises a performance of "The Two Orphans" at the Walnut Street Theatre in Philadelphia. The front of the program features an image depicting a mother and child, evocative of the play's themes. The text prominently displays the theatre's name and the title of the play. The back of the playbill lists the full cast of the production. The style suggests it is from circa 1885.

Woodblock print depicting Mazeppa bound to the back of a horse, a scene made famous by Ada Menken's stage performance. Published by Turner & Fisher in Philadelphia and New York, circa 1855.

This pamphlet contains the text of the one-act play "Yankee Peddler; or, Old Times in Virginia," written by Morris Barnett. Published in 1853, this edition is rare, with only two copies listed in OCLC. The play offers a glimpse into 19th-century American life and possibly explores themes of the antebellum South.