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Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Brazier, Emma Josephine, 1867-1953
Title:
Emma Josephine Brazier theater and opera scrapbooks
Date [inclusive]:
1858-1918
Call Number:
Ms. Coll. 1149
Extent:
0.75 linear feet (3 boxes)
Language:
English
Language Note:
Primarily English, some French.
Abstract:
Emma Josephine Brazier (1867-1953) was a Philadelphian who followed the theater and opera scene. Her scrapbooks consist of three volumes that contain playbills, theater and opera advertisements, and actors' photographs and cards from 19th centuryand early 20th century in Philadelphia and New York City.
Cite as:
Emma Josephine Brazier theater and opera scrapbooks, 1858-1918, Ms. Coll. 1149, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
PDF Version:

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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
McCredy, Richard Wilson, 1854-1924
Title:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills
Date [bulk]:
1869-1905
Date [inclusive]:
1869-1906
Call Number:
Ms. Coll. 1322
Extent:
0.2 linear foot (1 volume)
Language:
English
Abstract:
The son of Thomas McCredy and Emma Dolores Wilson, Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). A gift by McCredy, this scrapbook consists of a collection of about 750 playbills and programs from Philadelphia and New York City, arranged in chronological order and pasted onto a volume of more than 200 pages.
Cite as:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills, 1869-1906, MS. Coll. 1322, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Title:
"Theatricals in Philadelphia" scrapbooks
Date [bulk]:
1838-1897
Date [inclusive]:
1838-1936
Call Number:
Ms. Coll. 1384
Extent:
6 linear feet (22 volumes)
General Physical Description note:
Two different bindings exist for the scrapbook series. The first, featuring large numbers but no title on the spine, is possibly the one used for all volumes when they were purchased in 1920. Some volumes were subsequently rebound using a new spine bearing the title "Theatricals in Philadelphia". This title was probably taken from the description of the set compiled by auctioneer Stanislaus Henkel prior to the purchase of the collection.
Language:
English
Abstract:
The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage, dating from the second half of the 19th century. These materials mostly relate to theaters and other performing venues located in Philadelphia, although there are also some items from New York, Boston, and other U.S. cities. Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks, this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.
Cite as:
"Theatricals in Philadelphia" scrapbooks, 1838-1936 Ms. Coll. 1384, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
PDF Version:

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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Durang, Charles
Creator:
Westcott, Thompson
Title:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855
Date:
1868
Call Number:
Ms. Coll. 1316
Extent:
2 linear feet (6 volumes)
Language:
English
Abstract:
A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. Westcott's scrapbooks consist of the complete series of the 267 chapters of Charles Durang’s history of theater in Philadelphia between the years 1749 and 1855, published as weekly installments in the Sunday Dispatch from 1854 to 1863. Including page numbers, indexes, and lists of illustrations, the six volumes are interleaved with images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.
Cite as:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855, Ms. Coll. 1316, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
PDF Version:

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Biography/History

Emma Josephine Brazier was born on August 15, 1867 to Joseph Harrison and Ellen Kemball Bartol Brazier. She, her parents, and her brother lived in Philadelphia where her father was employed by the jewelry firm, J.E. Caldwell & Co. of Philadelphia. Her brother, Henry Bartol Brazier, appears to have been an inventor of automobile components.

Little is known of Emma Josephine Brazier except that she was apparently an ardent fan of theater and opera. She appears to have attended many plays and operas in Philadelphia and New York and to have followed the actors and actresses closely. She may have traveled to Europe in 1909. There is no indication that she ever married. She died in Massachusetts on November 14, 1953, at the age of 86.

Biography/History

The son of Thomas McCredy (1826-1856), and Emma Dolores Wilson (1826-1911), Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). Born in Philadelphia, McCredy lived in the city for most of his life, residing in the Rittenhouse Square area. He enrolled as a student in the Arts department in 1870, but did not complete his degree and left college at the end of his freshman year, in 1871. Over the the following decades, however, he remained involved with many organizations connected with the University of Pennsylvania including the Delta Sigma fraternity (Delta chapter), for which he served as secretary. In the 1890s, he was a board member of the Penn Athletic Association, and was affiliated with the University Barge and Corinthians Yacht Clubs. He married Frances Hart Ruckman (b. 1868) on January 16, 1909. The couple had no children, and divided their time between their residence in Philadelphia and their summer home in Cape May, New Jersey. Richard Wilson and Frances Ruckman McCredy are buried in the Doylestown Cemetery (Doylestown, Pennsylvania).

McCredy donated this scrapbook to Penn in March 1917. It includes a collection of playbills dated from 1869 to 1905, and mostly from Philadelphia and New York City. The authorship of the volume is uncertain. However, a comparison between the handwritten notes in the scrapbook and the hand who filled out McCredy’s alumnus form – currently held by the University of Pennsylvania Records Center, and possibly compiled by McCredy himself – shows some similarities, and indicates that McCredy may have assembled the volume himself.

Biography/History

The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage. These materials all date from the second half of the 19th century, and are mostly related to theaters and other performing venues located in Philadelphia. However, the scrapbooks also contain a smaller number of items from New York, Boston, and other U.S. cities. In 1936, all the items included in the scrapbooks were listed by title in a typewritten index in 7 volumes, which is also part of the collection.

The 15-volume scrapbook set joined the special collections of the University of Pennsylvania in May 1920, after it was purchased from Philadelphia auctioneer Stanislaus Vincent Henkels. Funding for the purchase came from a special fund established by Morris Lewis Clothier (1869-1947), a trustee of the University of Pennsylvania. The set became part of what was then known as the Clothier Collection of American Drama, an important theater collection that would be expanded for several decades under the supervision of University of Pennsylvania English professor Arthur Hobson Quinn (1875-1960). Quinn also oversaw the compilation of the title index, which was completed in 1936 by an employee of the Works Progress Administration. It was probably at this time that numbers were penciled on the margin of each page.

The creator of the scrapbooks is unknown, and was probably unknown at the time of the acquisition. A clipping pasted on the first page of volume 1, possibly excerpted from the original auction catalog, states that “somebody has devoted almost a lifetime in making this collection,” but does not provide any indication as to who assembled the scrapbooks. Annotations in one or more hands can be found throughout the volumes. Some of the materials included in the scrapbooks were probably donated to the collection’s creator. Volume 7 includes a letter from the Wallack Theatre (New York) dated 1886 and addressed to "Mr. Siegel," while a note by "G. N. Galloway" is annotated on the margin of a program included in volume 14. It is possible – although not certain – that one of these names corresponds to the person who assembled the volumes.

Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks – from opera, tragedy, and instrumental music to minstrel shows, vaudeville, and side shows – this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.

Biography/History

A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. He studied English at the University of Pennsylvania, and later completed the study of law under Henry M. Phillips, until he was admitted to the bar in 1841. Westcott began his writing career with humorous pieces published under the name "Joe Miller Jr." in newspapers such as St. Louis Reveille,  New York Mirror, and  Knickerbocker Magazine. In 1841, he officially entered journalism and became law reporter for the  Public Ledger. A few years later, in 1848, John Lawlor, Robert Everett, and Edward J. Hincken, founders of the  Sunday Dispatch, offered Westcott a position as main editor of their newspaper. Westcott worked for the  Dispatch for thirty-six years, until his retirement in 1884. In the meantime, he collaborated as a writer or editor with a number of other city papers and publications, including  The Philadelphia Inquirer (1863-1871),  Commercial List, the  Old Franklin Almanac, and the  Public Ledger Almanac.

In addition to his career as a journalist, Westcott established himself as a local historian, primarily through his series on the history of Philadelphia, which he published weekly in the Sunday Dispatch between 1867 and 1884. In 1884, he published the three-volume book  History of Philadelphia, 1609-1884, which he co-edited with another prolific historian of the time, John Thomas Scharf (1843-1898). Westcott was the author of several other works, including  Life of John Fitch the Inventor of the Steam-Boat (1857),  Taxpayer’s Guide (1864),  Names of persons who took the oath of allegiance to the State of Pennsylvania, Between the Years 1777 and 1789, with a History of the "Test laws" of Pennsylvania (1865),  Chronicles of the Great Rebellion Against the United States of America (1867),  Centennial Portfolio (1876), and  The Historic Mansions and Buildings of Philadelphia: with some notice of their owners and occupants (1877).

Thomas Westcott compiled a set of scrapbooks which includes the complete series of the 267 chapters of Charles Durang's history of theater in Philadelphia between the years 1749 and 1855. These chapters appeared in three different series in the weekly newspaper Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to April 19, 1863 (Vol. XV, No. 52). Primarily active as a dancer, actor, and ballet master, Charles Durang (1794-1870) drew upon his life-long experience with the Philadelphia theatrical scene to write a historical work after his retirement from the stage in 1853. Partly based upon the notes of his father John Durang (1768-1822), America’s first professional dancer; and integrating notes of the editors of the  Dispatch (including, probably, Westcott himself), Durang’s history was never published in book form. In 1868, Westcott arranged the clippings from the  Dispatch in a six-volume set of scrapbooks titled "History of the Philadelphia Stage, Between the Years 1749 and 1855." The scrapbooks, which include page numbers, indexes, and lists of illustrations, are interleaved with hundreds of images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.

Upon Westcott’s death in 1888, historian John Thomas Scharf, who had co-edited with Westcott the History of Philadelphia, 1609-1884 (1884), acquired a large portion of Westcott’s papers and collections. In 1891, Scharf gave them to Johns Hopkins University, as part of a larger donation of archival material mostly relating to the history of the southern states. Westcott’s set of scrapbooks was probably part of that donation, as “Durang’s History of the Philadelphia Stage” was explicitly mentioned by Scharf in the accompanying letter. However, in June 1915, the scrapbooks were sold in Philadelphia by auctioneer S.V. Henkel. At the beginning of the following year, Westcott’s scrapbooks joined the University of Pennsylvania special collections, as a gift of one of the university trustees, businessman Morris Lewis Clothier (1869-1947). Especially after their conversion to microfilm in 1956, Westcott’s six scrapbooks have been widely consulted and referenced by theater, music and cultural historians, not only for their textual context, but also for their extremely rich iconographic and documentary apparatus. A volume VII, microfilmed with the six Durang/Westcott scrapbooks, contained playbills and other material post-dating and not related to Durang - it is not covered here.

Scope and Contents

The Emma Josephine Brazier theater and opera scrapbooks consists of three volumes that date between 1858 and 1918. They contain playbills and advertisements from theaters and opera houses primarily in Philadelphia and New York, as well as cards and photographs of the actors and actresses that performed in them.

"The Stage 1" scrapbook primarily focuses on Philadelphia theater in the mid 19th century. Several theaters are highlighted in this series of newspaper clippings and playbills, including Wheatley and Clark’s Arch Street Theater, Wallack’s Theatre, Laura Keene’s Theater, and Walnut Street Theater. In addition to information on the theaters themselves are several cabinet cards with actors’ photographs and names. These actors include Emma Taylor, John Drew, John Sleeper Clark, Laura Keene, William Wheatley, and Edwin Booth. Researchers should be aware that many of the playbills in this volume date from before Emma Josephine Brazier's birth. However, it is clear by construction that the volume was not compiled until the late 1890s or even the early 1900s.

The second scrapbook, which is untitled, primarily focuses on opera in Philadelphia and New York City, with an emphasis on its relationship with opera in London and Paris and dates from 1884 to 1909. It houses dozens of photographs of opera singers, including Marcella Sembrich, Emil Fischer, Marie Van Zandt, Zelie de Lussan, Emma Nevada, Emma Eames, Victor Maurel, and Nellie Melba. It also contains numerous playbills from the Metropolitan Opera, an opera house in which all of the above listed singers performed. In addition to that commonality, these singers all spent part of their careers in either London or Paris as well as in either Philadelphia or New York City. One letter addressed to Emma Josephine Brazier indicates that she dined with Dr. R. and Emma Nevada Palmer in 1895.

The final scrapbook's spine reads "Dayl's Company," however, it is almost certain that it should read "Daly's Company." This volume, dating from 1883 to 1918, contains information on both opera houses and theaters in Philadelphia and New York City. Of note is the extensive information on Augustin Daly, his funeral, and the dismantling of his house. Daly, a playwright, opened a successful theater in New York City in 1879. Many of the most notable actors and actresses of the time attributed their success to Daly, including John Drew Jr., Maurice Barrymore, and Fanny Davenport. This volume contains many playbills with a penciled notation, "Daly's Company." In addition, researchers will find many photographs and a fair amount of published information on Mary Anderson, Fanny Davenport, John Drew, George Grossman, Marie Jansen, Clara Morris, Cora Potter, Ada Rehan, Vesta Tilley, and Francis Wilson. This volume includes two letters to Emma Josephine Brazier, one from Ada Rehan thanking her for flowers, and one, dated 1918, from an unidentified writer thanking her for an evening.

All three of these volumes contain playbills and advertisements from theaters and opera houses; clippings from newspapers, magazines, and theatrical publications; collectible cards from theaters; and cabinet cards (some of which are hand-colored and a few of which are signed by the actors or actresses). In many cases, information about a specific actor or actress is grouped together, so that a researcher may find photographs, clippings, biographical sketches, and even writings by actors or actresses on several adjacent pages.

Scope and Contents

This scrapbook of playbills consists of a collection of about 750 playbills and programs from Philadelphia and New York City, pasted into or laid in a volume of more than 200 unnumbered pages. The playbills are mostly arranged in chronological order, from 1869 to 1905, although a small number of loose playbills are enclosed as single documents in a pocket created between two pages at the end of the volume. Given the extensive range of theatrical genres documented by the playbills, and the consistency in which this material is presented, the scrapbook works as a useful resource to better understand the evolution of the theatrical scene of two important cultural centers on the East Coast.

The repertoire covered by the playbills includes almost every form of theatrical entertainment—comedies, Shakespeare plays, melodramas, vaudeville shows, tragedies, opera bouffe, operetta, French, Italian, and German opera, dime theaters, amateur performances, minstrel shows, and early cinema. However, the majority of playbills is devoted to comedy, operettas, and opera bouffe, and features some among the most celebrated artists of the time: Lydia Thompson, John Sleeper Clarke, Frank Maguire Mayo, Marie Aimée, Edward Askew Sothern, Joseph Jefferson, Joseph K. Emmett, and Lotta Crabtree. Other prominent personalities mentioned in the playbills include, among others, actors Henry Irving, Louisa Lane Drew, Robert Bruce Mantell, Helena Modjeska, Richard Mansfield, Julia Marlowe, Ellen Terry, Sarah Bernhardt, Clara Morris, Olga Nethersole, Maurice Barrymore, Caroline Louise Dudley (Mrs. Leslie Carter), Ada Rehan, Fanny Janauschek, Edward Loomis Davenport, Fanny Davenport, Tommaso Salvini, Lillie Langtry, and Minnie Maddern Fiske, and singers Christina Nilsson, Italo Campanini, Luigi Ravelli, Adelina Patti, Nellie Melba, Sofia Scalchi, Emma Calvé, Lillian Nordica, Emma Earnes, Marcella Sembrich, Emilio De Marchi, and Johanna Gadski.

The wide number of institutions represented in the volume testifies of the thriving theatrical life of Philadelphia and New York City in those decades. The list of Philadelphia theaters includes the Arch Street Theatre, the Chestnut Street Theatre, the Walnut Street Theatre, Fox’s American Theatre (later known as Central Theatre and Grand Central Variety Theatre), the Seventh Street Theatre, the Academy of Music, the Arch Street Opera House, the Eleventh Street Opera House, the Horticultural Hall, the New National Theatre (later named Mortimer’s Varieties), the New Philadelphia Varieties, the Broad Street Theatre (later known as Lyceum Theatre, Haverly’s Theatre, and McCaull Opera House), the Haydn and Handel Hall, the Alhambra Theatre, the North Broad Street Theatre, the International Comique, the Temple Theatre, B. F. Keith’s Bijou Theatre, the Girard Avenue Theatre, the Garrick Theatre, the Arcade Garden, Dougherty’s Alhambra Palace, the Olympic Theatre, the Grand Sultan Divan, and Enoch’s Varieties. The scrapbooks also contains a smaller number of playbills from theaters in New York City, such as the Metropolitan Opera House, Booth’s Theatre, Wallack’s Theatre, Daly’s Theatre, Union Square Theatre, The Casino, and Belasco Theatre. A few dime museum playbills (especially the New American Museum and Menagerie on the northwest corner of Arch and 9th Street, later also known as Simpson’s Museum and Menagerie, and as Philadelphia Museum) can also be found in the volume, providing precious information on this form of popular entertainment from the late 1800s. Another playbill from 1897 announces an early exhibition of Lumière’s cinematograph at the B. F. Keith’s Bijou Theatre, the first Philadelphia theater to show motion pictures. Finally, the scrapbooks contains programs and playbills of amateur performances organized by the Mask and Wig Club, and by other associations affiliated with the University of Pennsylvania.

Scope and Contents

The collection is divided into two series. Series I includes the set of 15 scrapbooks, and series II consists of the 7 volumes of the title index.

The materials included in the scrapbooks are not arranged following a precise order, which makes the consultation of these volumes potentially challenging. However, a few guiding principles could be identified. In most of the scrapbooks (volumes 1-11 and 13) the materials are grouped by artist or theatrical company, although not in alphabetical or chronological order. Some volumes are especially (although not exclusively) dedicated to specific genres. Volume 1 largely relates to opera; volume 8 focuses on comedy, comic opera, and burlesque; volumes 12 and 13 are dedicated to minstrel shows, circus, magic shows, and burlesque; and volume 15 includes materials on side shows and other exhibits of artifacts and technological curiosities. Volume 14 is exclusively dedicated to the Philadelphia theatrical scene during the Civil War years (1861-1865), and the materials that it contains are organized by performing venue.

Researchers interested in a particular production are encouraged to consult the title index for the scrapbooks, which is located in series II. Because it is organized by title, however, the index is less helpful to locate specific artists, performing venues, articles, or other items in the scrapbook set. For these and other research criteria, researchers should consult the full description of each scrapbook, which can be found at the volume level in the finding aid. Each description include a list of the most prominent artists or theatrical companies featured in the volume, a list of performing venues, and a summary of notable articles, images, programs, playbills, and other materials found in the scrapbook.

Scope and Contents

Durang's history of Philadelphia theater was published in the Sunday Dispatch in three series, each bearing a different title:  The Philadelphia Stage: From 1749 to 1821 (first series, 75 installments published from May 7, 1854 to October 7, 1855);  The Philadelphia Stage From 1749 to 1855 (second series, 56 installments published from June 29, 1856 to August 2, 1857); and  The Philadelphia Stage From the Year 1749 to the Year 1855 (third series, 136 installments published from July 8, 1860 to April 19, 1863). The three series were distributed by Westcott among the six volumes so that each volume contains a similar number of pages. Volume I covers the years from 1749 to 1817-18; volume II from 1817-18 to 1826-27; volume III from 1826-27 to 1831-32; volume IV from 1831-32 to 1841-42; volume V from 1841-42 to 1849-1850; and volume VI from 1849-50 to 1855. All the scrapbooks include page numbers, a handwritten index, and a list of portraits. Westcott inserted portraits and other images, as well as personal correspondence, playbills, and additional clippings relating to Durang's chapters, resulting in a remarkably thorough representation of the history of Philadelphia's theater history. The chronological order in which Durang presents the historical events, combined with the author’s limited use of narrative flashbacks and flash-forwards, makes the indexes useful to locate any mention or image of a given figure or institution active or relevant in a specific period of time. Please see the container list for more detailed information on each volume.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2015 November 16

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  September 7, 2017

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2019 May 7

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2017 August 25

Finding Aid Author

Finding aid prepared by Kelin Baldridge

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Access Restrictions

Access to this item is subject to staff review. Please contact rbml@pobox.upenn.edu in order to consult with a curator.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Richard Wilson McCredy, March 20, 1917

Source of Acquisition

Sold by Stanislaus Vincent Henkels on May 5, 1920 (acquired through the Morris L. Clothier Fund).

Source of Acquisition

Gift of Morris L. Clothier, January 21, 1916

Processing Information note

Formerly Dewey Folio 812H T342 and 812H T342 Ind.

Processing Information note

Formerly Dewey 812 P54D.

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Related Materials

Related Archival Materials note

At Maryland Historical Society:

J. Thomas Scharf Collection, 1730s-1892, MS 1999, including a portion of Thompson Westcott's papers.

Other similar but less inclusive scrapbooks of Durang's history can be found at the Library Company of Philadelphia, the Historical Society of Pennsylvania, the Harvard Theater Collection, the University of Texas at Austin, the Columbia University Library, and at the Washington State University Library (Robert Cushman Butler Collection).

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Cabinet photographs
  • Clippings (information artifacts)
  • Scrapbooks
Subject(s)
  • Actors
  • Musical theater
  • Opera
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--Pennsylvania--Philadelphia--20th century
  • Theater--United States--19th century
  • Theater--United States--20th century

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Mask and Wig Club.
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • McCredy, Richard Wilson, 1854-1924
Subject(s)
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Opera House (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Clippings
  • Engravings (prints)
  • Portraits
  • Posters
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)
Subject(s)
  • Actors
  • Actresses
  • Circus--History
  • Freak shows
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--United States
  • Theater--United States--History--19th century
  • Vaudeville

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Autographs (manuscripts)
  • Correspondence
  • Engravings (prints)
  • Scrapbooks
Geographic Name(s)
  • Philadelphia (Pa.)--History
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • Clothier, Morris L. (Morris Lewis), 1868-
Subject(s)
  • Actors
  • Actors--Portraits
  • Circus--History
  • Drama--History and criticism
  • Performing arts
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States--History--19th century

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Collection Inventory

Box

"The Stage 1," theater scrapbook, 1858-1902.

1

Opera scrapbook, 1884-1909.

2

"Dayl's Company," (should probably be "Daly's Company"), theater and opera scrapbook, 1883-1918.

3

Collection Inventory

Volume

Scrapbook of Philadelphia and New York City playbills, 1869-1906.

1

Collection Inventory

Series I. "Theatricals in Philadelphia".

Volume
Volume 1 (generally focusing on opera), 1850-1896.
Scope and Contents note

Volume 1 includes articles, portraits, and programs relating to many celebrated figures from opera and theater. Among them are Jenny Lind (pages 1-8; 10-23); Charles R. Thorne and Richard Wagner (8-10); Louis-Antoine Jullien (24-26); Adelina Patti (27-36; 42-70); Carlotta Patti (38-41; 77-79); Christine Nilsson (75-77; 81-87); Annie Louise Cary (85-87); Minnie Hauk (99-101); Pauline Lucca (102-103); Susan Galton (113-117); Sarah Smith (Mrs. Bartley) (122); Genevieve Ward (127-131); Mary Frances Scott-Siddons (137-147); Emma and Daniel Waller (158-161), Jean Margaret Davenport (168-171); Helena Modjeska (172-175); Fanny Janauschek (178-189); Helen Maud Holt (Mrs. Beerbohm Tree) (191-195); Madge Lessing (197); Merri Osborne (198); Carrie Perkins (198); Adelaide Ristori (199-202); Rosina Vokes, Victoria Vokes, Jessie Vokes, Frederick Vokes, and Fawdon Vokes (212-218); Edward Smith Willard (222); Annie Yeamans (223); Lydia Thompson (227-240); Dion Boucicault and Agnes Robertson (241-271); Maggie Moore and James Cassius Williamson (283); and Marie Aimee (285-287).

Notable items found in the volume include images of the interior and exterior of Castle Garden (New York) in the early 1850s (page 4); a large cartoon featuring the most famous European singers and actors of the 1860s-1870s returning to Europe after their American successes (44-45); an engraving of a gala performance of Gounod’s opera Faust at the Academy of Music (New York) in honor of grand duke Alexei of Russia (1871) (92-93); a poster promoting the beginning of an Italian opera season (probably the Mapleson Opera Company) and including caricatures of Minnie Hauk, Luigi Arditi, Etelka Gerster, Italo Campanini, Allan James Foley (Signor Foli), Sig. Frapolli, and Mlle. Pisani (96-97); images of the interior of Park Theatre (New York) (109); a large image showing the exterior of Union Square Theatre (New York) surrounded by portraits of famous actors, actresses, and performers who appeared on its stage (123-126); sketches depicting scenes from the drama  Forget Me Not (by H. C. Merivale and F. C. Grove), featuring Genevieve Ward in the main role (129, 132); and two playbills from the Ninth and Arch Dime Museum (Philadelphia), starring "Herr Winkelmann, the Great Austrian Giant" (290), and "Elder Joshua Baker and His Big Mormon Family comprising three wives and ten children" (291) (both playbills are dated 1887).

The volume includes playbills from the following Philadelphia theaters: Arch Street Theatre, Chestnut Street Theatre, Academy of Music, North Broad Street Theatre, and the Ninth and Arch Dime Museum. There is also a limited number of playbills from the Park Theatre (New York).

1
Volume 2, 1856-1897.
Scope and Contents note

About a third of the materials included in volume 2 are devoted to members of the Drew family of actors: John Drew (pages 140-147, 190-191, 196-199, 202-207, 209-210, 243); Louisa Lane Drew (107-161, 176-180, 182-186, 223-224, 227); Frank Drew (187-189, 208, 211-214); and Georgie Drew Barrymore (225-226). Other notable figures include John McCullough (1-80); John Sleeper Clarke (81-92); Creston Clarke (93-100); the Vokes family (162-163); Emily Eliza Saunders, Lady Don (164-165); Charlotte Thompson (166-169); Sam Hemple (170-171); Julia Dean (172-173); Catherine (Kate) Reignolds (174-175); Edwin Forrest (181); Eugène Godard (192-195, 216-217); Elizabeth Crocker (D. P. ) Bowers (200); Polly Marshall (218-221); Otis Skinner (237); Sarah Truax (237); Bob Hilliard (238); Amelia Bingham (238); James K. Hackett (239); Mary Mannering (239); Frank Mills (239); Marie Shotwell (239); Edward Hugh Sothern (240); Marion Giroux (240, 243); Maud Adams (243); Ethel Barrymore (243); John Gibbs Gilbert (244-319); and John Collins (322-335).

Notable additional items found in the volume include a small number of images relating to the 1883 dramatic festival in Cincinnati, Ohio (pages 15-17); a picture of the exterior of the Walnut Street Theatre (92); and multiple programs of William Gillette's comedy A Train Wreck, produced at the Arch Street Theatre in 1889 (the programs also include sketches of scenes from the play) (228-235).

The volume contains programs and playbills from many Philadelphia theaters, including Mrs. John Drew's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the Grand Opera House, the Broad Street Theater, and the Walnut Street Theatre.

2
Volume 3, 1857-1888.
Scope and Contents note

Volume 3 is mostly dedicated to comedy, burlesque, circus, and minstrel shows, but it also includes newspaper clippings and pictures on other subjects. Notable figures of the stage featured in the volume include William Warren (pages 1-10); William Davidge (11-15); Antonio Blitz (21); Alice Oates (Mrs. Jas. A. Oates) (30-34); Hugh Reginald Haweis (53); Frank Brower (55-57); Jennie, Irene, and Sophie Worrell (59); Young America (dancer and acrobat) (60-61); John “Jolly” Nash (69); George L. Fox (91-97); John Drew, Louise Lane Drew, and Frank Drew (140-145); Eugène Godard (146-147); George Christy (148-149); Miss E. Kimberly (Shakespearian actress) (150-154); Wesley Barmore (also known as S. E. Harris) (156-161, 170-174); Adelina Patti (176-177); Annie Goodall (182); Robert Craig (183-185); and Alfred S. Phillips (189-191).

The volume also contains a large number of newspaper articles on several topics, such as the “rise and fall” of the New York Crystal Palace (1853-1858) (pages 17-19), the first elephant in the United States (18), the history of burlesque (20), Chinese actors in the United States (22-23), freak shows (24), the art of making figureheads for vessels (27), circus in the Unites States (19-20, 37-38), the selection process for those being hired in dime museums (54), early American plays (175), and big California trees (especially sequoias) (180-181). The scrapbook also includes numerous articles, engravings, and playbills relating with theater fires in Philadelphia, New York, Brooklyn, and London (71-80, 85-88, 115-119, 125-137). Theaters mentioned include the American Theatre, the Central Theatre, the International Comique, and the Temple Theatre (Philadelphia); the Butler's Theatre (New York); the Brooklyn Theatre (Brooklyn); and the Exeter Theatre (London). An article with a list of all theater fires in Philadelphia from 1798 to 1888 can be found on page 76.

Enclosed in the volume are also a set of sketches depicting characters and costumes in the opéra bouffe La Grande-Duchesse de Gérolstein, produced in New York by Batesman's Parisian Opera Troupe (pages 99-100); and additional clippings and engravings (including images of play scenes and backstage) relating to the "theatrical extravaganza"  The White Fawn (with Jarrett and Palmer's combined Viennoise & Parisian Ballet Troupes, including Mlle. Marietta Bonfanti), as produced at Chestnut Street Theatre (circa 1868) (104-110). The scrapbook concludes with a set of engravings depicting scenes from Shakespeare's plays (199-217).

The volume contains playbills from many theaters in Philadelphia, New York, Boston, and other cities, including Col. Wood’s Museum (9th and Arch), the Continental Theatre, the New 11th St. Opera House, the New American Theatre, Fox's American Theatre, John Drew's National Theatre, Welch's National Theatre, and Sanford's Opera House (Philadelphia); Butler's American Theatre (New York); the Boston Museum (Boston); and the Grand Opera House of London, Ontario.

3
Volume 4, 1838-1889.
Scope and Contents note

Volume 4 contains engravings, playbills, and articles relating to celebrated comedians, tragic actors and actresses, singers, and acrobats, including Joseph Jefferson (pages 6-20, 23-29); Laura Keene (21); Edward Loomis Davenport (34-60); John Baldwin Buckstone (38); Fanny Vining Davenport (61-86); Peter Richings and Caroline Richings (88-125); Kate Josephine Bateman and Ellen Bateman (129-131); Charles Dillon (132-135); Charles Walter Couldock (136-142); Maggie Mitchell (144-160); James Edward Murdoch (163-206); Gabriel Ravel and Francois Ravel (208-243); McKean Buchanan (244-245); Marian Russell (Mrs. George Farren) and Fanny Fitz Farren (246-252); James Henry Hackett (253-261, 295); and Charles Blondin (262-294).

Additional items include images of several theaters, including the New Casino (New York) (page 84), the Metropolitan Opera House (New York) (84), the Chestnut Street Theatre (155, 168, 176, 206), and the South Broad Street Theatre (155). Also included in the volume is a rare color playbill of the comic opera Electric Light (words by William B. Hazelton and Edward Spencer, music by William Wallace Furst), staged in 1879 at the Broad Street Theatre (Philadelphia) (120-122).

The volume contains playbills from theaters in Philadelphia, New York, and other cities, including the Walnut Street Theatre, the Broad Street Theatre, the Chestnut Street Theatre, Mrs. John Drew's Arch Street Theatre, Wheatley's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the National Theatre, the American Academy of Music, and the Continental Theatre (Philadelphia); Laura Keene's Theatre, the Olympic Theatre, and the Union Square Theatre (New York); and the Citizens' Theatre (Vicksburg, Mississippi).

4
Volume 5, 1872-1897.
Scope and Contents note

Volume 5 contains playbills, articles, portraits, engravings, and other materials relating to several notable figures of the stage, including Carmen Dauset Moreno (Carmencita) (pages 1-5); Eleanore Carey (6-9); John H. Fitzpatrick (10-12); Max Figman (13); Julia Marlowe (16-36); Robert Taber (21-22, 24-25, 35-36); Benoît-Constant Coquelin (39-40, 42); Jane Hading (40-41); Rosina Vokes (43-48); Victoria Vokes (49-50); Helen Barry (51-54); Thomas W. Keene (55-59); George S. Knight and Sophie Worrell (Mrs. George S. Knight) (61-67); James O’Neill (70-89); Henry Miller (90-91); Blanche Walsch (90-91, 97); Marie Wainwright (90-96); Louis James (92-95); Helen Dauvray (97); William Faversham (99); Millie Maddern (99-102); Marie Jansen (115-122); Theresa Vaughn (123-124); Vernona Jarbeau (124-126); Ada Gray (127-129); Louise Allen (130-131); Emily Rigl (133); William Terriss (143-148); Jessie Milward (143-148); George Richards (149-156); Eugene Canfield (149-156); Tim Murphy (157); Dorothy Sherrod (157); Peggy Logan (159-161); Frank I. Frayne (162-166); Pete F. Baker (168-169); Ray Maskell (171); Frederick Paulding (172); Julia McKay (180); Augustus Cook (181-187); and Joseph Haworth (187).

The volume also contains images of scenes, cards, and other promotional materials relating to the following plays: Victorien Sardou's Dolores (including large portraits of Eleanore Carey and John H. Fitzpatrick) (pages 6-7, 10-12, 14-15); Augustus Thomas's play  A Night's Frolic, starring Halen Barry (55); the play  Baron Rudolph, starring George S. Knight and Sophie Worrell (Mrs. George S. Knight) (64); Charles Fechter's adaptation of Alexandre Dumas's play  Monte-Cristo, starring James O’Neil (Chicago, Grand Opera House, 1883) (80-89); Elliot Barnes’s play  Only a Farmer’s Daughter (135-140); the melodrama  Roger La Honte, produced by H.C. Miner and adapted from the novel of the same name by Jules Mary (145-148); the comedy  A Midnight Bell, written by Charles H. Hoyt and performed at the Chestnut Street Theatre in 1892 (151-152); the "operatic extravaganza"  Two Old Cronies (performed at Mrs. John Drew’s Arch Street Theatre in 1890) (175-179); George R. Sims and Henry Pettitt's drama  Harbor Lights (181-184); George R. Sims's play  Lights of London (188-189); William Irving Paulding's comedy  The Struggle of Life (172); and the comedy  A Breezy Time, by E. B. Fitz and Dan Shelby (199-202).

Included in the volume are also a few rare stickers advertising the play Spider and the Fly, by Robert Fraser and William Gill (also performed at Mrs. John Drew's Arch Street Theatre, circa 1890) (page 131). Other notable items include an image of the exterior of New Park Theatre (Philadelphia) (2); a long article on David Belasco and Franklin Fyles' play  The Girl I Left Behind Me (also performed at the Chestnut Street Theatre, 1894) (104-113); a program of the inaugural performance of the New Standard Theatre (Philadelphia) (1888), including a ticket stub (99); and diagrams of Haverly's Theatre (Philadelphia) (4) and of Chestnut Street Opera House in 1882 (194).

Researchers will also find in the volume several playbills from theaters in Philadelphia (New Park Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Herrmann's Theatre, Broad Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Standard Theatre, Continental Theatre, H. R. Jacobs' Lyceum Theatre, Forepaugh’s Theatre, and Haverly’s Theatre), New York (Star Theatre, Tony Pastor’s 14th Street Theatre), Boston (Windsor Theatre, Globe Theatre, and Boston Museum), Chicago (Grand Opera House), and New Orleans (Academy of Music).

5
Volume 6, 1872-1896.
Scope and Contents note

Volume 6 includes playbills, articles, portraits, engravings, and other materials relating to the following theatrical figures: Mary Anderson (pages 5-42); Emma Abbott (38); Alessandro Salvini (44); Tommaso Salvini (45-46): Ernesto Rossi (47-51); Clara Morris (52-64); Kate Claxton (62, 64-65); Fanny Morant (64-65); Ann Gilbert (Mrs. G. H. Gilbert) (64-65); James Lewis (64-65); Lillie Langtry (66-111); Charles Coghlan (94-95); Katherine Florence (95); Hattie Russell (94-95); Cora Urquhart-Brown Potter (117-138); Lotta Crabtree (139-158); Annie Pixley (159-182); Fay Templeton (178-181); Hortense Rhéa (183-189); Creston Clarke (191-193); Margaret Mather (195-200); Neil Burgess (201-211); Minnie Palmer (213-222); and Lewis Morrison (223-230).

The volume also contains additional materials, including a booklet titled Salvini: A biographical Sketch of the Italian Tragedian together with Critical Judgments of His Acting (New York: George F. Nesbitt & Co., 1873) (45); a large image depicting "The Histrionic and Lyric Firmament" (1882), with portraits of many famous figures of contemporary opera and theater (106-108); "The Langtry Puzzle," a maze revealing Lillie Langtry's name as it is solved (110-111); promotional material for play  M'Liss, Child of the Sierras, starring Annie Pixley (161-164, 172-173); a booklet promoting Hortense Rhéa's farewell tour of season 1886-1887 (185); a booklet titled "Souvenir of Neil Burgess in 'Vim,'" printed by Mrs. John Drew’s Arch Street Theatre and including images of scenes from the play (209); figures depicting scenes from the play  The Great Fair Scene, featuring Neil Burgess (209-211); and a set of cards portraying actor Lewis Morrison performing as Mephistopheles in  Faust (226-227).

The scrapbook includes playbills from a number of theaters in Philadelphia, New York, and other cities: Walnut Street Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Academy of Music, Mrs. John Drew's Arch Street Theatre, Herrmann’s Theatre, Eleventh Street Opera House, Park Theatre, New Park Theatre, and Empire Theatre (Philadelphia); Union Square Theatre, Fifth Avenue Theatre, and Poole's Theatre (New York); Park Theatre (Newark, New Jersey); Opera House (Wilmington, Delaware); Van Wyck's Academy of Music (Norfolk, Virginia), Ford's Grand Opera House (Baltimore, Maryland); Mobile Theatre (Mobile, Alabama); and Prince's Theatre (London).

6
Volume 7, 1838-1888.
Scope and Contents note

About half of the materials included in volume 7 is relating to members of the Wallack stage family: Henry Wallack, James William Wallack, and Lester Wallack (pages 1-107). The rest of the scrapbook materials concerns the following figures: Elizabeth Ponisi Wallis (Madame Ponisi) (5, 65); Josephine Shaw (Mrs. John Hoey) (6-7); Joseph Haworth (63); Stella Boniface Weaver (65); Marie Jansen (71); Digby Bell (71); DeWolf Hopper (71); William Rufus Blake (74); Edwin Booth (74); Herbert Kelcey (92); Kyrle Bellew (92, 105); May Yohé (94-95); Grace Filkins (94-95); Osmond Tearle (103); Herbert Kelcey (108); John Randolph Scott (110-121); John T. Raymond (123-134); Edward Askew Sothern (131); John Edward Owens (135-141); John Howson (144-147); John Edwin McDonough (149-169); and John Brougham (171-194)

Additional materials of interest include a diagram of Walnut Street Theatre (Philadelphia) (60); a rare playbill of the final performance of the Wallack Company at Wallack's Theatre (1888), printed on fabric (73); a program of Wallack’s Theatre enclosed to an autograph note addressed to a "Mr. Siegel" (perhaps the author of the scrapbook set, pages 87-91); a poster of Arthur Wing Pinero's farce The Magistrate, performed at the Walnut Street Theatre and featuring John T. Raymond (132-134); sketches, playbills, and a poster relating to the minstrel show  The Royal Marionettes (162-169); an engraving depicting the "Grand ball in honor of the Japanese, given by the New York City authorities" (1860) (174); and a set of caricatures of famous actors and actresses, including Edwin Forrest, Charlotte Cushman, and Lester Wallack (190-192).

The volume also contains playbills from several theaters in Philadelphia, New York, and other cities, including the Wheatley and Clarke's Arch Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Walch's National Amphitheatre, Broad Street Theatre, McDonough’s Gaieties, and Concert Hall (Philadelphia); Wallack’s Theatre, Abbey's Park Theatre, Madison Square Theatre, Broadway Theatre, Bijou Opera House, Haverly's 5th Avenue Theatre, Olympic Theatre, Brougham's Theatre, and Niblo's Garden (New York); Washington's Theatre (Washington, D. C.); and unidentified theaters in Wilmington, Delaware, and in Vicksburg, Mississippi (the latter possibly being the Citizens Theatre).

7
Volume 8 (generally focusing on comedy, comic opera, and burlesque), 1876-1896.
Scope and Contents note

Volume 8 is mostly devoted to comedy, burlesque, and light opera. Researchers will find articles, playbills, programs, portraits, engravings, and other materials relating to the following theatrical figures: Lillian Russell (pages 5-41); Pauline Hall (42-56, 60-61); Eva Davenport (50, 56); George Holland (50); Rudolph Aronson (51-53); Jennie Weathersby (53); Anna O’Keefe (53, 61); Francis Wilson (53-54); Kitty Cheatham (54); Fanny Rice (54-55); Delia Stacey (55); Isabelle Urquhart (55, 57); James T. Powers (57); Lillian Grubb (57-58); Alfred Klein (59); Francis Wilson (59-61, 63-64); Nettie Lyford (62); John Philip Sousa (63); Adolph Zink (63); Selma Goerner (63); Franz Ebert (63); Francis Wilson (63-64); Edward Everett Rice (65-80, 86-110); Annie Yeamans (72, 74); John A. Mackay (73); Virginia Earl (78); Marion Giroux (78, 80); Richard Golden (81-85); Laura Joyce (84-85); Kitty Blanchard (Mrs. McKee Rankin) (84-85); Henry E. Dixey (84-86) Nathaniel Carl Goodwin (85, 139-159); Amelia Somerville (86); Maurice Curtis (M. B. Curtis) (111-124); Jennie Hughes (129-132); Barney McAuley (133-138); Nathaniel Carl Goodwin (139-159); Loie Fuller (144-145, 150, 160-161); Grace Kimball (158-159); Minnie Dupree (159); Maud Granger (165-171); Atkins Lawrence (169); Lizzie Evans (181-199); Louise Dempsey (202-211); and Adelaide Detchon (213).

The volume also contains additional materials, often but not necessarily related to the figures mentioned above. Such materials include sketches of scenes from the play Billee Taylor, featuring Lilian Russell (8); a waltz from the comic opera  Erminie (arranged by Henry White) (62); programs, playbills, and sketches of scenes and characters from the opera buffa  Evangeline (music by Edward Everett Rice, word by John Cheever Goodwin), performed at the Broad Street Theatre and the Walnut Street Theatre (86-110); sketches of scenes of  Sam’l of Posen; The Commercial Drummer, featuring M. B. Curtis (119-124); engravings depicting scenes of burlesque show  The French Spy (129-132), with images of actress Jennie Hughes; portraits and engravings depicting scenes from the play  Uncle Dan’l, featuring Barney McAuley (134, 137-138); image of living tableau on the "Destruction of Pompeii," staged by Matt Morgan at the New York Opera Comique (circa 1875)(162-163); a large engraving depicting scenes from Jules Verne’s novel  Le Tour de Monde en 80 Jours (172-173); clippings and a playbill relating to the opening of the Kiralfy Theatre in Philadelphia (1876) (174-175); a playbill and images depicting scenes from the show  Ruth; or, the Curse of Rum (Academy of Music, Philadelphia) (177-180); and several large portraits of actress Louise Dempsey en travesti (202-211).

Included in the scrapbook are also several playbills and programs from theaters in Philadelphia and in other cities in the United States, such as the Chestnut Street Opera House, the Chestnut Street Theatre, the Broad Street Theatre, the Park Theatre, the Walnut Street Theatre, Kiralfy's Alhambra Palace, the Academy of Music, and Mrs. John Drew's Arch Street Theatre (Philadelphia); the Boston Museum, the Boston Theatre, and the Globe Theatre (Boston); The Casino; Tony Pastor's 14th St. Theatre, Haverly's Theatre, the Standard Theatre, and the Bijou Opera House (New York); the Pickwick Theatre (St. Louis, Missouri); and the Grand Opera House (Cincinnati, Ohio).

8
Volume 9, 1880-1896.
Scope and Contents note

The materials included in volume 9 relate to a relatively limited number of celebrated figures of the stage: Sarah Bernhardt (1-71); Jane Hading (73-153); Benoît-Constant Coquelin (74-181); Henry Irving (170-180, 186-219); Rachel Félix (Mademoiselle Rachel) (172, 175); Joseph Levinsky (174); Frédérick Lemaître (173, 175); François Joseph Talma (175); Ellen Terry (188-198, 203-221); Robert Drouet (222); and Oscar Wilde (224-243).

The volume contains several notable items, including several caricatures and portraits of Sarah Bernhardt (1-71); an essay on "Acting and Actors," by Benoît-Constant Coquelin (77); an article on "The Comèdie Française" by Theodore Child (originally published in Harper’s New Monthly Magazine, possibly vol. 74, 1886-1887) (88); articles relating to a debate between Henry Irving and Benoît-Constant Coquelin over acting techniques (176-181); copy of a booklet titled "The Lyceum 'Faust,'" by Joseph Hatton (reprinted from the  London Art Journal, circa 1890) (190); and caricatures of and articles about Oscar Wilde (especially concerning his affiliation with the Aesthetic Movement) (224-243).

Researchers can find in the volume playbills and programs from the following theaters: Chestnut Street Theatre, Chestnut Street Opera House, and Sanford's Opera House (Philadelphia); Booth's Theatre, Star Theatre, and Palmer's Theatre (New York); and the Royal Lyceum Theatre (London).

9
Volume 10, 1851-1893.
Scope and Contents note

Volume 10 is mostly devoted to comedy, and includes playbills, programs, portraits, and other materials relating to the following theatrical figures: Gus Williams (pages 1-13); Samuel Piercy (14-15), Louise Pomeroy (16-17); Owen Fawcett (18), Marie Gordon (19), Asger Hamerik (20), Effie Ellster (21-23), George Reed Cromwell (24), Joseph Murphy (25, 35-41); Little Corinne (26-34); Fred Leslie (45, 47-48, 50); Nellie Farren (46, 48-50); Letty Lind (50); Tony Pastor (55-68); Maggie Cline (58, 60); Bessie Bonehill (59, 63); Mary Ann Ford (Talma) (72); Eugen Sandow (73-80); Charles A. Gardner (81-92); William Hoey (93-96); Charles E. Evans (93-96); Cheridah Simpson (93-96); Adèle Levey, May Levey, and Carlotta Levey (94-96); Minnie French (94-96); Jesse Merrilees (94-96); Adele Ritchie (96); Anna Held (96); Frederick Hallen (97-98); Joseph Hart (97-98); Roland Reed (99-103, 109-110); Isadore Rush (99, 103, 108-109); Annie Lewis (102); Tommy Russell (116-117, 122); Marie Prescott (119-121); Rezin Davis Shepherd (R. D. MacLean) (119-121); Elsie Leslie (122); William J. Scanlan (123-133); Chauncey Olcott (134); Rose Coghlan (137-146); Charles Coghlan (145-146); Sadie Martinot (142, 145-146); John Frederick Zimmerman, Jr. (143-146); McKee Rankin and Kitty Blanchard (Mrs. McKee Rankin) (159-168); George Hanlon (173); Edward Hanlon (173); William Hanlon (173-174); Genevieve Ward (175); W. H. Vernon (175); Albert M. Palmer (177); Wilton Lackaye (180-182); and Blanche Walsh (182-183).

The volume also contains other material relating to the figures mentioned above. Among this material is drawings of scenes from the play One of the Finest, featuring Gus Williams (3-9, 13); a program presenting three comedies featuring Joseph Murphy (  Shaun Rhue,  Kerry Gow, and  The Donagh), and including the tunes of the songs "My Dora Darling," "A Handful of Earth," and "Core O' My Heart" (41); playbills and a large scene photograph of the play  Zitka, by William Carleton (51-54); a poster advertising the play  Pink Dominos (71); a set of engravings advertising the melodramas  Sweet Singer,  Fatherland, and  The Man Hunt, featuring Charles A. Gardner (81-92); two large engravings depicting the façade of the Boston Museum (106-107); engravings and playbills relating to the play  Little Roy Fauntleroy, performed at the Walnut Street Theatre and the Boston Museum and starring respectively Tommy Russell and Olive Homans in the Lord's role (111-118, with additional photo of Elsie Leslie as Little Lord at p. 122); playbill and a program (including sketches of scenes) of the comedy-drama  Mavourneen, written by George H. Jessop and produced by Augustus Pitou at the Walnut Street Theatre (134-135); series of engravings depicting scenes from the play  The Strangler of Paris (147-157); series of playbills and programs relating to performances of Salbury's Troubadours (169-170); a playbill of play  Kayanka, produced by the Miller Brothers' Company and performed at the National Theatre (Philadelphia) in 1890 (171) and a playbill of a performance of Dockstader's Minstrels at the Chestnut Street Theatre (1887) (179).

Playbills from the following theaters are included in the volume: Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, National Theatre, Chestnut Street Opera House, South Broad Street Theatre, Central Theatre, Gilmore's Auditorium, Central Theatre, and Broad Street Theatre (Philadelphia); People's Theatre, Tony Pastor's Theatre, Empire Theatre, Poole's Theatre, and Star Theatre (New York); Harris Bijou Theater (Washington, District of Columbia); Van Wyck's Academy of Music (Norfolk, Virginia); Boston Museum (Boston); Olympic Theatre (St. Louis, Missouri); and the Royal Opera House (Toronto).

10
Volume 11, 1857-1897.
Scope and Contents note

Volume 11 includes playbills, portraits, programs, and other materials relating to the following theatrical figures: Frank Maguire Mayo (pages 17-18); Oliver Doud Byron (21-24); Francis C. Bangs (32-34); Dominick Murray (35-42); Roland Reed (38); Isabella Nickinson (Mrs. Charles Walcot) (38-39); Charles Walcot (39); G. Swaine Buckley (51-52); Louis Aldrich (57-67); Grace Huntington (64-65); Marina Paoli (65); George C. Boniface (74-76, 86-87); Tony Denier (80-81); Myra Goodwin (89-90); Simon M. Landis (103-104); John B. Schoeffel (referred to in the scrapbook as "the husband of Agnes Booth") (112); John M. Burke (118); Edith Mason (118-119); Steele MacKaye (128, 130); Effie Ellsler (129-130); Marie Geistinger (133-134); Sara Jewett (136-138); Jacques Offenbach (140-142); Louis-Jacques Mandé Daguerre (141); Joseph Hofmann (142); Hortense Pierse (144-145); Marshall Pinckney Wilder (146); Mary H. Fiske (158, 160-162, 166); Harrison Grey Fiske (159); Frederick Paulding (165-166); ); E. H. Van Veghten (168-173); Florence Bindley (174-176); Milton Nobles (189, 197); Robert Hilliard (192-194); Georgia Cayvan (193-194); John Drew (196, 202, 204-205); Dollie Nobles (197); Ada Rehan (198-206); Charles Richman (198); Creston Clarke (199); Catherine Lewis (199); Augustin Daly (199-200, 202, 204); James Lewis (202-206); Frederic Bond (202, 204-205); Ann Gilbert (Mrs. G. H. Gilbert) (202-204); and Isabel Irving (204-206).

The scrapbook also contains additional materials, often not related to the stage figures listed above. Among such materials are a lithograph and a program of the play Naiad Queen, performed at the Arch Street Theatre of Philadelphia in 1857 and 1860 (pages 5-7); a ticket stub from a "Sunday Night Concert" at the dining and boxing venue Harry Hills (New York, 1881) (9); photographs of Modoc leaders Captain Jack and Shonchin (11), and a playbill advertising a "lecture" by Redpaths's Modoc Lecture Company (Horticultural Hall, Philadelphia, 1876) (12-13); a poster advertising a lacrosse tournament in Philadelphia (14-15); images of Oliver Doud Byron performing in the play  Across the Continent, with images of scenes from the play (22-24); a large lithograph promoting the play  Poverty Flat: Or, California in -49, performed at the Walnut Street Theatre in 1872 (26-27); a playbill of a performance of  Romeo and Juliet at the Walnut Street Theatre (1873), featuring six different actresses in the role of Juliet (Effie Johns, Helen Houghton, Lillie Hinton, Maude Stuart, Marie Muhlanbring, and Miss Imogene) (29); programs, cards, and other promotional material relating to the play  The Silver King (written by Henry A. Jones and Henry Herman (31); newspaper clippings on different subjects, including articles on French dancer Marie Taglioni, on a vast collection of object of arts left by Mrs. Morgan (a New York widower), and on a reunion of the Pennypacker family in Schwenksville, Pennsylvania (43-46); playbill and sketches depicting a scene from the play  Henry Dunbar, by Tom Taylor (47-49); a playbill and a newspaper clipping on a "Nautch Girls" show produced by Col. T. E. Snelbaker Majestic Consolidated Company and performed in Philadelphia in 1881 (54-56); playbills and souvenir cards relating to several productions of comedy  Our Strategists (69-73); program and playbill of comedy  Our Candidate, performed at the Standard Theatre (New York) in 1880 (77); a rare poster printed on fabric and advertising comedy  Humpty Dumpty, with Tony Denier (80-81); card and playbills relating to the play  Two Orphans, performed at the Chestnut Street Theatre (1875) and the Chestnut Street Opera House (1880) (85-87); playbills and sketches from the comedy  Humpty Dumpty's Travels (Stewart's Novelty Theatre, Philadelphia, 1876) (92-100); playbills of productions of the Union Square Theatre Company performed at the Park Theatre (Philadelphia) in 1879 (105-111); playbills of Park Theatre productions, including  Robinson Crusoe,  Fun on the Bristol,  The Princess Toto,  Our School-Days; Or, Boys and Girls Again (performed by the Liliputian Opera Company), and the romantic opera  Valerie, or the Treasured Tokens (first performed at the National Theatre, Washington, District of Columbia) (113-117); poster advertising a dog show at Colonel Wood's Museum (Philadelphia), with an additional image of the Museum (formerly known as Simpson’s Museum) in 1876 (120-121); playbill of  Krieg im Frieden, a play in German produced at the Philadelphia Germania Theatre in 1888 (122); playbill of "grand popular concert" by the Maurice Grau French Opera Company at The Casino (New York, 1884) (132); articles relating to Fourth of July celebrations in Woodstock, Connecticut, and in Germantown (Philadelphia), circa 1883 (139); programs and other materials relating to burlesque  King Cole II by Woolson Morse (Herrmann’s Theatre, Philadelphia, 1889) (150-153); program of comedy  Peck's Bad Boy and His Pa, after George Wilbur Puck's dime novel with the same name (154); playbill promoting a show of "Scenes and Battles of the American Revolution" (performed by Adam Forepaugh Shows at Broad and Dauphin Streets, Philadelphia, 1893) (156); series of articles from "The Actresses' Corner" and "The Giddy Gusher" (the latter were probably penned by Mary H. Fiske and published on  The New York Dramatic Mirror) (160-162); playbill advertising the "Crucifixion of Christ" and other "biblical groups in wax" saved from the Temple Theatre fire (Philadelphia, 1886) and put on exhibit at Temple Hall, Philadelphia (170); poster advertising comedy  The Book Agent, including sketches of scenes from the play (181-183); card advertising comedy  Is Marriage a Failure?, performed by vaudeville company Guy Hill's World of Novelties (184); a copy of chapter III from  Folly's Queens; or Women Whose Loves Have Ruled the World, published by Richard Kyle Fox (186-188); a poster advertising the "oriental pageant"  Lalla Rookh’s Departure From Delhi, produced by Adam Forepaugh (1881) (190); clippings on the theme "Acting and Advertising," including a short satirical play titled "The Drama of the Present, with Advertising Attachment," and a lithograph showing an actor and an actress performing amidst theatre props used as advertisement (191); a playbill of  A Wall Street Bandit, by Archibald Clavering Gunther (Standard Theatre, New York, 1886) (195); and clippings including stage pictures of a production of William Shakespeare's  Twelfth Night, performed at Daly's Theatre (New York) and starring Ada Rehan (200).

Researchers will find in the volume playbills and programs from the following theaters: Wheatley and Clarke's Arch Street Theatre, Jacobs and Hickey's Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut St. Theatre, Horticultural Hall, National Theatre, Forepaugh's Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Stewart's Novelty Theatre, Park Theatre, Grand Central Variety Theatre, Enoch’s Variety, Grand Opera House, Colonel Wood's Museum, Germania Theatre, Herrmann's Theatre, Continental Theatre, Temple Theatre, Temple Hall, Arch Street Opera House, and Grand Central Theatre (Philadelphia); The Casino, H. R. Jacobs' Lyceum Theatre, and Standard Theatre (New York); Tremont Theatre, and Hollis Street Theatre (Boston); Van Wyck's Academy of Music (Norfolk, Virginia); and Crawford's Opera House (Topeka, Kansas).

11
Volume 12 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1846-1879.
Scope and Contents note

Volume 12 mostly consists of playbills and programs relating to minstrel, burlesque, and circus shows performed in Philadelphia. The materials included in the scrapbook tend to be organized by genre and performing place. However, several performers and artists could be singled out, including Antonio Blitz (pages 4-7, 26-27); Samuel Sharpe (S. M. Sharpley) and Sharpley's Minstrels (8-10); D. B. St. Jean (magician) (20-21); William Lingard (22-25); Louisa Pyne (37); Sigismund Thalberg (38-39); Agnes Sutherland (59-60); J. B. Roberts (64-65); Elizabeth Crocker (D. P. ) Bowers (68-69); Julia Turnbull (70-77); Julia Mortimer (82-83, 93-95); Julia Price (82-87, 90-95); Freddy Carlo (84-85, 88-89); William Carlo (84-85, 88-89); A. M. Hernandez (86-89); Aaron Jones (90-95); Matt Rusk (90-95); Julien Martinetti (96-99); P. Martinetti (96-97); Mme. P. Martinetti (96-99) Ignacio Martinetti (97-99); John Edwin McDonough (100-118); Cordelia Howard (102-107); Joseph Fannin (114-117); Dan Rice (124-135, 214-217, 222-235, 228-239, 244-253); Alfred Stewart (136-137); Charles Foster (138-143, 146-151, 153-175); Julia Daly (176-181); G. C. Charles (176-183); and Frank Brower (192-193).

The volume also includes additional materials not necessarily related to the artists mentioned above, a list of which is provided below: playbills of magic shows (pages 1-7); playbills of minstrel shows, including Sharpley's Minstrels, Birch and Sharpley's Minstrels, Fox's Casino Minstrels, George Christy's Minstrels, Simmons and Slocum's Minstrels, Huntley's Minstrels, Tunison and Co.'s Minstrels (8-19, 46-55, 66-67); a playbill advertising a show of Father Kemp's Old Folks Concert Company (National Hall, Philadelphia, 1857) (28-29); playbill of concerts at Parkinson's Illuminated Garden (Philadelphia, 1857) (30-33); a playbill advertising a "cafe theatre" concert at Thomeuf's Varieties (Philadelphia, 1857) (34); playbills of concerts and performances at the Musical Fund Hall (1855-1858) (35-43); playbill advertising concerts and other theater shows at Kossuth Exchange (Philadelphia, circa 1857-1861) (44-45); a playbill of the Wyoming Minstrels (performing on the U.S.S. Wyoming in 1860) (46-47); newspaper clippings describing a fight involving Samuel Sharpley, Thomas Sharpley, Edwin Kelly, and Francis Leon (the fight occurred in 1867 in New York City, outside the Fifth Street Opera House, and ended with the murder of Thomas Sharpley by Kelly’s hand) (52-54); playbills of shows at Sanford's Opera House (54, 56-62); a program for the celebration of the Ebenezer Sunday School Temperance Society (probably at the Ebenezer Methodist Episcopal Church, Philadelphia, December 25, 1846) (63); a set of programs and playbills of performances at the McDonough's Gaieties and McDonough's Olympic (1859-1860) (80-118); and programs and playbills of circus and burlesque performances at the National Circus (later Welch's National Circus, later Welch's National Theatre), featuring Charles Foster and his company (including Julia M. Cooke, W. H. Bailey, H. A. Langdon, Mrs. J. H. Reed, and others) (138-175), the Star Company (including C. M. Lewis, Miss A. M. Roberts, W. J. Rainnie, and others) (182-189), Marsh's Juvenile Comedians (194-211), and Dan Rice and his company (including Ella Zoyara, Joe Pentland, Andre "Herr" Cline, Frank Drew, and others) (212-253).

Also in the scrapbook, researchers will find multiple programs and playbills documenting the activities of the following Philadelphia theaters: Concert Hall, Commonwealth Hall, Assembly Buildings, Southwark Opera House, Sharpley's Opera House (2nd and Vine Street), Birch and Sharpley's Opera House (6th and Chestnut Streets), Musical Fund Hall, Fox's Casino, Masonic Hall, Eleventh Street Opera House, The Melodeon, National Hall, Thomeuf's Varieties, Kossuth Exchange Concert Salon, Davis' Theatre and Music Hall, Arch Street Opera House, Sanford's Opera House, New South Street Theatre, Seventh Street Opera House, City Museum, Frank Rivers' Melodeon, McDonough's Gaieties, McDonough's Olympic, National Circus, and Welch's National Circus.

12
Volume 13 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1854-1895.
Scope and Contents note

Volume 13 is mostly dedicated to minstrel shows, but some material relating to magic shows, burlesque, and vaudeville is also included in the scrapbook. Researchers will find playbills, portraits, newspaper clippings, and other materials relating to the following artists and companies: R. Bishop Buckley (pages 5-7); George Christy and Wood's Minstrels (16-17); Morris Bros., Pell and Trowbridge's Minstrels (20-21, 74-77, 152-155, 184-193, 235-236); Buckley's Serenaders (22, 80, 241-250, 264-276); George Christy's Minstrels (24-28, 112-117, 251-252); Wood's Minstrels (32-33, 146-147); Thomas Dartmouth Rice (T. D. Rice) (34-36); Carncross and Dixey's Minstrels (41-45); Simmons and Slocum's Minstrels (46, 49); Sweatnam's Minstrels (47); Kelly and Leon's Minstrels (54-57, 59-66); John Wyman (72-73, 255-256); Huntley's Minstrels (78-79, 196-219); John H. Collins (82-83); Hooley and Campbell's Minstrels (128-129); Bryant's Minstrels (130-135); San Francisco Minstrels (136-139); John Pond Ordway and Ordway's Aeolians (140-145); Shorey, Carle, Duprez and Green's Opera Troupe (148-149), Rumsey and Newcomb's Original Campbell Minstrels (150-151, 237-240); T. G. Riggs (160-161); Sam Ryan (162-165); Birch and Sharpley's Minstrels (168-182); Duprez and Benedict's Minstrels (223-226, 283-284); the Peak Family (Lancashire Bell Ringers) (233-234); Doctor Valentine (253-254); Carter's Zouave Troupe (257-258); Tunison and Co.'s Minstrels (277-278); Hooley's Minstrels (279-282); and Alfred Burnett (285-289).

The volume also contains materials on minstrelsy and on other topics, including an article on "Negro minstrelsy" in England, with mention of the Christy Minstrels (1880) (pages 9-10): a piano score of the song "Such a Gitting Up Stairs" (as sung by minstrel singer Bob Farrell) (11-12); an image depicting the interior of Henry Wood's New Theatre, at 561-563 Broadway, New York (15); a set of clippings on the history of minstrel shows, with interview with Hughey Dougherty (18-19); an article on "The Origins of Christy’s Minstrels" (23-24); additional clippings on minstrelsy, with an interview with Samuel S. Sanford and another article on the Christy's Minstrels (37-39); diagrams of the Eleven Street Opera House and of the Arch Street Opera House (58); a collection of playbills of minstrel shows at Sanford Opera House (1858-1860) (66-111); a newspaper clipping on the history of the Old City Assembly Rooms (444 Broadway, New York) (159); a collection of playbills of shows at the American Theatre (444 Broadway, New York) (159-165); a playbill and a poster relating to shows at the New Olympic Theatre (Philadelphia) (1873) (227-230); a collection of playbills of shows at Concert Hall (Chestnut Street, Philadelphia) (231-258); playbills of magic and minstrel shows at Franklin Hall (Philadelphia) (1854) (259-262); and playbills of shows at Cartee’s Lyceum and at the Melodeon (Philadelphia) (1854-1857) (263-268).

The scrapbook includes playbills and programs from the following theaters in Philadelphia, New York, and Boston: Arch Street Theatre, New Eleventh Street Opera House, Carncross Opera House, New Chestnut Street Theatre, Assembly Building, Wheatley's Arch Street Theatre, Concert Hall, New Olympic Theatre, Franklin Hall, Cartee's Lyceum, The Melodeon, Jayne’s New Hall, New Philadelphia Opera House, Hooley's Opera House, Duprez and Benedict's Opera House (Philadelphia); Buckley's New Hall, American Theatre and Old City Assembly Rooms (444 Broadway), Niblo's Saloon, Art-Union Concert Hall (497 Broadway), Mechanics' Hall, and San Francisco Minstrels (585 Broadway) (New York); Buckleys' New Minstrel Hall and Aquarial Gardens (Boston).

13
Volume 14 (generally focusing on the Philadelphia theatrical scene during the Civil War years), 1861-1895.
Scope and Contents note

Volume 14 only contains materials from and about Philadelphia theaters in the years of the American Civil War, as also indicated by a handwritten annotation on the first page of the scrapbook ("Philadelphia Places of Amusement during the Rebellion 1861-1865"). Notable theater companies and figures of the stage mentioned in the volume include Edwin Adams (pages 5-6, 119-121, 136-143, 150-151); the circus and theater company of the Continental Theatre, including Henry Moreste, John Foster, Emma Pastor, James Pilgrim, Harry Chapman, Julia Drake (Mrs. Harry Chapman), Caroline Chapman, H. A. Langdon, Kate Archer, W. H. Bailey, J. B. Studley, and others (7-60); Tony Pastor (45-46, 49-52); Margaret Ann Rice (former wife of Dan Rice, performing in the 1860s as Mrs. Charles Warner) (59-60); Joe Pentland (59-60); John Henry "Professor" Anderson (71-75); Benjamin Young (77-78); Anna Cowell (79-80); Edward Askew Sothern (83-84); W. A. Chapman (91-92); Emma Waller (94-95, 108-113); James Edward Murdoch (96-107); Joey Gougenheim (114-117); the French Dramatic Troupe (from the Theatre Francais in New York) (122-125); Hooley and Campbell’s Minstrels (126-131); John Sleeper Clarke (132-135, 154-155, 158-161); Alexina Fischer Baker (132-135); Vining Bowers (136-143); Charles Walter Couldock (144-149); Dan Setchell (152-153); James William Wallack (156); Edward Loomis Davenport (156); Buckley's Serenaders (163); Tunison and Co.'s Minstrels (168-169); Elise De Courcy (182-183); Frank Brower (184-185); Birch and Sharpley's Minstrels (184-187); John Edwin McDonough (188-191); Annie Lonsdale (198-199); Harry Pearson (200-205); and Charley White (206-207).

The playbills in the volume are mostly organized by performing venue. The volume includes a collection of playbills of shows and circus performances at the Continental Theatre (later renamed American Theatre, and, from 1865, Fox’s American Variety Theatre) (1861-1865) (pages 7-62), including a program from the evening before the fire of September 14, 1861, and annotated by a "G. N. Galloway" (28); a large number of playbills from the Walnut Street Theatre (71-161); and smaller groups of playbills from the Sanford's Opera House (170-175), Irving Hall (New York) (176-179), and McDonough's Olympic Theatre (later known as Olympic Music Hall) (180-207). The volume also contains the program of a show at Long's Variety and Museum (Philadelphia) (1864) (162) and additional playbills of Lincoln Memorial Tableaux at National Hall (164-165) and at Concert Hall (Philadelphia) (166-167).

In this scrapbook, researchers will find materials relating to the following Philadelphia theaters: Mrs. John Drew's Arch Street Theatre, Continental Theatre, Wheatley's Continental Theatre, New American Theatre, Grover's New Chestnut Street Theatre, Chestnut Street Theatre, Walnut Street Theatre, Long's Variety and Museum, Sanford's Opera House, Seventh Street Opera House, National Hall, Concert Hall, McDonough's Olympic Theatre, and Olympic Music Hall. A limited number of playbills from Irving Hall (New York) are also enclosed.

14
Volume 15 (generally focusing on side shows and other exhibits of artifacts and technological curiosities), 1849-1897.
Scope and Contents note

Volume 15 is almost exclusively dedicated to side shows, minstrel shows, and magic shows, but it also includes a limited amount of materials relating to opera and instrumental music, university and school concerts, and the exhibits of automata, early moving pictures, and other artifacts. The playbills, programs, portraits, flyers, and other materials contained in the volume are loosely organized by genre and performing venue. However, a few notable figures and performing companies can be singled out, including "Herr Haag" (page 2); "Colonel Goshen" (3); Charles Nestel (Commodore Foote) (3); Eliza Nestel (Queenie Foote) (3); the "Rossow Midgets" (3); Jack and Annie O’Brien (3); Sam Cowell (6-9); S. K. Murdoch (14); Clara Louise Kellogg (18); Julia Pastrana (19-21); Chang Bunker and Eng Bunker (the "Siamese Twins") (22-23); Millie and Christine McCoy (the "Carolina Twins") (30-31, 35); Doctor Valentine (34-35); Dollie Dutton (43); Anna Madah Hyers and Emma Louise Hyers (43); Elena D’Angri (48); Teresa Parodi (49-50); Louis-Antoine Jullien (51-52); Pete Lane (53-54); Rumsey and Newcomb's Original Campbell Minstrels (55-60); Shorey, Carle, Duprez and Green's Opera Troupe (61-62); George Christy's Minstrels (63-66); John Henry "Professor" Anderson (67-70); Charles Dean (73); Philip Prentice Anderson (Rubini) (73); Georgia Minstrels (76); Julia Mortimer (79-80); Robert Heller (William Henry Palmer) (87-88); and Joseph Hartz (89-90).

The volume also contains a large number of additional items, including pictures of sideshow artists (mostly excerpted from Marmaduke Humphrey, "The Pranks of Nature," Godey's Magazine 132, no. 788, February 1896) (pages 2-3, 38, 88, 92); a playbill and a flyer advertising the Cardiff Giant on exhibit in Philadelphia (4, 43); a playbill advertising hot air balloon ascensions at Lemon Hill (Philadelphia) (1857) (5); a playbill of shows at the Musical Fund Hall (Philadelphia) (1849) (10-11); printed images of Musical Fund Hall (12); a collection of playbills advertising concerts and "Prof. Cromwell’s Art Course of Entertainments" at Concert Hall (Philadelphia) (1855-1872) (13-18); an article from the  Philadelphia Medical Times about medical examination of "Siamese twins" Chang Bunker and Eng Bunker at the College of Physicians (1874) (22); a playbill of shows at Sanderson's Exhibition Rooms (Philadelphia) (1859-1860) (24-27); playbills advertising shows at the Assembly Rooms (Philadelphia), including exhibition of Joseph Faber's Talking Machine (1871), and of conjoined twins Millie and Christine McCoy (1866) (28-31); a playbill advertising a "grand colored baby show" at the Concert Hall (1855) (32-33); playbills of freak shows at the Museum of Living Wonders and at Barnum's Museum (Philadelphia) (36-37, 39, 41-42); a playbill advertising a show at Adams' California Menagerie (1860) (40); flyer advertising the bomb that William King Thomas (Alexander Keith Jr.) used to cause an attack in Bremerhaven (Germany) in 1875 (the bomb was put on exhibit at 915 Market Street, Philadelphia, circa 1876) (40); a collection of playbills relating to shows and events at Concert Hall, including living tableaux, concerts, minstrel shows, and magic shows (circa 1857-1860) (44-70); promotional materials relating to exhibitions, concerts, and magic shows at Assembly Buildings (circa 1867-1870) (71-73); a program of a concert of the Yale Glee Club at the Musical Fund Hall (1873) (73); a program of Mrs. Jarley's exhibit waxworks and tableaux vivants at Horticultural Hall (Philadelphia) (1872) (74); a program of the Sunday School concert of the Church of the Evangelist at Musical Fund Hall (1856) (75); a program of the concert of the students of the Hampton Normal and Agricultural Institute (now Hampton University) at Horticultural Hall (1873) (76); playbills of shows at Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, and Sanford's Opera House (1861) (78-86); a collection of newspaper clippings on several topic, including obituaries of Robert Heller (stage name of William Henry Palmer), a review of a performance of the tableaux Paradise Lost by John Milton at the Lutherbaum English Lutheran Church (Philadelphia), and an article on the closure and imminent demolition of Concert Hall (87-88); a playbill advertising exhibition of the mechanical Steam Man invented by Zadoc Dederick and Isaac Grass in Philadelphia, with attached photograph (91-92); and programs of early silent movie exhibits at Bijou Theatre (Philadelphia) and Electrical Casino (Asbury Park, New Jersey) (93).

The scrapbook includes playbills and programs from the following Philadelphia theaters and performing venues: Concert Hall, Philadelphia Museum (7th and Chestnut Street), New Philadelphia Museum (833 Market Street), Grand Polytechnic and Anatomical Museum of Science and Art, Sanderson's Exhibition Rooms, Assembly Buildings, Museum of living Wonders (Old Melodeon), Barnum’s Museum, Horticultural Hall, Musical Fund Hall, Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, Sanford's Opera House, and Bijou Theatre. There are also a limited number of playbills from performing venues located in other cities, including Adam's California Menagerie (New York), and the Electrical Casino (Asbury Park, New Jersey).

15

Series II. Index to "Theatricals in Philadelphia" (produced by the WPA), 1936.

Volume

Volume 1, A to B, 1936.

16

Volume 2, C to E, 1936.

17

Volume 3, F to I, 1936.

18

Volume 4, J to L, 1936.

19

Volume 5, M to O, 1936.

20

Volume 6, P to S, 1936.

21

Volume 7, T to Z, 1936.

22

Collection Inventory

Volume
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 1. 1749 to 1818. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume I includes the first 55 chapters (I to LV) of the first series, published in the Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to May 20, 1855 (Vol. VIII, No. 3), for a total of 118 pages of text. Because Charles Durang was born in 1794, he could not rely on personal recollections for the description of most of the events that took place in this period. Possibly also for this reason, this scrapbook is the one that covers the widest chronological span, from 1749 to 1818, with only 61 pages of text devoted to the years up to 1800.

The portion of Durang’s history included in the scrapbook mentions the first instances of theatrical performances in Philadelphia (including those of the Hallam Company – later renamed American Company), and discusses the vicissitudes of the theaters that were opened in the city during those decades, including the Society Hill Theatre, the Southwark Theatre, the Northern Liberty Theatre, the Chestnut Street Theatre, the Apollo Street Theatre, and the Olympic Theatre (later renamed Walnut Street Theatre). Theatrical seasons are described in full detail by Durang, especially after the mid 1790s, following the opening of the Chestnut Street Theatre. A whole chapter (XXV) provides a history of the circus in Philadelphia, and the next chapters also include references to theatrical performances, concerts, and other forms of live entertainment that took place in circuses and outdoor locations, including Ricketts Circus and the Vauxhall Gardens. References to the contemporary theatrical life in England and in other American cities (New York City, Boston, Baltimore, and Annapolis, among others) can also be found in the text.

The volume contains engravings and drawings of theatrical institutions such as the Southwark Theatre, the Chestnut Street Theatre (destroyed by fire in 1820), the Ricketts Amphitheatre, the Theatre Royal, Covent Garden (London), the Richmond Theatre (Richmond, VA), and the Old Federal Street Theatre (Boston). The scrapbook is also embellished with a conspicuous number of portraits of actresses, actors, and other theatrical figures, such as William Shakespeare, Daniel Terry, Anna Marcella Lydall , Sarah Siddons, Charles Macklin, Henry Mossop, Spranger Barry, Thomas Sheridan, Thomas King, James William Dodd, Elizabeth Singer Rowe, John Bannister, William Parsons, John Moody, Susannah Maria Cibber, Ann Street, Robert Bensley, Isabella Mattocks, Charles Macklin, John Philip Kemble, Robert Bensley, Jane Powell, John Henderson, Elizabeth Yates, Thomas Holcroft, Charlotte Melmoth, Elizabeth Barry, Frances Abbington, Mary Ann Wrighten, Maria Theresa Bland, Colley Cibber, William Dimond, Fanny Fleming, Thomas Hull, Thomas Cooke, Maria Duncan, John Bernard, Samuel Phelps, and Edmund Kean, among others. A few autographs letters, some written by Charles Durang himself, are also included. Finally, a small collection of playbills, mostly from the 1820s, was inserted in the final part of the scrapbook. Most notably, the collection features the playbill of the play Douglas; or, The Noble Shepherd (performed at the Walnut Street Theatre, Philadelphia, on November 27th, 1820), which saw the first appearance on stage of actor Edwin Forrest.

A list of the portraits included in the volume is located at the beginning of the scrapbook, while a general index is placed at the end. The source and date of acquisition of the entire set (“g[ift] Morris L. Clothier, 1-21-[19]16”) are penciled on the first page of the list of portraits.

1
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 2. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume II contains 118 pages of text, including the remaining 20 chapters of the first series (LVI to LXXV) and the first 33 chapters (I to XXXIII) of the second series. The chapters of the first series were published in the Sunday Dispatch between May 27, 1855 (Vol. VIII, No. 4) and October 7, 1855 (Vol. VIII, No. 23), while those belonging to the second series appeared between June 29, 1856 (Vol. IX, No. 9) and February 8, 1857 (Vol. IX, No. 41).

In the final part of the first series, Durang comments upon the last years of the old Chestnut Street Theatre, up to the fire which caused its closure in 1820. The first appearances on stage of Edwin Forrest, as well as the Philadelphia debut of British actor Edmund Kean, are discussed at length. In this portion of the series Durang also describes the new Chestnut Street Theatre (opened in 1822), and provides a long list of all the American plays produced in Philadelphia before 1822.

In the first chapters of the second series, Durang discusses the activities of the new Chestnut Street Theatre, as well as that of other institutions such as the Walnut Street Theatre, the Prune Street Theatre, the Tivoli Garden Theatre, and the Olympic Circus. As in the final part of the preceding series, every season is described in full detail. Additional anecdotes and biographical descriptions of famous actors, such as Junius Brutus Booth, Charles William Macready, and Charles Mathews, are also included.

The collection of portraits and engravings added by Westcott to the volume features a wide number of figures quoted by Durang in the text and variously connected with the Philadelphia theatrical scene – among them, Louisa Cranstoun Nisbett, Joseph George Holman, Robert William Elliston, Anna Maria Crouch, Charles Incledon, Ann Catley, Sarah Bartley, Wolfgang Amadeus Mozart, James William Wallack, Susanna Centlivre, Elizabeth Inchbald, John Philip Kemble, Alexander Rae, William West, Edwin Forrest, Edmund Kean, Sarah Siddons, Joseph Jefferson, Maria Gibbs, Dorothea Jordan, Ann Street Barry, Elizabeth Billington, Junius Brutus Booth, Charlotte Goodall, Thomas Potter Cooke, Julia Dean, Elizabeth Hopkins, John Fawcett, Maria Theresa Bland, John Henderson, Elizabeth Hartley, François-Joseph Talma, Mademoiselle Mars, John Bannister, Charles Mathews, Elizabeth Farren, William Farren, Eliza Logan Wood, Anna Thillon, Sarah Egerton, Maria Foote, Mary Ann Davenport, Sam Cowell, Maria Theresa Kemble, Fanny Maria Kelly, and Charles William Macready. The volume also includes several engravings of American and European theaters, opera houses, and other performance venues, such as the Prune Street Theatre, the new Chestnut Street Theatre, and the New Adelphi Theatre of Philadelphia, the Holliday Street Theatre (Baltimore), the Bowery Theatre (New York), the Tremont Theatre (Boston), the Theatre Royal, Haymarket, the Surrey Theatre, Sadler’s Wells Theatre, and Astley’s Royal Amphitheatre (London), the Queen’s Theatre and Opera House (Edinburgh), the Théâtre de la Porte Saint-Martin and the Théâtre de l’Opéra-Comique (Paris), the Schauspielhaus (Cologne). Autographs include a handwritten payment receipt, penned by actor William Warren, and a signed portrait of actor Robert Dempster.

2
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 3. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume III includes the last 23 chapters (XXXIV to LVI) of the second series, and the first 22 installments (I to XXII) of the third and last series, for a total of 118 pages of text. The chapters belonging to the second series were published in the Dispatch between February 15, 1857 (Vol. IX, No. 42) and August 2, 1857 (Vol. X, No. 14), while those included in the third series came out between July 8, 1860 (Vol. XIII, No. 2) and December 2, 1860 (Vol. XIII, No. 32).

In this portion of his history, Durang chronicles the seasons of Philadelphia theaters from 1826-27 to 1831-32. The author presents a cast list for the most important performances, and in some cases even quotes contemporary playbills and reviews. Special events include the Philadelphia debut of actor Charles Kean and the performances of Metamora; or, The Last of the Wampanoags, a tremendously successful play produced at the Arch Street Theatre at the beginning of 1830, and featuring Edwin Forrest in the main part. Opera singer Maria Malibran, who toured the United States from 1825 to 1827 and performed in Philadelphia during these same years, is the focus of a whole chapter discussing her life and career (series III, chapter XIII). A new theater, the Arch Street Theatre, was inaugurated in 1828 and soon became one of the most important institutions in the city along with the Chestnut Street Theatre and the Walnut Street Theatre.

A great deal of information is given on the managerial aspects regulating the life of these artistic centers, and on the actors, singers, writers, and other figures who were involved during those years. Many such figures appear in the rich iconographic portion of the volume, which includes portraits of Emma Albertazzi, Geneviève-Aimé-Zoë Prévost, Marie Taglioni, Antonio Guerra, Sarah Egerton, Charles William Macready, Marie Caroline Félix-Miolan, John Liston, Laure Cinti-Damoreau, William Dowton, James Henry Hackett, William Henry West Betty, Margaret Somerville, Madame Céleste, Charles Edward Horn, William Rufus Blake, Henriette Sontag, Giovanna Baccelli, Joseph Grimaldi, Armand Vestris, Lucia Elizabeth Vestris, John Philip Kemble, Giuditta Pasta, Rachel Félix, Margaret Martyr, John Vanbrugh, Edwin Forrest, Luigia Caldarini, Sam Cowell, Dorothea Jordan, Rebecca Davison, Caius Gabriel Cibber, John Pritt Harley, Carlotta Grisi, Stephen Kemble, Sarah Siddons, Thomas Sheridan, James Edward Murdoch, Elizabeth Rainforth, Charles William Macready, Calvin Edson, Thomas Apthorpe Cooper, Jane Stephens, Elizabeth Sharp, Edwin Booth, Charles Kean, Charlotte Cushman, Herr Driesbach, David Garrick, Harriet Waylett, Frances Abington, General Tom Thumb, Samuel Phelps, John Quick, Thomas Hilson, Samuel Reddish, Maria Malibran, Elena D’Angri, John Reeve, George Washington Dixon, Oliver Goldsmith, Julia Fortescue, and many others. The volume also contains engravings of the three main Philadelphia theaters (Chestnut Street Theatre, Walnut Street Theatre, and Arch Street Theatre) and of other international venues such as the Théâtre de l’Académie Royale de Musique (Salle Le Peletier) of Paris, and the Teatro Principal of Havana, Cuba. An autograph letter by Herr Driesbach, the famous lion tamer, is attached to the volume, along with an autographed portrait of actor George Handel Hill.

3
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 4. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume IV contains the next 40 chapters (XXIII to LXII) of the third and last series of Durang’s history, consisting of 120 pages of text. Those chapters appeared in the Dispatch between December 9, 1860 (Vol. XIII, No. 33) and September 15, 1861(Vol. XIV, No. 21).

The clippings contained in the volume offer a detailed account of the management and the most notable shows performed in the Philadelphia theaters – especially the Chestnut Street Theatre, the Walnut Street Theatre, and the Arch Street Theatre – between the 1830-1831 and 1840-1841 seasons. Salient events include the rivalry between Edwin Forrest, based at the Arch Street Theater, and the members of the Kemble family, based at the Chestnut Street Theatre, in the early 1830s; the arrival in Philadelphia of the Montresor opera troupe and the first production of Italian operas at the Chestnut Street Theatre in 1833; and a detailed report of the successes and failures of several troupes and individual actors and singers who performed in Philadelphia during the decade.

For most of those artists, Westcott provided at least one portrait as part of the rich collection of drawings and engravings inserted in the volume. Notable figures include, among others, William Francis Brough, Fanny Tacchinardi Persiani, Pauline Garcia (Viardot), Henry Betty, Gabriel Ravel, Sarah Siddons, Charles Kemble, Fanny Kemble, Anne Maria Tree, William Smith, Lester Wallack, Henry Placide, Thomas Placide, William Warren, Charles Kean, Elizabeth Brunton (Yates), Walter Scott, Sarah Ward, John Sinclair, Tate Wilkinson, Anaïde Castellan Giampietro, James Edward Murdoch, Edwin Booth, Charles William Macready, Andrew Ducrow, James S. Wallace, Henry Erskine Johnston, Joseph Wood, Mary Giovanna Cawse, Mary Ann Paton, Tyrone Power, Ralph Sherwin, William Evans Burton, John Howard Payne, Madame Celeste, Samuel Phelps, John Reeve, Thomas D. Rice, Tryphosa Jane Wallis, Edwin Forrest, Mary Anne Goward, Robert Keeley, Margarita Graddon, Victoria Balfe, Francis Courtney Wemyss, Robert Hamilton, Robert Campbell Maywood, Charlotte Elizabeth Vanderhoff, John M. Vandenhoff, David Garrick, Robert William Elliston, Lucia Elizabeth Vestris, Elizabeth Kemble, Samuel S. Sanford, Edward Fitzwilliam, Fanny Fitzwilliam, Fanny Elssler, Mary Anne Stirling, Charlotte Cushman, Susan Cushman, John Braham, Peter Richings, Ira Aldridge, Giuseppe De Begnis, and Giuseppina Ronzi De Begnis. Included in the volume are also a few pictures of Philadelphia and other national and international theaters, such as the Arch Street Theatre, the Academy of Music, the Northern Exchange Theatre, the Coates Street Theatre, and Sanford’s Opera House (Philadelphia), the State Street Theatre (Columbus, OH), Niblo’s Opera House (New York City), the St. Charles Theatre and the American Theatre and Arcade Baths (New Orleans), East London Theatre (formerly Royalty Theatre, London), and the Paris Opera House (Palais Garnier, Paris). The scrapbook also includes a playbill of the show "Venitian [sic] Carnival, or Punch in Good Humour," arranged by French vaudeville artist Gabriel Ravel, and an original letter by playwright, publisher, and theater manager William Evans Burton.

4
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 5. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume V includes the following 36 chapters (LXIII to XCVIII) of Charles Durang’s history, for a total of 119 pages of text. These chapters were originally published in the Dispatch between September 22, 1861 (Vol. XIV, No. 22) and June 8, 1862 (Vol. XV, No. 7).

In this part of his work, Durang offers an extensive description of the management and life of the most important Philadelphia theaters between the 1841-1842 and 1849-1850 seasons. The author comments upon the vicissitudes of several actors, impresarios and artists active in the city in those years, most notably William Evans Burton, Charlotte Cushman, Edward Loomis Davenport, Charles William Macready, and Edwin Forrest. In particular, the escalating rivalry between Macready and Forrest is documented by numerous chapters, from its early stages in 1844 – when both actors were cast in the same role in the same play by two different theaters, the Arch Street and the Walnut Street – to further altercation in England in 1846 and the final lawsuit announced by Macready in November 1848. A copy of the announcement in which the British actor proclaims his intention to sue Forrest is included in the volume. These chapters also discuss the growing importance of Italian opera in the city, which was visited by travelling companies such as the Havana Opera Company (1847) and the Max Maretzek Italian Opera Company (1848).

Westcott offers numerous portraits of all these figures, along with a considerable number of engravings depicting numerous artists and impresarios such as Fanny Cerrito, James Rogers, Susan Cushman, William Evans Burton, Elizabeth Yates, Edward Fitzwilliam, Fanny Fitzwilliam, James William Wallack, George H. Hill, Charles Kemble, John Brougham, Lucia Elizabeth Vestris, Isabella Glyn, William Wheatley, Henry Woodward, William Dowton, William Creswick, William Maybury Fleming, Joshua Silsbee, Phineas Taylor Barnum, Richard Brinsley Sheridan, Maria Gibbs, John Liston, Harriet Waylett, George Jamieson, Henri Vieuxtemps, George H. Barrett, Gustavus Vaughan Brooke, Charles Bass, Mary Ann Povey, Anna Cora Mowatt, Charles Kean, Lucille Western, John Sinclair, Eliza Logan, Ira Aldridge, Laura Keene, Mary Taylor, Arabella Goddard, Julia Dean, Henry Compton, George John Bennett, Fanny Cooper, Hanry Marston, Robert Keeley, Barney Williams, Ann Bishop, Federico Beneventano, John Edward Owens, Junius Brutus Booth, Edwin Booth, Amalia Patti, Carlotta Patti, Elena D’Angri, Maurice Strakosch, Caroline Richings, Julia Dean, Hector Berlioz, Alexina F. Baker, James Hudson, Charles Walter Couldock, McKean Buchanan, Francis Marion Brower, Teresa Rolla, and many others. Images of Philadelphia theaters such as the Arch Street Theatre and the Walnut Street Theatre are also present, as well as another engraving depicting the Continental Theatre fire of 1861— a famous accident in which seven performers lost their lives. The scrapbooks also contains a few manuscript documents, including a note by actor Edward Loomis Davenport, and two additional letters from actors and managers Francis Courtney Wemyss and Louisa Lane Drew.

5
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 6. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume VI includes the final 38 chapters (XCIX to CXXXVI) of the third series of Durang’s history, for a total of 110 pages of text. These installments appeared in the Dispatch between June 15, 1862 (Vol. XV, No. 8) and April 19, 1863 (Vol. XV, No. 52).

Here Durang discusses the theatrical seasons of several city institutions, such as the Chestnut Street Theatre, the Walnut Street Theatre, the Arch Street Theatre, the Musical Fund Hall, and Welch’s National Circus, Theatre, and Hippodrome, up to the closure of the second Chestnut Street Theatre in 1855. Prominent events include the Italian opera season at the Chestnut Street Theatre, under the management of impresario Max Maretzek, and the parallel programming of Jenny Lind’s performances at the Musical Fund Hall. A biographical sketch of Jenny Lind, complete with a description of her career in the United States, is provided. The volume also includes other clippings concerning the closing of the second Chestnut Street Theatre in 1855, the opening of the third Chestnut Street Theatre in 1862, and the renovation of the Arch Street Theatre in 1861, after Louisa Lane Drew assumed the management of the theater. A brief article by L. G. Thomas, originally published in the Sunday Dispatch and titled "Reminiscences of Private Dramatic Associations," is also found in the final part of the scrapbook.

A wide number of artists, impresarios, and theatrical figures are portrayed in the images added by Westcott to the volume. Among them are Philip Rohr, William Warren, Harriet Waylett, Joseph Jefferson, Ephraim Horn, Richard Brinsley Sheridan, William F. Wallet, Giovanni Battista Belletti, Marie Taglioni, George John Bennett, Virginia Howard, John Brougham, John Henderson, Junius Brutus Booth, Edwin Booth, John Philip Kemble, Phineas Taylor Barnum, Jenny Lind, Teresa Parodi, John Gilbert, Mary Amelia Warner, James Edward Murdoch, Laura Keene, William Henry Don, John Drew, Gustavus Vaughan Brooke, Lola Montez, Julia Bennett Barrow, Edwin Forrest, Laura Addison, Jean Margaret Davenport (Mrs. Lander), Peter Richings, Max Maretzek, Mary Anne Stirling, Lizzie Weston, Louis Moreau Gottschalk, George E. Locke, Lester Wallack, Gabriel Ravel, Henriette Sontag, Cora De Wilhorst, Charles William Macready, Thomas Potter Cooke, Isabella Glyn, William Dowton, John Edward Owens, Kate Josephine Bateman, William Farren, John Liston, Louisa Pyne, Giulia Grisi, McKean Buchanan, Adeliaide Phillipps, Susanna Centlivre, Charlotte Thompson, Edwin Pearce Christy, Charles Walter Couldock, Marietta Alboni, and George Frederick Cooke. A list of “maiden and married names of actresses” is located at the beginning of the volume, and offers researchers a useful research tool as they reconstruct the career of famous female performers. The scrapbook also contains images of numerous theaters and cultural institutions, both in Philadelphia and in other U.S. cities, such as the Philadelphia Academy of Music, the Walnut Street Theatre, the City Museum of Callowhill Street, and Welch's National Circus (at the National Theatre) in Philadelphia, Astor Place Opera House, Castle Garden Theatre, Pike's Opera House, Booth’s New Theatre, and Brougham’s Theatre in New York City, and the New National Theatre and the People’s Theatre in Cincinnati, OH. Finally, the volume comprises a small number of autograph letters, including one by theater manager John Sefton, and another one by actor and theater manager John Drew.

6

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Brazier, Emma Josephine, 1867-1953
Title:
Emma Josephine Brazier theater and opera scrapbooks
Date [inclusive]:
1858-1918
Call Number:
Ms. Coll. 1149
Extent:
0.75 linear feet (3 boxes)
Language:
English
Language Note:
Primarily English, some French.
Abstract:
Emma Josephine Brazier (1867-1953) was a Philadelphian who followed the theater and opera scene. Her scrapbooks consist of three volumes that contain playbills, theater and opera advertisements, and actors' photographs and cards from 19th centuryand early 20th century in Philadelphia and New York City.
Cite as:
Emma Josephine Brazier theater and opera scrapbooks, 1858-1918, Ms. Coll. 1149, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
McCredy, Richard Wilson, 1854-1924
Title:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills
Date [bulk]:
1869-1905
Date [inclusive]:
1869-1906
Call Number:
Ms. Coll. 1322
Extent:
0.2 linear foot (1 volume)
Language:
English
Abstract:
The son of Thomas McCredy and Emma Dolores Wilson, Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). A gift by McCredy, this scrapbook consists of a collection of about 750 playbills and programs from Philadelphia and New York City, arranged in chronological order and pasted onto a volume of more than 200 pages.
Cite as:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills, 1869-1906, MS. Coll. 1322, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Title:
"Theatricals in Philadelphia" scrapbooks
Date [bulk]:
1838-1897
Date [inclusive]:
1838-1936
Call Number:
Ms. Coll. 1384
Extent:
6 linear feet (22 volumes)
General Physical Description note:
Two different bindings exist for the scrapbook series. The first, featuring large numbers but no title on the spine, is possibly the one used for all volumes when they were purchased in 1920. Some volumes were subsequently rebound using a new spine bearing the title "Theatricals in Philadelphia". This title was probably taken from the description of the set compiled by auctioneer Stanislaus Henkel prior to the purchase of the collection.
Language:
English
Abstract:
The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage, dating from the second half of the 19th century. These materials mostly relate to theaters and other performing venues located in Philadelphia, although there are also some items from New York, Boston, and other U.S. cities. Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks, this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.
Cite as:
"Theatricals in Philadelphia" scrapbooks, 1838-1936 Ms. Coll. 1384, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Durang, Charles
Creator:
Westcott, Thompson
Title:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855
Date:
1868
Call Number:
Ms. Coll. 1316
Extent:
2 linear feet (6 volumes)
Language:
English
Abstract:
A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. Westcott's scrapbooks consist of the complete series of the 267 chapters of Charles Durang’s history of theater in Philadelphia between the years 1749 and 1855, published as weekly installments in the Sunday Dispatch from 1854 to 1863. Including page numbers, indexes, and lists of illustrations, the six volumes are interleaved with images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.
Cite as:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855, Ms. Coll. 1316, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Biography/History

Emma Josephine Brazier was born on August 15, 1867 to Joseph Harrison and Ellen Kemball Bartol Brazier. She, her parents, and her brother lived in Philadelphia where her father was employed by the jewelry firm, J.E. Caldwell & Co. of Philadelphia. Her brother, Henry Bartol Brazier, appears to have been an inventor of automobile components.

Little is known of Emma Josephine Brazier except that she was apparently an ardent fan of theater and opera. She appears to have attended many plays and operas in Philadelphia and New York and to have followed the actors and actresses closely. She may have traveled to Europe in 1909. There is no indication that she ever married. She died in Massachusetts on November 14, 1953, at the age of 86.

Biography/History

The son of Thomas McCredy (1826-1856), and Emma Dolores Wilson (1826-1911), Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). Born in Philadelphia, McCredy lived in the city for most of his life, residing in the Rittenhouse Square area. He enrolled as a student in the Arts department in 1870, but did not complete his degree and left college at the end of his freshman year, in 1871. Over the the following decades, however, he remained involved with many organizations connected with the University of Pennsylvania including the Delta Sigma fraternity (Delta chapter), for which he served as secretary. In the 1890s, he was a board member of the Penn Athletic Association, and was affiliated with the University Barge and Corinthians Yacht Clubs. He married Frances Hart Ruckman (b. 1868) on January 16, 1909. The couple had no children, and divided their time between their residence in Philadelphia and their summer home in Cape May, New Jersey. Richard Wilson and Frances Ruckman McCredy are buried in the Doylestown Cemetery (Doylestown, Pennsylvania).

McCredy donated this scrapbook to Penn in March 1917. It includes a collection of playbills dated from 1869 to 1905, and mostly from Philadelphia and New York City. The authorship of the volume is uncertain. However, a comparison between the handwritten notes in the scrapbook and the hand who filled out McCredy’s alumnus form – currently held by the University of Pennsylvania Records Center, and possibly compiled by McCredy himself – shows some similarities, and indicates that McCredy may have assembled the volume himself.

Biography/History

The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage. These materials all date from the second half of the 19th century, and are mostly related to theaters and other performing venues located in Philadelphia. However, the scrapbooks also contain a smaller number of items from New York, Boston, and other U.S. cities. In 1936, all the items included in the scrapbooks were listed by title in a typewritten index in 7 volumes, which is also part of the collection.

The 15-volume scrapbook set joined the special collections of the University of Pennsylvania in May 1920, after it was purchased from Philadelphia auctioneer Stanislaus Vincent Henkels. Funding for the purchase came from a special fund established by Morris Lewis Clothier (1869-1947), a trustee of the University of Pennsylvania. The set became part of what was then known as the Clothier Collection of American Drama, an important theater collection that would be expanded for several decades under the supervision of University of Pennsylvania English professor Arthur Hobson Quinn (1875-1960). Quinn also oversaw the compilation of the title index, which was completed in 1936 by an employee of the Works Progress Administration. It was probably at this time that numbers were penciled on the margin of each page.

The creator of the scrapbooks is unknown, and was probably unknown at the time of the acquisition. A clipping pasted on the first page of volume 1, possibly excerpted from the original auction catalog, states that “somebody has devoted almost a lifetime in making this collection,” but does not provide any indication as to who assembled the scrapbooks. Annotations in one or more hands can be found throughout the volumes. Some of the materials included in the scrapbooks were probably donated to the collection’s creator. Volume 7 includes a letter from the Wallack Theatre (New York) dated 1886 and addressed to "Mr. Siegel," while a note by "G. N. Galloway" is annotated on the margin of a program included in volume 14. It is possible – although not certain – that one of these names corresponds to the person who assembled the volumes.

Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks – from opera, tragedy, and instrumental music to minstrel shows, vaudeville, and side shows – this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.

Biography/History

A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. He studied English at the University of Pennsylvania, and later completed the study of law under Henry M. Phillips, until he was admitted to the bar in 1841. Westcott began his writing career with humorous pieces published under the name "Joe Miller Jr." in newspapers such as St. Louis Reveille,  New York Mirror, and  Knickerbocker Magazine. In 1841, he officially entered journalism and became law reporter for the  Public Ledger. A few years later, in 1848, John Lawlor, Robert Everett, and Edward J. Hincken, founders of the  Sunday Dispatch, offered Westcott a position as main editor of their newspaper. Westcott worked for the  Dispatch for thirty-six years, until his retirement in 1884. In the meantime, he collaborated as a writer or editor with a number of other city papers and publications, including  The Philadelphia Inquirer (1863-1871),  Commercial List, the  Old Franklin Almanac, and the  Public Ledger Almanac.

In addition to his career as a journalist, Westcott established himself as a local historian, primarily through his series on the history of Philadelphia, which he published weekly in the Sunday Dispatch between 1867 and 1884. In 1884, he published the three-volume book  History of Philadelphia, 1609-1884, which he co-edited with another prolific historian of the time, John Thomas Scharf (1843-1898). Westcott was the author of several other works, including  Life of John Fitch the Inventor of the Steam-Boat (1857),  Taxpayer’s Guide (1864),  Names of persons who took the oath of allegiance to the State of Pennsylvania, Between the Years 1777 and 1789, with a History of the "Test laws" of Pennsylvania (1865),  Chronicles of the Great Rebellion Against the United States of America (1867),  Centennial Portfolio (1876), and  The Historic Mansions and Buildings of Philadelphia: with some notice of their owners and occupants (1877).

Thomas Westcott compiled a set of scrapbooks which includes the complete series of the 267 chapters of Charles Durang's history of theater in Philadelphia between the years 1749 and 1855. These chapters appeared in three different series in the weekly newspaper Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to April 19, 1863 (Vol. XV, No. 52). Primarily active as a dancer, actor, and ballet master, Charles Durang (1794-1870) drew upon his life-long experience with the Philadelphia theatrical scene to write a historical work after his retirement from the stage in 1853. Partly based upon the notes of his father John Durang (1768-1822), America’s first professional dancer; and integrating notes of the editors of the  Dispatch (including, probably, Westcott himself), Durang’s history was never published in book form. In 1868, Westcott arranged the clippings from the  Dispatch in a six-volume set of scrapbooks titled "History of the Philadelphia Stage, Between the Years 1749 and 1855." The scrapbooks, which include page numbers, indexes, and lists of illustrations, are interleaved with hundreds of images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.

Upon Westcott’s death in 1888, historian John Thomas Scharf, who had co-edited with Westcott the History of Philadelphia, 1609-1884 (1884), acquired a large portion of Westcott’s papers and collections. In 1891, Scharf gave them to Johns Hopkins University, as part of a larger donation of archival material mostly relating to the history of the southern states. Westcott’s set of scrapbooks was probably part of that donation, as “Durang’s History of the Philadelphia Stage” was explicitly mentioned by Scharf in the accompanying letter. However, in June 1915, the scrapbooks were sold in Philadelphia by auctioneer S.V. Henkel. At the beginning of the following year, Westcott’s scrapbooks joined the University of Pennsylvania special collections, as a gift of one of the university trustees, businessman Morris Lewis Clothier (1869-1947). Especially after their conversion to microfilm in 1956, Westcott’s six scrapbooks have been widely consulted and referenced by theater, music and cultural historians, not only for their textual context, but also for their extremely rich iconographic and documentary apparatus. A volume VII, microfilmed with the six Durang/Westcott scrapbooks, contained playbills and other material post-dating and not related to Durang - it is not covered here.

Scope and Contents

The Emma Josephine Brazier theater and opera scrapbooks consists of three volumes that date between 1858 and 1918. They contain playbills and advertisements from theaters and opera houses primarily in Philadelphia and New York, as well as cards and photographs of the actors and actresses that performed in them.

"The Stage 1" scrapbook primarily focuses on Philadelphia theater in the mid 19th century. Several theaters are highlighted in this series of newspaper clippings and playbills, including Wheatley and Clark’s Arch Street Theater, Wallack’s Theatre, Laura Keene’s Theater, and Walnut Street Theater. In addition to information on the theaters themselves are several cabinet cards with actors’ photographs and names. These actors include Emma Taylor, John Drew, John Sleeper Clark, Laura Keene, William Wheatley, and Edwin Booth. Researchers should be aware that many of the playbills in this volume date from before Emma Josephine Brazier's birth. However, it is clear by construction that the volume was not compiled until the late 1890s or even the early 1900s.

The second scrapbook, which is untitled, primarily focuses on opera in Philadelphia and New York City, with an emphasis on its relationship with opera in London and Paris and dates from 1884 to 1909. It houses dozens of photographs of opera singers, including Marcella Sembrich, Emil Fischer, Marie Van Zandt, Zelie de Lussan, Emma Nevada, Emma Eames, Victor Maurel, and Nellie Melba. It also contains numerous playbills from the Metropolitan Opera, an opera house in which all of the above listed singers performed. In addition to that commonality, these singers all spent part of their careers in either London or Paris as well as in either Philadelphia or New York City. One letter addressed to Emma Josephine Brazier indicates that she dined with Dr. R. and Emma Nevada Palmer in 1895.

The final scrapbook's spine reads "Dayl's Company," however, it is almost certain that it should read "Daly's Company." This volume, dating from 1883 to 1918, contains information on both opera houses and theaters in Philadelphia and New York City. Of note is the extensive information on Augustin Daly, his funeral, and the dismantling of his house. Daly, a playwright, opened a successful theater in New York City in 1879. Many of the most notable actors and actresses of the time attributed their success to Daly, including John Drew Jr., Maurice Barrymore, and Fanny Davenport. This volume contains many playbills with a penciled notation, "Daly's Company." In addition, researchers will find many photographs and a fair amount of published information on Mary Anderson, Fanny Davenport, John Drew, George Grossman, Marie Jansen, Clara Morris, Cora Potter, Ada Rehan, Vesta Tilley, and Francis Wilson. This volume includes two letters to Emma Josephine Brazier, one from Ada Rehan thanking her for flowers, and one, dated 1918, from an unidentified writer thanking her for an evening.

All three of these volumes contain playbills and advertisements from theaters and opera houses; clippings from newspapers, magazines, and theatrical publications; collectible cards from theaters; and cabinet cards (some of which are hand-colored and a few of which are signed by the actors or actresses). In many cases, information about a specific actor or actress is grouped together, so that a researcher may find photographs, clippings, biographical sketches, and even writings by actors or actresses on several adjacent pages.

Scope and Contents

This scrapbook of playbills consists of a collection of about 750 playbills and programs from Philadelphia and New York City, pasted into or laid in a volume of more than 200 unnumbered pages. The playbills are mostly arranged in chronological order, from 1869 to 1905, although a small number of loose playbills are enclosed as single documents in a pocket created between two pages at the end of the volume. Given the extensive range of theatrical genres documented by the playbills, and the consistency in which this material is presented, the scrapbook works as a useful resource to better understand the evolution of the theatrical scene of two important cultural centers on the East Coast.

The repertoire covered by the playbills includes almost every form of theatrical entertainment—comedies, Shakespeare plays, melodramas, vaudeville shows, tragedies, opera bouffe, operetta, French, Italian, and German opera, dime theaters, amateur performances, minstrel shows, and early cinema. However, the majority of playbills is devoted to comedy, operettas, and opera bouffe, and features some among the most celebrated artists of the time: Lydia Thompson, John Sleeper Clarke, Frank Maguire Mayo, Marie Aimée, Edward Askew Sothern, Joseph Jefferson, Joseph K. Emmett, and Lotta Crabtree. Other prominent personalities mentioned in the playbills include, among others, actors Henry Irving, Louisa Lane Drew, Robert Bruce Mantell, Helena Modjeska, Richard Mansfield, Julia Marlowe, Ellen Terry, Sarah Bernhardt, Clara Morris, Olga Nethersole, Maurice Barrymore, Caroline Louise Dudley (Mrs. Leslie Carter), Ada Rehan, Fanny Janauschek, Edward Loomis Davenport, Fanny Davenport, Tommaso Salvini, Lillie Langtry, and Minnie Maddern Fiske, and singers Christina Nilsson, Italo Campanini, Luigi Ravelli, Adelina Patti, Nellie Melba, Sofia Scalchi, Emma Calvé, Lillian Nordica, Emma Earnes, Marcella Sembrich, Emilio De Marchi, and Johanna Gadski.

The wide number of institutions represented in the volume testifies of the thriving theatrical life of Philadelphia and New York City in those decades. The list of Philadelphia theaters includes the Arch Street Theatre, the Chestnut Street Theatre, the Walnut Street Theatre, Fox’s American Theatre (later known as Central Theatre and Grand Central Variety Theatre), the Seventh Street Theatre, the Academy of Music, the Arch Street Opera House, the Eleventh Street Opera House, the Horticultural Hall, the New National Theatre (later named Mortimer’s Varieties), the New Philadelphia Varieties, the Broad Street Theatre (later known as Lyceum Theatre, Haverly’s Theatre, and McCaull Opera House), the Haydn and Handel Hall, the Alhambra Theatre, the North Broad Street Theatre, the International Comique, the Temple Theatre, B. F. Keith’s Bijou Theatre, the Girard Avenue Theatre, the Garrick Theatre, the Arcade Garden, Dougherty’s Alhambra Palace, the Olympic Theatre, the Grand Sultan Divan, and Enoch’s Varieties. The scrapbooks also contains a smaller number of playbills from theaters in New York City, such as the Metropolitan Opera House, Booth’s Theatre, Wallack’s Theatre, Daly’s Theatre, Union Square Theatre, The Casino, and Belasco Theatre. A few dime museum playbills (especially the New American Museum and Menagerie on the northwest corner of Arch and 9th Street, later also known as Simpson’s Museum and Menagerie, and as Philadelphia Museum) can also be found in the volume, providing precious information on this form of popular entertainment from the late 1800s. Another playbill from 1897 announces an early exhibition of Lumière’s cinematograph at the B. F. Keith’s Bijou Theatre, the first Philadelphia theater to show motion pictures. Finally, the scrapbooks contains programs and playbills of amateur performances organized by the Mask and Wig Club, and by other associations affiliated with the University of Pennsylvania.

Scope and Contents

The collection is divided into two series. Series I includes the set of 15 scrapbooks, and series II consists of the 7 volumes of the title index.

The materials included in the scrapbooks are not arranged following a precise order, which makes the consultation of these volumes potentially challenging. However, a few guiding principles could be identified. In most of the scrapbooks (volumes 1-11 and 13) the materials are grouped by artist or theatrical company, although not in alphabetical or chronological order. Some volumes are especially (although not exclusively) dedicated to specific genres. Volume 1 largely relates to opera; volume 8 focuses on comedy, comic opera, and burlesque; volumes 12 and 13 are dedicated to minstrel shows, circus, magic shows, and burlesque; and volume 15 includes materials on side shows and other exhibits of artifacts and technological curiosities. Volume 14 is exclusively dedicated to the Philadelphia theatrical scene during the Civil War years (1861-1865), and the materials that it contains are organized by performing venue.

Researchers interested in a particular production are encouraged to consult the title index for the scrapbooks, which is located in series II. Because it is organized by title, however, the index is less helpful to locate specific artists, performing venues, articles, or other items in the scrapbook set. For these and other research criteria, researchers should consult the full description of each scrapbook, which can be found at the volume level in the finding aid. Each description include a list of the most prominent artists or theatrical companies featured in the volume, a list of performing venues, and a summary of notable articles, images, programs, playbills, and other materials found in the scrapbook.

Scope and Contents

Durang's history of Philadelphia theater was published in the Sunday Dispatch in three series, each bearing a different title:  The Philadelphia Stage: From 1749 to 1821 (first series, 75 installments published from May 7, 1854 to October 7, 1855);  The Philadelphia Stage From 1749 to 1855 (second series, 56 installments published from June 29, 1856 to August 2, 1857); and  The Philadelphia Stage From the Year 1749 to the Year 1855 (third series, 136 installments published from July 8, 1860 to April 19, 1863). The three series were distributed by Westcott among the six volumes so that each volume contains a similar number of pages. Volume I covers the years from 1749 to 1817-18; volume II from 1817-18 to 1826-27; volume III from 1826-27 to 1831-32; volume IV from 1831-32 to 1841-42; volume V from 1841-42 to 1849-1850; and volume VI from 1849-50 to 1855. All the scrapbooks include page numbers, a handwritten index, and a list of portraits. Westcott inserted portraits and other images, as well as personal correspondence, playbills, and additional clippings relating to Durang's chapters, resulting in a remarkably thorough representation of the history of Philadelphia's theater history. The chronological order in which Durang presents the historical events, combined with the author’s limited use of narrative flashbacks and flash-forwards, makes the indexes useful to locate any mention or image of a given figure or institution active or relevant in a specific period of time. Please see the container list for more detailed information on each volume.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2015 November 16

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  September 7, 2017

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2019 May 7

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2017 August 25

Finding Aid Author

Finding aid prepared by Kelin Baldridge

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Access Restrictions

Access to this item is subject to staff review. Please contact rbml@pobox.upenn.edu in order to consult with a curator.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Richard Wilson McCredy, March 20, 1917

Source of Acquisition

Sold by Stanislaus Vincent Henkels on May 5, 1920 (acquired through the Morris L. Clothier Fund).

Source of Acquisition

Gift of Morris L. Clothier, January 21, 1916

Processing Information note

Formerly Dewey Folio 812H T342 and 812H T342 Ind.

Processing Information note

Formerly Dewey 812 P54D.

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Related Materials

Related Archival Materials note

At Maryland Historical Society:

J. Thomas Scharf Collection, 1730s-1892, MS 1999, including a portion of Thompson Westcott's papers.

Other similar but less inclusive scrapbooks of Durang's history can be found at the Library Company of Philadelphia, the Historical Society of Pennsylvania, the Harvard Theater Collection, the University of Texas at Austin, the Columbia University Library, and at the Washington State University Library (Robert Cushman Butler Collection).

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Cabinet photographs
  • Clippings (information artifacts)
  • Scrapbooks
Subject(s)
  • Actors
  • Musical theater
  • Opera
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--Pennsylvania--Philadelphia--20th century
  • Theater--United States--19th century
  • Theater--United States--20th century

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Mask and Wig Club.
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • McCredy, Richard Wilson, 1854-1924
Subject(s)
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Opera House (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Clippings
  • Engravings (prints)
  • Portraits
  • Posters
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)
Subject(s)
  • Actors
  • Actresses
  • Circus--History
  • Freak shows
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--United States
  • Theater--United States--History--19th century
  • Vaudeville

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Autographs (manuscripts)
  • Correspondence
  • Engravings (prints)
  • Scrapbooks
Geographic Name(s)
  • Philadelphia (Pa.)--History
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • Clothier, Morris L. (Morris Lewis), 1868-
Subject(s)
  • Actors
  • Actors--Portraits
  • Circus--History
  • Drama--History and criticism
  • Performing arts
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States--History--19th century

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Collection Inventory

Box

"The Stage 1," theater scrapbook, 1858-1902.

1

Opera scrapbook, 1884-1909.

2

"Dayl's Company," (should probably be "Daly's Company"), theater and opera scrapbook, 1883-1918.

3

Collection Inventory

Volume

Scrapbook of Philadelphia and New York City playbills, 1869-1906.

1

Collection Inventory

Series I. "Theatricals in Philadelphia".

Volume
Volume 1 (generally focusing on opera), 1850-1896.
Scope and Contents note

Volume 1 includes articles, portraits, and programs relating to many celebrated figures from opera and theater. Among them are Jenny Lind (pages 1-8; 10-23); Charles R. Thorne and Richard Wagner (8-10); Louis-Antoine Jullien (24-26); Adelina Patti (27-36; 42-70); Carlotta Patti (38-41; 77-79); Christine Nilsson (75-77; 81-87); Annie Louise Cary (85-87); Minnie Hauk (99-101); Pauline Lucca (102-103); Susan Galton (113-117); Sarah Smith (Mrs. Bartley) (122); Genevieve Ward (127-131); Mary Frances Scott-Siddons (137-147); Emma and Daniel Waller (158-161), Jean Margaret Davenport (168-171); Helena Modjeska (172-175); Fanny Janauschek (178-189); Helen Maud Holt (Mrs. Beerbohm Tree) (191-195); Madge Lessing (197); Merri Osborne (198); Carrie Perkins (198); Adelaide Ristori (199-202); Rosina Vokes, Victoria Vokes, Jessie Vokes, Frederick Vokes, and Fawdon Vokes (212-218); Edward Smith Willard (222); Annie Yeamans (223); Lydia Thompson (227-240); Dion Boucicault and Agnes Robertson (241-271); Maggie Moore and James Cassius Williamson (283); and Marie Aimee (285-287).

Notable items found in the volume include images of the interior and exterior of Castle Garden (New York) in the early 1850s (page 4); a large cartoon featuring the most famous European singers and actors of the 1860s-1870s returning to Europe after their American successes (44-45); an engraving of a gala performance of Gounod’s opera Faust at the Academy of Music (New York) in honor of grand duke Alexei of Russia (1871) (92-93); a poster promoting the beginning of an Italian opera season (probably the Mapleson Opera Company) and including caricatures of Minnie Hauk, Luigi Arditi, Etelka Gerster, Italo Campanini, Allan James Foley (Signor Foli), Sig. Frapolli, and Mlle. Pisani (96-97); images of the interior of Park Theatre (New York) (109); a large image showing the exterior of Union Square Theatre (New York) surrounded by portraits of famous actors, actresses, and performers who appeared on its stage (123-126); sketches depicting scenes from the drama  Forget Me Not (by H. C. Merivale and F. C. Grove), featuring Genevieve Ward in the main role (129, 132); and two playbills from the Ninth and Arch Dime Museum (Philadelphia), starring "Herr Winkelmann, the Great Austrian Giant" (290), and "Elder Joshua Baker and His Big Mormon Family comprising three wives and ten children" (291) (both playbills are dated 1887).

The volume includes playbills from the following Philadelphia theaters: Arch Street Theatre, Chestnut Street Theatre, Academy of Music, North Broad Street Theatre, and the Ninth and Arch Dime Museum. There is also a limited number of playbills from the Park Theatre (New York).

1
Volume 2, 1856-1897.
Scope and Contents note

About a third of the materials included in volume 2 are devoted to members of the Drew family of actors: John Drew (pages 140-147, 190-191, 196-199, 202-207, 209-210, 243); Louisa Lane Drew (107-161, 176-180, 182-186, 223-224, 227); Frank Drew (187-189, 208, 211-214); and Georgie Drew Barrymore (225-226). Other notable figures include John McCullough (1-80); John Sleeper Clarke (81-92); Creston Clarke (93-100); the Vokes family (162-163); Emily Eliza Saunders, Lady Don (164-165); Charlotte Thompson (166-169); Sam Hemple (170-171); Julia Dean (172-173); Catherine (Kate) Reignolds (174-175); Edwin Forrest (181); Eugène Godard (192-195, 216-217); Elizabeth Crocker (D. P. ) Bowers (200); Polly Marshall (218-221); Otis Skinner (237); Sarah Truax (237); Bob Hilliard (238); Amelia Bingham (238); James K. Hackett (239); Mary Mannering (239); Frank Mills (239); Marie Shotwell (239); Edward Hugh Sothern (240); Marion Giroux (240, 243); Maud Adams (243); Ethel Barrymore (243); John Gibbs Gilbert (244-319); and John Collins (322-335).

Notable additional items found in the volume include a small number of images relating to the 1883 dramatic festival in Cincinnati, Ohio (pages 15-17); a picture of the exterior of the Walnut Street Theatre (92); and multiple programs of William Gillette's comedy A Train Wreck, produced at the Arch Street Theatre in 1889 (the programs also include sketches of scenes from the play) (228-235).

The volume contains programs and playbills from many Philadelphia theaters, including Mrs. John Drew's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the Grand Opera House, the Broad Street Theater, and the Walnut Street Theatre.

2
Volume 3, 1857-1888.
Scope and Contents note

Volume 3 is mostly dedicated to comedy, burlesque, circus, and minstrel shows, but it also includes newspaper clippings and pictures on other subjects. Notable figures of the stage featured in the volume include William Warren (pages 1-10); William Davidge (11-15); Antonio Blitz (21); Alice Oates (Mrs. Jas. A. Oates) (30-34); Hugh Reginald Haweis (53); Frank Brower (55-57); Jennie, Irene, and Sophie Worrell (59); Young America (dancer and acrobat) (60-61); John “Jolly” Nash (69); George L. Fox (91-97); John Drew, Louise Lane Drew, and Frank Drew (140-145); Eugène Godard (146-147); George Christy (148-149); Miss E. Kimberly (Shakespearian actress) (150-154); Wesley Barmore (also known as S. E. Harris) (156-161, 170-174); Adelina Patti (176-177); Annie Goodall (182); Robert Craig (183-185); and Alfred S. Phillips (189-191).

The volume also contains a large number of newspaper articles on several topics, such as the “rise and fall” of the New York Crystal Palace (1853-1858) (pages 17-19), the first elephant in the United States (18), the history of burlesque (20), Chinese actors in the United States (22-23), freak shows (24), the art of making figureheads for vessels (27), circus in the Unites States (19-20, 37-38), the selection process for those being hired in dime museums (54), early American plays (175), and big California trees (especially sequoias) (180-181). The scrapbook also includes numerous articles, engravings, and playbills relating with theater fires in Philadelphia, New York, Brooklyn, and London (71-80, 85-88, 115-119, 125-137). Theaters mentioned include the American Theatre, the Central Theatre, the International Comique, and the Temple Theatre (Philadelphia); the Butler's Theatre (New York); the Brooklyn Theatre (Brooklyn); and the Exeter Theatre (London). An article with a list of all theater fires in Philadelphia from 1798 to 1888 can be found on page 76.

Enclosed in the volume are also a set of sketches depicting characters and costumes in the opéra bouffe La Grande-Duchesse de Gérolstein, produced in New York by Batesman's Parisian Opera Troupe (pages 99-100); and additional clippings and engravings (including images of play scenes and backstage) relating to the "theatrical extravaganza"  The White Fawn (with Jarrett and Palmer's combined Viennoise & Parisian Ballet Troupes, including Mlle. Marietta Bonfanti), as produced at Chestnut Street Theatre (circa 1868) (104-110). The scrapbook concludes with a set of engravings depicting scenes from Shakespeare's plays (199-217).

The volume contains playbills from many theaters in Philadelphia, New York, Boston, and other cities, including Col. Wood’s Museum (9th and Arch), the Continental Theatre, the New 11th St. Opera House, the New American Theatre, Fox's American Theatre, John Drew's National Theatre, Welch's National Theatre, and Sanford's Opera House (Philadelphia); Butler's American Theatre (New York); the Boston Museum (Boston); and the Grand Opera House of London, Ontario.

3
Volume 4, 1838-1889.
Scope and Contents note

Volume 4 contains engravings, playbills, and articles relating to celebrated comedians, tragic actors and actresses, singers, and acrobats, including Joseph Jefferson (pages 6-20, 23-29); Laura Keene (21); Edward Loomis Davenport (34-60); John Baldwin Buckstone (38); Fanny Vining Davenport (61-86); Peter Richings and Caroline Richings (88-125); Kate Josephine Bateman and Ellen Bateman (129-131); Charles Dillon (132-135); Charles Walter Couldock (136-142); Maggie Mitchell (144-160); James Edward Murdoch (163-206); Gabriel Ravel and Francois Ravel (208-243); McKean Buchanan (244-245); Marian Russell (Mrs. George Farren) and Fanny Fitz Farren (246-252); James Henry Hackett (253-261, 295); and Charles Blondin (262-294).

Additional items include images of several theaters, including the New Casino (New York) (page 84), the Metropolitan Opera House (New York) (84), the Chestnut Street Theatre (155, 168, 176, 206), and the South Broad Street Theatre (155). Also included in the volume is a rare color playbill of the comic opera Electric Light (words by William B. Hazelton and Edward Spencer, music by William Wallace Furst), staged in 1879 at the Broad Street Theatre (Philadelphia) (120-122).

The volume contains playbills from theaters in Philadelphia, New York, and other cities, including the Walnut Street Theatre, the Broad Street Theatre, the Chestnut Street Theatre, Mrs. John Drew's Arch Street Theatre, Wheatley's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the National Theatre, the American Academy of Music, and the Continental Theatre (Philadelphia); Laura Keene's Theatre, the Olympic Theatre, and the Union Square Theatre (New York); and the Citizens' Theatre (Vicksburg, Mississippi).

4
Volume 5, 1872-1897.
Scope and Contents note

Volume 5 contains playbills, articles, portraits, engravings, and other materials relating to several notable figures of the stage, including Carmen Dauset Moreno (Carmencita) (pages 1-5); Eleanore Carey (6-9); John H. Fitzpatrick (10-12); Max Figman (13); Julia Marlowe (16-36); Robert Taber (21-22, 24-25, 35-36); Benoît-Constant Coquelin (39-40, 42); Jane Hading (40-41); Rosina Vokes (43-48); Victoria Vokes (49-50); Helen Barry (51-54); Thomas W. Keene (55-59); George S. Knight and Sophie Worrell (Mrs. George S. Knight) (61-67); James O’Neill (70-89); Henry Miller (90-91); Blanche Walsch (90-91, 97); Marie Wainwright (90-96); Louis James (92-95); Helen Dauvray (97); William Faversham (99); Millie Maddern (99-102); Marie Jansen (115-122); Theresa Vaughn (123-124); Vernona Jarbeau (124-126); Ada Gray (127-129); Louise Allen (130-131); Emily Rigl (133); William Terriss (143-148); Jessie Milward (143-148); George Richards (149-156); Eugene Canfield (149-156); Tim Murphy (157); Dorothy Sherrod (157); Peggy Logan (159-161); Frank I. Frayne (162-166); Pete F. Baker (168-169); Ray Maskell (171); Frederick Paulding (172); Julia McKay (180); Augustus Cook (181-187); and Joseph Haworth (187).

The volume also contains images of scenes, cards, and other promotional materials relating to the following plays: Victorien Sardou's Dolores (including large portraits of Eleanore Carey and John H. Fitzpatrick) (pages 6-7, 10-12, 14-15); Augustus Thomas's play  A Night's Frolic, starring Halen Barry (55); the play  Baron Rudolph, starring George S. Knight and Sophie Worrell (Mrs. George S. Knight) (64); Charles Fechter's adaptation of Alexandre Dumas's play  Monte-Cristo, starring James O’Neil (Chicago, Grand Opera House, 1883) (80-89); Elliot Barnes’s play  Only a Farmer’s Daughter (135-140); the melodrama  Roger La Honte, produced by H.C. Miner and adapted from the novel of the same name by Jules Mary (145-148); the comedy  A Midnight Bell, written by Charles H. Hoyt and performed at the Chestnut Street Theatre in 1892 (151-152); the "operatic extravaganza"  Two Old Cronies (performed at Mrs. John Drew’s Arch Street Theatre in 1890) (175-179); George R. Sims and Henry Pettitt's drama  Harbor Lights (181-184); George R. Sims's play  Lights of London (188-189); William Irving Paulding's comedy  The Struggle of Life (172); and the comedy  A Breezy Time, by E. B. Fitz and Dan Shelby (199-202).

Included in the volume are also a few rare stickers advertising the play Spider and the Fly, by Robert Fraser and William Gill (also performed at Mrs. John Drew's Arch Street Theatre, circa 1890) (page 131). Other notable items include an image of the exterior of New Park Theatre (Philadelphia) (2); a long article on David Belasco and Franklin Fyles' play  The Girl I Left Behind Me (also performed at the Chestnut Street Theatre, 1894) (104-113); a program of the inaugural performance of the New Standard Theatre (Philadelphia) (1888), including a ticket stub (99); and diagrams of Haverly's Theatre (Philadelphia) (4) and of Chestnut Street Opera House in 1882 (194).

Researchers will also find in the volume several playbills from theaters in Philadelphia (New Park Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Herrmann's Theatre, Broad Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Standard Theatre, Continental Theatre, H. R. Jacobs' Lyceum Theatre, Forepaugh’s Theatre, and Haverly’s Theatre), New York (Star Theatre, Tony Pastor’s 14th Street Theatre), Boston (Windsor Theatre, Globe Theatre, and Boston Museum), Chicago (Grand Opera House), and New Orleans (Academy of Music).

5
Volume 6, 1872-1896.
Scope and Contents note

Volume 6 includes playbills, articles, portraits, engravings, and other materials relating to the following theatrical figures: Mary Anderson (pages 5-42); Emma Abbott (38); Alessandro Salvini (44); Tommaso Salvini (45-46): Ernesto Rossi (47-51); Clara Morris (52-64); Kate Claxton (62, 64-65); Fanny Morant (64-65); Ann Gilbert (Mrs. G. H. Gilbert) (64-65); James Lewis (64-65); Lillie Langtry (66-111); Charles Coghlan (94-95); Katherine Florence (95); Hattie Russell (94-95); Cora Urquhart-Brown Potter (117-138); Lotta Crabtree (139-158); Annie Pixley (159-182); Fay Templeton (178-181); Hortense Rhéa (183-189); Creston Clarke (191-193); Margaret Mather (195-200); Neil Burgess (201-211); Minnie Palmer (213-222); and Lewis Morrison (223-230).

The volume also contains additional materials, including a booklet titled Salvini: A biographical Sketch of the Italian Tragedian together with Critical Judgments of His Acting (New York: George F. Nesbitt & Co., 1873) (45); a large image depicting "The Histrionic and Lyric Firmament" (1882), with portraits of many famous figures of contemporary opera and theater (106-108); "The Langtry Puzzle," a maze revealing Lillie Langtry's name as it is solved (110-111); promotional material for play  M'Liss, Child of the Sierras, starring Annie Pixley (161-164, 172-173); a booklet promoting Hortense Rhéa's farewell tour of season 1886-1887 (185); a booklet titled "Souvenir of Neil Burgess in 'Vim,'" printed by Mrs. John Drew’s Arch Street Theatre and including images of scenes from the play (209); figures depicting scenes from the play  The Great Fair Scene, featuring Neil Burgess (209-211); and a set of cards portraying actor Lewis Morrison performing as Mephistopheles in  Faust (226-227).

The scrapbook includes playbills from a number of theaters in Philadelphia, New York, and other cities: Walnut Street Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Academy of Music, Mrs. John Drew's Arch Street Theatre, Herrmann’s Theatre, Eleventh Street Opera House, Park Theatre, New Park Theatre, and Empire Theatre (Philadelphia); Union Square Theatre, Fifth Avenue Theatre, and Poole's Theatre (New York); Park Theatre (Newark, New Jersey); Opera House (Wilmington, Delaware); Van Wyck's Academy of Music (Norfolk, Virginia), Ford's Grand Opera House (Baltimore, Maryland); Mobile Theatre (Mobile, Alabama); and Prince's Theatre (London).

6
Volume 7, 1838-1888.
Scope and Contents note

About half of the materials included in volume 7 is relating to members of the Wallack stage family: Henry Wallack, James William Wallack, and Lester Wallack (pages 1-107). The rest of the scrapbook materials concerns the following figures: Elizabeth Ponisi Wallis (Madame Ponisi) (5, 65); Josephine Shaw (Mrs. John Hoey) (6-7); Joseph Haworth (63); Stella Boniface Weaver (65); Marie Jansen (71); Digby Bell (71); DeWolf Hopper (71); William Rufus Blake (74); Edwin Booth (74); Herbert Kelcey (92); Kyrle Bellew (92, 105); May Yohé (94-95); Grace Filkins (94-95); Osmond Tearle (103); Herbert Kelcey (108); John Randolph Scott (110-121); John T. Raymond (123-134); Edward Askew Sothern (131); John Edward Owens (135-141); John Howson (144-147); John Edwin McDonough (149-169); and John Brougham (171-194)

Additional materials of interest include a diagram of Walnut Street Theatre (Philadelphia) (60); a rare playbill of the final performance of the Wallack Company at Wallack's Theatre (1888), printed on fabric (73); a program of Wallack’s Theatre enclosed to an autograph note addressed to a "Mr. Siegel" (perhaps the author of the scrapbook set, pages 87-91); a poster of Arthur Wing Pinero's farce The Magistrate, performed at the Walnut Street Theatre and featuring John T. Raymond (132-134); sketches, playbills, and a poster relating to the minstrel show  The Royal Marionettes (162-169); an engraving depicting the "Grand ball in honor of the Japanese, given by the New York City authorities" (1860) (174); and a set of caricatures of famous actors and actresses, including Edwin Forrest, Charlotte Cushman, and Lester Wallack (190-192).

The volume also contains playbills from several theaters in Philadelphia, New York, and other cities, including the Wheatley and Clarke's Arch Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Walch's National Amphitheatre, Broad Street Theatre, McDonough’s Gaieties, and Concert Hall (Philadelphia); Wallack’s Theatre, Abbey's Park Theatre, Madison Square Theatre, Broadway Theatre, Bijou Opera House, Haverly's 5th Avenue Theatre, Olympic Theatre, Brougham's Theatre, and Niblo's Garden (New York); Washington's Theatre (Washington, D. C.); and unidentified theaters in Wilmington, Delaware, and in Vicksburg, Mississippi (the latter possibly being the Citizens Theatre).

7
Volume 8 (generally focusing on comedy, comic opera, and burlesque), 1876-1896.
Scope and Contents note

Volume 8 is mostly devoted to comedy, burlesque, and light opera. Researchers will find articles, playbills, programs, portraits, engravings, and other materials relating to the following theatrical figures: Lillian Russell (pages 5-41); Pauline Hall (42-56, 60-61); Eva Davenport (50, 56); George Holland (50); Rudolph Aronson (51-53); Jennie Weathersby (53); Anna O’Keefe (53, 61); Francis Wilson (53-54); Kitty Cheatham (54); Fanny Rice (54-55); Delia Stacey (55); Isabelle Urquhart (55, 57); James T. Powers (57); Lillian Grubb (57-58); Alfred Klein (59); Francis Wilson (59-61, 63-64); Nettie Lyford (62); John Philip Sousa (63); Adolph Zink (63); Selma Goerner (63); Franz Ebert (63); Francis Wilson (63-64); Edward Everett Rice (65-80, 86-110); Annie Yeamans (72, 74); John A. Mackay (73); Virginia Earl (78); Marion Giroux (78, 80); Richard Golden (81-85); Laura Joyce (84-85); Kitty Blanchard (Mrs. McKee Rankin) (84-85); Henry E. Dixey (84-86) Nathaniel Carl Goodwin (85, 139-159); Amelia Somerville (86); Maurice Curtis (M. B. Curtis) (111-124); Jennie Hughes (129-132); Barney McAuley (133-138); Nathaniel Carl Goodwin (139-159); Loie Fuller (144-145, 150, 160-161); Grace Kimball (158-159); Minnie Dupree (159); Maud Granger (165-171); Atkins Lawrence (169); Lizzie Evans (181-199); Louise Dempsey (202-211); and Adelaide Detchon (213).

The volume also contains additional materials, often but not necessarily related to the figures mentioned above. Such materials include sketches of scenes from the play Billee Taylor, featuring Lilian Russell (8); a waltz from the comic opera  Erminie (arranged by Henry White) (62); programs, playbills, and sketches of scenes and characters from the opera buffa  Evangeline (music by Edward Everett Rice, word by John Cheever Goodwin), performed at the Broad Street Theatre and the Walnut Street Theatre (86-110); sketches of scenes of  Sam’l of Posen; The Commercial Drummer, featuring M. B. Curtis (119-124); engravings depicting scenes of burlesque show  The French Spy (129-132), with images of actress Jennie Hughes; portraits and engravings depicting scenes from the play  Uncle Dan’l, featuring Barney McAuley (134, 137-138); image of living tableau on the "Destruction of Pompeii," staged by Matt Morgan at the New York Opera Comique (circa 1875)(162-163); a large engraving depicting scenes from Jules Verne’s novel  Le Tour de Monde en 80 Jours (172-173); clippings and a playbill relating to the opening of the Kiralfy Theatre in Philadelphia (1876) (174-175); a playbill and images depicting scenes from the show  Ruth; or, the Curse of Rum (Academy of Music, Philadelphia) (177-180); and several large portraits of actress Louise Dempsey en travesti (202-211).

Included in the scrapbook are also several playbills and programs from theaters in Philadelphia and in other cities in the United States, such as the Chestnut Street Opera House, the Chestnut Street Theatre, the Broad Street Theatre, the Park Theatre, the Walnut Street Theatre, Kiralfy's Alhambra Palace, the Academy of Music, and Mrs. John Drew's Arch Street Theatre (Philadelphia); the Boston Museum, the Boston Theatre, and the Globe Theatre (Boston); The Casino; Tony Pastor's 14th St. Theatre, Haverly's Theatre, the Standard Theatre, and the Bijou Opera House (New York); the Pickwick Theatre (St. Louis, Missouri); and the Grand Opera House (Cincinnati, Ohio).

8
Volume 9, 1880-1896.
Scope and Contents note

The materials included in volume 9 relate to a relatively limited number of celebrated figures of the stage: Sarah Bernhardt (1-71); Jane Hading (73-153); Benoît-Constant Coquelin (74-181); Henry Irving (170-180, 186-219); Rachel Félix (Mademoiselle Rachel) (172, 175); Joseph Levinsky (174); Frédérick Lemaître (173, 175); François Joseph Talma (175); Ellen Terry (188-198, 203-221); Robert Drouet (222); and Oscar Wilde (224-243).

The volume contains several notable items, including several caricatures and portraits of Sarah Bernhardt (1-71); an essay on "Acting and Actors," by Benoît-Constant Coquelin (77); an article on "The Comèdie Française" by Theodore Child (originally published in Harper’s New Monthly Magazine, possibly vol. 74, 1886-1887) (88); articles relating to a debate between Henry Irving and Benoît-Constant Coquelin over acting techniques (176-181); copy of a booklet titled "The Lyceum 'Faust,'" by Joseph Hatton (reprinted from the  London Art Journal, circa 1890) (190); and caricatures of and articles about Oscar Wilde (especially concerning his affiliation with the Aesthetic Movement) (224-243).

Researchers can find in the volume playbills and programs from the following theaters: Chestnut Street Theatre, Chestnut Street Opera House, and Sanford's Opera House (Philadelphia); Booth's Theatre, Star Theatre, and Palmer's Theatre (New York); and the Royal Lyceum Theatre (London).

9
Volume 10, 1851-1893.
Scope and Contents note

Volume 10 is mostly devoted to comedy, and includes playbills, programs, portraits, and other materials relating to the following theatrical figures: Gus Williams (pages 1-13); Samuel Piercy (14-15), Louise Pomeroy (16-17); Owen Fawcett (18), Marie Gordon (19), Asger Hamerik (20), Effie Ellster (21-23), George Reed Cromwell (24), Joseph Murphy (25, 35-41); Little Corinne (26-34); Fred Leslie (45, 47-48, 50); Nellie Farren (46, 48-50); Letty Lind (50); Tony Pastor (55-68); Maggie Cline (58, 60); Bessie Bonehill (59, 63); Mary Ann Ford (Talma) (72); Eugen Sandow (73-80); Charles A. Gardner (81-92); William Hoey (93-96); Charles E. Evans (93-96); Cheridah Simpson (93-96); Adèle Levey, May Levey, and Carlotta Levey (94-96); Minnie French (94-96); Jesse Merrilees (94-96); Adele Ritchie (96); Anna Held (96); Frederick Hallen (97-98); Joseph Hart (97-98); Roland Reed (99-103, 109-110); Isadore Rush (99, 103, 108-109); Annie Lewis (102); Tommy Russell (116-117, 122); Marie Prescott (119-121); Rezin Davis Shepherd (R. D. MacLean) (119-121); Elsie Leslie (122); William J. Scanlan (123-133); Chauncey Olcott (134); Rose Coghlan (137-146); Charles Coghlan (145-146); Sadie Martinot (142, 145-146); John Frederick Zimmerman, Jr. (143-146); McKee Rankin and Kitty Blanchard (Mrs. McKee Rankin) (159-168); George Hanlon (173); Edward Hanlon (173); William Hanlon (173-174); Genevieve Ward (175); W. H. Vernon (175); Albert M. Palmer (177); Wilton Lackaye (180-182); and Blanche Walsh (182-183).

The volume also contains other material relating to the figures mentioned above. Among this material is drawings of scenes from the play One of the Finest, featuring Gus Williams (3-9, 13); a program presenting three comedies featuring Joseph Murphy (  Shaun Rhue,  Kerry Gow, and  The Donagh), and including the tunes of the songs "My Dora Darling," "A Handful of Earth," and "Core O' My Heart" (41); playbills and a large scene photograph of the play  Zitka, by William Carleton (51-54); a poster advertising the play  Pink Dominos (71); a set of engravings advertising the melodramas  Sweet Singer,  Fatherland, and  The Man Hunt, featuring Charles A. Gardner (81-92); two large engravings depicting the façade of the Boston Museum (106-107); engravings and playbills relating to the play  Little Roy Fauntleroy, performed at the Walnut Street Theatre and the Boston Museum and starring respectively Tommy Russell and Olive Homans in the Lord's role (111-118, with additional photo of Elsie Leslie as Little Lord at p. 122); playbill and a program (including sketches of scenes) of the comedy-drama  Mavourneen, written by George H. Jessop and produced by Augustus Pitou at the Walnut Street Theatre (134-135); series of engravings depicting scenes from the play  The Strangler of Paris (147-157); series of playbills and programs relating to performances of Salbury's Troubadours (169-170); a playbill of play  Kayanka, produced by the Miller Brothers' Company and performed at the National Theatre (Philadelphia) in 1890 (171) and a playbill of a performance of Dockstader's Minstrels at the Chestnut Street Theatre (1887) (179).

Playbills from the following theaters are included in the volume: Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, National Theatre, Chestnut Street Opera House, South Broad Street Theatre, Central Theatre, Gilmore's Auditorium, Central Theatre, and Broad Street Theatre (Philadelphia); People's Theatre, Tony Pastor's Theatre, Empire Theatre, Poole's Theatre, and Star Theatre (New York); Harris Bijou Theater (Washington, District of Columbia); Van Wyck's Academy of Music (Norfolk, Virginia); Boston Museum (Boston); Olympic Theatre (St. Louis, Missouri); and the Royal Opera House (Toronto).

10
Volume 11, 1857-1897.
Scope and Contents note

Volume 11 includes playbills, portraits, programs, and other materials relating to the following theatrical figures: Frank Maguire Mayo (pages 17-18); Oliver Doud Byron (21-24); Francis C. Bangs (32-34); Dominick Murray (35-42); Roland Reed (38); Isabella Nickinson (Mrs. Charles Walcot) (38-39); Charles Walcot (39); G. Swaine Buckley (51-52); Louis Aldrich (57-67); Grace Huntington (64-65); Marina Paoli (65); George C. Boniface (74-76, 86-87); Tony Denier (80-81); Myra Goodwin (89-90); Simon M. Landis (103-104); John B. Schoeffel (referred to in the scrapbook as "the husband of Agnes Booth") (112); John M. Burke (118); Edith Mason (118-119); Steele MacKaye (128, 130); Effie Ellsler (129-130); Marie Geistinger (133-134); Sara Jewett (136-138); Jacques Offenbach (140-142); Louis-Jacques Mandé Daguerre (141); Joseph Hofmann (142); Hortense Pierse (144-145); Marshall Pinckney Wilder (146); Mary H. Fiske (158, 160-162, 166); Harrison Grey Fiske (159); Frederick Paulding (165-166); ); E. H. Van Veghten (168-173); Florence Bindley (174-176); Milton Nobles (189, 197); Robert Hilliard (192-194); Georgia Cayvan (193-194); John Drew (196, 202, 204-205); Dollie Nobles (197); Ada Rehan (198-206); Charles Richman (198); Creston Clarke (199); Catherine Lewis (199); Augustin Daly (199-200, 202, 204); James Lewis (202-206); Frederic Bond (202, 204-205); Ann Gilbert (Mrs. G. H. Gilbert) (202-204); and Isabel Irving (204-206).

The scrapbook also contains additional materials, often not related to the stage figures listed above. Among such materials are a lithograph and a program of the play Naiad Queen, performed at the Arch Street Theatre of Philadelphia in 1857 and 1860 (pages 5-7); a ticket stub from a "Sunday Night Concert" at the dining and boxing venue Harry Hills (New York, 1881) (9); photographs of Modoc leaders Captain Jack and Shonchin (11), and a playbill advertising a "lecture" by Redpaths's Modoc Lecture Company (Horticultural Hall, Philadelphia, 1876) (12-13); a poster advertising a lacrosse tournament in Philadelphia (14-15); images of Oliver Doud Byron performing in the play  Across the Continent, with images of scenes from the play (22-24); a large lithograph promoting the play  Poverty Flat: Or, California in -49, performed at the Walnut Street Theatre in 1872 (26-27); a playbill of a performance of  Romeo and Juliet at the Walnut Street Theatre (1873), featuring six different actresses in the role of Juliet (Effie Johns, Helen Houghton, Lillie Hinton, Maude Stuart, Marie Muhlanbring, and Miss Imogene) (29); programs, cards, and other promotional material relating to the play  The Silver King (written by Henry A. Jones and Henry Herman (31); newspaper clippings on different subjects, including articles on French dancer Marie Taglioni, on a vast collection of object of arts left by Mrs. Morgan (a New York widower), and on a reunion of the Pennypacker family in Schwenksville, Pennsylvania (43-46); playbill and sketches depicting a scene from the play  Henry Dunbar, by Tom Taylor (47-49); a playbill and a newspaper clipping on a "Nautch Girls" show produced by Col. T. E. Snelbaker Majestic Consolidated Company and performed in Philadelphia in 1881 (54-56); playbills and souvenir cards relating to several productions of comedy  Our Strategists (69-73); program and playbill of comedy  Our Candidate, performed at the Standard Theatre (New York) in 1880 (77); a rare poster printed on fabric and advertising comedy  Humpty Dumpty, with Tony Denier (80-81); card and playbills relating to the play  Two Orphans, performed at the Chestnut Street Theatre (1875) and the Chestnut Street Opera House (1880) (85-87); playbills and sketches from the comedy  Humpty Dumpty's Travels (Stewart's Novelty Theatre, Philadelphia, 1876) (92-100); playbills of productions of the Union Square Theatre Company performed at the Park Theatre (Philadelphia) in 1879 (105-111); playbills of Park Theatre productions, including  Robinson Crusoe,  Fun on the Bristol,  The Princess Toto,  Our School-Days; Or, Boys and Girls Again (performed by the Liliputian Opera Company), and the romantic opera  Valerie, or the Treasured Tokens (first performed at the National Theatre, Washington, District of Columbia) (113-117); poster advertising a dog show at Colonel Wood's Museum (Philadelphia), with an additional image of the Museum (formerly known as Simpson’s Museum) in 1876 (120-121); playbill of  Krieg im Frieden, a play in German produced at the Philadelphia Germania Theatre in 1888 (122); playbill of "grand popular concert" by the Maurice Grau French Opera Company at The Casino (New York, 1884) (132); articles relating to Fourth of July celebrations in Woodstock, Connecticut, and in Germantown (Philadelphia), circa 1883 (139); programs and other materials relating to burlesque  King Cole II by Woolson Morse (Herrmann’s Theatre, Philadelphia, 1889) (150-153); program of comedy  Peck's Bad Boy and His Pa, after George Wilbur Puck's dime novel with the same name (154); playbill promoting a show of "Scenes and Battles of the American Revolution" (performed by Adam Forepaugh Shows at Broad and Dauphin Streets, Philadelphia, 1893) (156); series of articles from "The Actresses' Corner" and "The Giddy Gusher" (the latter were probably penned by Mary H. Fiske and published on  The New York Dramatic Mirror) (160-162); playbill advertising the "Crucifixion of Christ" and other "biblical groups in wax" saved from the Temple Theatre fire (Philadelphia, 1886) and put on exhibit at Temple Hall, Philadelphia (170); poster advertising comedy  The Book Agent, including sketches of scenes from the play (181-183); card advertising comedy  Is Marriage a Failure?, performed by vaudeville company Guy Hill's World of Novelties (184); a copy of chapter III from  Folly's Queens; or Women Whose Loves Have Ruled the World, published by Richard Kyle Fox (186-188); a poster advertising the "oriental pageant"  Lalla Rookh’s Departure From Delhi, produced by Adam Forepaugh (1881) (190); clippings on the theme "Acting and Advertising," including a short satirical play titled "The Drama of the Present, with Advertising Attachment," and a lithograph showing an actor and an actress performing amidst theatre props used as advertisement (191); a playbill of  A Wall Street Bandit, by Archibald Clavering Gunther (Standard Theatre, New York, 1886) (195); and clippings including stage pictures of a production of William Shakespeare's  Twelfth Night, performed at Daly's Theatre (New York) and starring Ada Rehan (200).

Researchers will find in the volume playbills and programs from the following theaters: Wheatley and Clarke's Arch Street Theatre, Jacobs and Hickey's Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut St. Theatre, Horticultural Hall, National Theatre, Forepaugh's Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Stewart's Novelty Theatre, Park Theatre, Grand Central Variety Theatre, Enoch’s Variety, Grand Opera House, Colonel Wood's Museum, Germania Theatre, Herrmann's Theatre, Continental Theatre, Temple Theatre, Temple Hall, Arch Street Opera House, and Grand Central Theatre (Philadelphia); The Casino, H. R. Jacobs' Lyceum Theatre, and Standard Theatre (New York); Tremont Theatre, and Hollis Street Theatre (Boston); Van Wyck's Academy of Music (Norfolk, Virginia); and Crawford's Opera House (Topeka, Kansas).

11
Volume 12 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1846-1879.
Scope and Contents note

Volume 12 mostly consists of playbills and programs relating to minstrel, burlesque, and circus shows performed in Philadelphia. The materials included in the scrapbook tend to be organized by genre and performing place. However, several performers and artists could be singled out, including Antonio Blitz (pages 4-7, 26-27); Samuel Sharpe (S. M. Sharpley) and Sharpley's Minstrels (8-10); D. B. St. Jean (magician) (20-21); William Lingard (22-25); Louisa Pyne (37); Sigismund Thalberg (38-39); Agnes Sutherland (59-60); J. B. Roberts (64-65); Elizabeth Crocker (D. P. ) Bowers (68-69); Julia Turnbull (70-77); Julia Mortimer (82-83, 93-95); Julia Price (82-87, 90-95); Freddy Carlo (84-85, 88-89); William Carlo (84-85, 88-89); A. M. Hernandez (86-89); Aaron Jones (90-95); Matt Rusk (90-95); Julien Martinetti (96-99); P. Martinetti (96-97); Mme. P. Martinetti (96-99) Ignacio Martinetti (97-99); John Edwin McDonough (100-118); Cordelia Howard (102-107); Joseph Fannin (114-117); Dan Rice (124-135, 214-217, 222-235, 228-239, 244-253); Alfred Stewart (136-137); Charles Foster (138-143, 146-151, 153-175); Julia Daly (176-181); G. C. Charles (176-183); and Frank Brower (192-193).

The volume also includes additional materials not necessarily related to the artists mentioned above, a list of which is provided below: playbills of magic shows (pages 1-7); playbills of minstrel shows, including Sharpley's Minstrels, Birch and Sharpley's Minstrels, Fox's Casino Minstrels, George Christy's Minstrels, Simmons and Slocum's Minstrels, Huntley's Minstrels, Tunison and Co.'s Minstrels (8-19, 46-55, 66-67); a playbill advertising a show of Father Kemp's Old Folks Concert Company (National Hall, Philadelphia, 1857) (28-29); playbill of concerts at Parkinson's Illuminated Garden (Philadelphia, 1857) (30-33); a playbill advertising a "cafe theatre" concert at Thomeuf's Varieties (Philadelphia, 1857) (34); playbills of concerts and performances at the Musical Fund Hall (1855-1858) (35-43); playbill advertising concerts and other theater shows at Kossuth Exchange (Philadelphia, circa 1857-1861) (44-45); a playbill of the Wyoming Minstrels (performing on the U.S.S. Wyoming in 1860) (46-47); newspaper clippings describing a fight involving Samuel Sharpley, Thomas Sharpley, Edwin Kelly, and Francis Leon (the fight occurred in 1867 in New York City, outside the Fifth Street Opera House, and ended with the murder of Thomas Sharpley by Kelly’s hand) (52-54); playbills of shows at Sanford's Opera House (54, 56-62); a program for the celebration of the Ebenezer Sunday School Temperance Society (probably at the Ebenezer Methodist Episcopal Church, Philadelphia, December 25, 1846) (63); a set of programs and playbills of performances at the McDonough's Gaieties and McDonough's Olympic (1859-1860) (80-118); and programs and playbills of circus and burlesque performances at the National Circus (later Welch's National Circus, later Welch's National Theatre), featuring Charles Foster and his company (including Julia M. Cooke, W. H. Bailey, H. A. Langdon, Mrs. J. H. Reed, and others) (138-175), the Star Company (including C. M. Lewis, Miss A. M. Roberts, W. J. Rainnie, and others) (182-189), Marsh's Juvenile Comedians (194-211), and Dan Rice and his company (including Ella Zoyara, Joe Pentland, Andre "Herr" Cline, Frank Drew, and others) (212-253).

Also in the scrapbook, researchers will find multiple programs and playbills documenting the activities of the following Philadelphia theaters: Concert Hall, Commonwealth Hall, Assembly Buildings, Southwark Opera House, Sharpley's Opera House (2nd and Vine Street), Birch and Sharpley's Opera House (6th and Chestnut Streets), Musical Fund Hall, Fox's Casino, Masonic Hall, Eleventh Street Opera House, The Melodeon, National Hall, Thomeuf's Varieties, Kossuth Exchange Concert Salon, Davis' Theatre and Music Hall, Arch Street Opera House, Sanford's Opera House, New South Street Theatre, Seventh Street Opera House, City Museum, Frank Rivers' Melodeon, McDonough's Gaieties, McDonough's Olympic, National Circus, and Welch's National Circus.

12
Volume 13 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1854-1895.
Scope and Contents note

Volume 13 is mostly dedicated to minstrel shows, but some material relating to magic shows, burlesque, and vaudeville is also included in the scrapbook. Researchers will find playbills, portraits, newspaper clippings, and other materials relating to the following artists and companies: R. Bishop Buckley (pages 5-7); George Christy and Wood's Minstrels (16-17); Morris Bros., Pell and Trowbridge's Minstrels (20-21, 74-77, 152-155, 184-193, 235-236); Buckley's Serenaders (22, 80, 241-250, 264-276); George Christy's Minstrels (24-28, 112-117, 251-252); Wood's Minstrels (32-33, 146-147); Thomas Dartmouth Rice (T. D. Rice) (34-36); Carncross and Dixey's Minstrels (41-45); Simmons and Slocum's Minstrels (46, 49); Sweatnam's Minstrels (47); Kelly and Leon's Minstrels (54-57, 59-66); John Wyman (72-73, 255-256); Huntley's Minstrels (78-79, 196-219); John H. Collins (82-83); Hooley and Campbell's Minstrels (128-129); Bryant's Minstrels (130-135); San Francisco Minstrels (136-139); John Pond Ordway and Ordway's Aeolians (140-145); Shorey, Carle, Duprez and Green's Opera Troupe (148-149), Rumsey and Newcomb's Original Campbell Minstrels (150-151, 237-240); T. G. Riggs (160-161); Sam Ryan (162-165); Birch and Sharpley's Minstrels (168-182); Duprez and Benedict's Minstrels (223-226, 283-284); the Peak Family (Lancashire Bell Ringers) (233-234); Doctor Valentine (253-254); Carter's Zouave Troupe (257-258); Tunison and Co.'s Minstrels (277-278); Hooley's Minstrels (279-282); and Alfred Burnett (285-289).

The volume also contains materials on minstrelsy and on other topics, including an article on "Negro minstrelsy" in England, with mention of the Christy Minstrels (1880) (pages 9-10): a piano score of the song "Such a Gitting Up Stairs" (as sung by minstrel singer Bob Farrell) (11-12); an image depicting the interior of Henry Wood's New Theatre, at 561-563 Broadway, New York (15); a set of clippings on the history of minstrel shows, with interview with Hughey Dougherty (18-19); an article on "The Origins of Christy’s Minstrels" (23-24); additional clippings on minstrelsy, with an interview with Samuel S. Sanford and another article on the Christy's Minstrels (37-39); diagrams of the Eleven Street Opera House and of the Arch Street Opera House (58); a collection of playbills of minstrel shows at Sanford Opera House (1858-1860) (66-111); a newspaper clipping on the history of the Old City Assembly Rooms (444 Broadway, New York) (159); a collection of playbills of shows at the American Theatre (444 Broadway, New York) (159-165); a playbill and a poster relating to shows at the New Olympic Theatre (Philadelphia) (1873) (227-230); a collection of playbills of shows at Concert Hall (Chestnut Street, Philadelphia) (231-258); playbills of magic and minstrel shows at Franklin Hall (Philadelphia) (1854) (259-262); and playbills of shows at Cartee’s Lyceum and at the Melodeon (Philadelphia) (1854-1857) (263-268).

The scrapbook includes playbills and programs from the following theaters in Philadelphia, New York, and Boston: Arch Street Theatre, New Eleventh Street Opera House, Carncross Opera House, New Chestnut Street Theatre, Assembly Building, Wheatley's Arch Street Theatre, Concert Hall, New Olympic Theatre, Franklin Hall, Cartee's Lyceum, The Melodeon, Jayne’s New Hall, New Philadelphia Opera House, Hooley's Opera House, Duprez and Benedict's Opera House (Philadelphia); Buckley's New Hall, American Theatre and Old City Assembly Rooms (444 Broadway), Niblo's Saloon, Art-Union Concert Hall (497 Broadway), Mechanics' Hall, and San Francisco Minstrels (585 Broadway) (New York); Buckleys' New Minstrel Hall and Aquarial Gardens (Boston).

13
Volume 14 (generally focusing on the Philadelphia theatrical scene during the Civil War years), 1861-1895.
Scope and Contents note

Volume 14 only contains materials from and about Philadelphia theaters in the years of the American Civil War, as also indicated by a handwritten annotation on the first page of the scrapbook ("Philadelphia Places of Amusement during the Rebellion 1861-1865"). Notable theater companies and figures of the stage mentioned in the volume include Edwin Adams (pages 5-6, 119-121, 136-143, 150-151); the circus and theater company of the Continental Theatre, including Henry Moreste, John Foster, Emma Pastor, James Pilgrim, Harry Chapman, Julia Drake (Mrs. Harry Chapman), Caroline Chapman, H. A. Langdon, Kate Archer, W. H. Bailey, J. B. Studley, and others (7-60); Tony Pastor (45-46, 49-52); Margaret Ann Rice (former wife of Dan Rice, performing in the 1860s as Mrs. Charles Warner) (59-60); Joe Pentland (59-60); John Henry "Professor" Anderson (71-75); Benjamin Young (77-78); Anna Cowell (79-80); Edward Askew Sothern (83-84); W. A. Chapman (91-92); Emma Waller (94-95, 108-113); James Edward Murdoch (96-107); Joey Gougenheim (114-117); the French Dramatic Troupe (from the Theatre Francais in New York) (122-125); Hooley and Campbell’s Minstrels (126-131); John Sleeper Clarke (132-135, 154-155, 158-161); Alexina Fischer Baker (132-135); Vining Bowers (136-143); Charles Walter Couldock (144-149); Dan Setchell (152-153); James William Wallack (156); Edward Loomis Davenport (156); Buckley's Serenaders (163); Tunison and Co.'s Minstrels (168-169); Elise De Courcy (182-183); Frank Brower (184-185); Birch and Sharpley's Minstrels (184-187); John Edwin McDonough (188-191); Annie Lonsdale (198-199); Harry Pearson (200-205); and Charley White (206-207).

The playbills in the volume are mostly organized by performing venue. The volume includes a collection of playbills of shows and circus performances at the Continental Theatre (later renamed American Theatre, and, from 1865, Fox’s American Variety Theatre) (1861-1865) (pages 7-62), including a program from the evening before the fire of September 14, 1861, and annotated by a "G. N. Galloway" (28); a large number of playbills from the Walnut Street Theatre (71-161); and smaller groups of playbills from the Sanford's Opera House (170-175), Irving Hall (New York) (176-179), and McDonough's Olympic Theatre (later known as Olympic Music Hall) (180-207). The volume also contains the program of a show at Long's Variety and Museum (Philadelphia) (1864) (162) and additional playbills of Lincoln Memorial Tableaux at National Hall (164-165) and at Concert Hall (Philadelphia) (166-167).

In this scrapbook, researchers will find materials relating to the following Philadelphia theaters: Mrs. John Drew's Arch Street Theatre, Continental Theatre, Wheatley's Continental Theatre, New American Theatre, Grover's New Chestnut Street Theatre, Chestnut Street Theatre, Walnut Street Theatre, Long's Variety and Museum, Sanford's Opera House, Seventh Street Opera House, National Hall, Concert Hall, McDonough's Olympic Theatre, and Olympic Music Hall. A limited number of playbills from Irving Hall (New York) are also enclosed.

14
Volume 15 (generally focusing on side shows and other exhibits of artifacts and technological curiosities), 1849-1897.
Scope and Contents note

Volume 15 is almost exclusively dedicated to side shows, minstrel shows, and magic shows, but it also includes a limited amount of materials relating to opera and instrumental music, university and school concerts, and the exhibits of automata, early moving pictures, and other artifacts. The playbills, programs, portraits, flyers, and other materials contained in the volume are loosely organized by genre and performing venue. However, a few notable figures and performing companies can be singled out, including "Herr Haag" (page 2); "Colonel Goshen" (3); Charles Nestel (Commodore Foote) (3); Eliza Nestel (Queenie Foote) (3); the "Rossow Midgets" (3); Jack and Annie O’Brien (3); Sam Cowell (6-9); S. K. Murdoch (14); Clara Louise Kellogg (18); Julia Pastrana (19-21); Chang Bunker and Eng Bunker (the "Siamese Twins") (22-23); Millie and Christine McCoy (the "Carolina Twins") (30-31, 35); Doctor Valentine (34-35); Dollie Dutton (43); Anna Madah Hyers and Emma Louise Hyers (43); Elena D’Angri (48); Teresa Parodi (49-50); Louis-Antoine Jullien (51-52); Pete Lane (53-54); Rumsey and Newcomb's Original Campbell Minstrels (55-60); Shorey, Carle, Duprez and Green's Opera Troupe (61-62); George Christy's Minstrels (63-66); John Henry "Professor" Anderson (67-70); Charles Dean (73); Philip Prentice Anderson (Rubini) (73); Georgia Minstrels (76); Julia Mortimer (79-80); Robert Heller (William Henry Palmer) (87-88); and Joseph Hartz (89-90).

The volume also contains a large number of additional items, including pictures of sideshow artists (mostly excerpted from Marmaduke Humphrey, "The Pranks of Nature," Godey's Magazine 132, no. 788, February 1896) (pages 2-3, 38, 88, 92); a playbill and a flyer advertising the Cardiff Giant on exhibit in Philadelphia (4, 43); a playbill advertising hot air balloon ascensions at Lemon Hill (Philadelphia) (1857) (5); a playbill of shows at the Musical Fund Hall (Philadelphia) (1849) (10-11); printed images of Musical Fund Hall (12); a collection of playbills advertising concerts and "Prof. Cromwell’s Art Course of Entertainments" at Concert Hall (Philadelphia) (1855-1872) (13-18); an article from the  Philadelphia Medical Times about medical examination of "Siamese twins" Chang Bunker and Eng Bunker at the College of Physicians (1874) (22); a playbill of shows at Sanderson's Exhibition Rooms (Philadelphia) (1859-1860) (24-27); playbills advertising shows at the Assembly Rooms (Philadelphia), including exhibition of Joseph Faber's Talking Machine (1871), and of conjoined twins Millie and Christine McCoy (1866) (28-31); a playbill advertising a "grand colored baby show" at the Concert Hall (1855) (32-33); playbills of freak shows at the Museum of Living Wonders and at Barnum's Museum (Philadelphia) (36-37, 39, 41-42); a playbill advertising a show at Adams' California Menagerie (1860) (40); flyer advertising the bomb that William King Thomas (Alexander Keith Jr.) used to cause an attack in Bremerhaven (Germany) in 1875 (the bomb was put on exhibit at 915 Market Street, Philadelphia, circa 1876) (40); a collection of playbills relating to shows and events at Concert Hall, including living tableaux, concerts, minstrel shows, and magic shows (circa 1857-1860) (44-70); promotional materials relating to exhibitions, concerts, and magic shows at Assembly Buildings (circa 1867-1870) (71-73); a program of a concert of the Yale Glee Club at the Musical Fund Hall (1873) (73); a program of Mrs. Jarley's exhibit waxworks and tableaux vivants at Horticultural Hall (Philadelphia) (1872) (74); a program of the Sunday School concert of the Church of the Evangelist at Musical Fund Hall (1856) (75); a program of the concert of the students of the Hampton Normal and Agricultural Institute (now Hampton University) at Horticultural Hall (1873) (76); playbills of shows at Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, and Sanford's Opera House (1861) (78-86); a collection of newspaper clippings on several topic, including obituaries of Robert Heller (stage name of William Henry Palmer), a review of a performance of the tableaux Paradise Lost by John Milton at the Lutherbaum English Lutheran Church (Philadelphia), and an article on the closure and imminent demolition of Concert Hall (87-88); a playbill advertising exhibition of the mechanical Steam Man invented by Zadoc Dederick and Isaac Grass in Philadelphia, with attached photograph (91-92); and programs of early silent movie exhibits at Bijou Theatre (Philadelphia) and Electrical Casino (Asbury Park, New Jersey) (93).

The scrapbook includes playbills and programs from the following Philadelphia theaters and performing venues: Concert Hall, Philadelphia Museum (7th and Chestnut Street), New Philadelphia Museum (833 Market Street), Grand Polytechnic and Anatomical Museum of Science and Art, Sanderson's Exhibition Rooms, Assembly Buildings, Museum of living Wonders (Old Melodeon), Barnum’s Museum, Horticultural Hall, Musical Fund Hall, Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, Sanford's Opera House, and Bijou Theatre. There are also a limited number of playbills from performing venues located in other cities, including Adam's California Menagerie (New York), and the Electrical Casino (Asbury Park, New Jersey).

15

Series II. Index to "Theatricals in Philadelphia" (produced by the WPA), 1936.

Volume

Volume 1, A to B, 1936.

16

Volume 2, C to E, 1936.

17

Volume 3, F to I, 1936.

18

Volume 4, J to L, 1936.

19

Volume 5, M to O, 1936.

20

Volume 6, P to S, 1936.

21

Volume 7, T to Z, 1936.

22

Collection Inventory

Volume
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 1. 1749 to 1818. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume I includes the first 55 chapters (I to LV) of the first series, published in the Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to May 20, 1855 (Vol. VIII, No. 3), for a total of 118 pages of text. Because Charles Durang was born in 1794, he could not rely on personal recollections for the description of most of the events that took place in this period. Possibly also for this reason, this scrapbook is the one that covers the widest chronological span, from 1749 to 1818, with only 61 pages of text devoted to the years up to 1800.

The portion of Durang’s history included in the scrapbook mentions the first instances of theatrical performances in Philadelphia (including those of the Hallam Company – later renamed American Company), and discusses the vicissitudes of the theaters that were opened in the city during those decades, including the Society Hill Theatre, the Southwark Theatre, the Northern Liberty Theatre, the Chestnut Street Theatre, the Apollo Street Theatre, and the Olympic Theatre (later renamed Walnut Street Theatre). Theatrical seasons are described in full detail by Durang, especially after the mid 1790s, following the opening of the Chestnut Street Theatre. A whole chapter (XXV) provides a history of the circus in Philadelphia, and the next chapters also include references to theatrical performances, concerts, and other forms of live entertainment that took place in circuses and outdoor locations, including Ricketts Circus and the Vauxhall Gardens. References to the contemporary theatrical life in England and in other American cities (New York City, Boston, Baltimore, and Annapolis, among others) can also be found in the text.

The volume contains engravings and drawings of theatrical institutions such as the Southwark Theatre, the Chestnut Street Theatre (destroyed by fire in 1820), the Ricketts Amphitheatre, the Theatre Royal, Covent Garden (London), the Richmond Theatre (Richmond, VA), and the Old Federal Street Theatre (Boston). The scrapbook is also embellished with a conspicuous number of portraits of actresses, actors, and other theatrical figures, such as William Shakespeare, Daniel Terry, Anna Marcella Lydall , Sarah Siddons, Charles Macklin, Henry Mossop, Spranger Barry, Thomas Sheridan, Thomas King, James William Dodd, Elizabeth Singer Rowe, John Bannister, William Parsons, John Moody, Susannah Maria Cibber, Ann Street, Robert Bensley, Isabella Mattocks, Charles Macklin, John Philip Kemble, Robert Bensley, Jane Powell, John Henderson, Elizabeth Yates, Thomas Holcroft, Charlotte Melmoth, Elizabeth Barry, Frances Abbington, Mary Ann Wrighten, Maria Theresa Bland, Colley Cibber, William Dimond, Fanny Fleming, Thomas Hull, Thomas Cooke, Maria Duncan, John Bernard, Samuel Phelps, and Edmund Kean, among others. A few autographs letters, some written by Charles Durang himself, are also included. Finally, a small collection of playbills, mostly from the 1820s, was inserted in the final part of the scrapbook. Most notably, the collection features the playbill of the play Douglas; or, The Noble Shepherd (performed at the Walnut Street Theatre, Philadelphia, on November 27th, 1820), which saw the first appearance on stage of actor Edwin Forrest.

A list of the portraits included in the volume is located at the beginning of the scrapbook, while a general index is placed at the end. The source and date of acquisition of the entire set (“g[ift] Morris L. Clothier, 1-21-[19]16”) are penciled on the first page of the list of portraits.

1
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 2. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume II contains 118 pages of text, including the remaining 20 chapters of the first series (LVI to LXXV) and the first 33 chapters (I to XXXIII) of the second series. The chapters of the first series were published in the Sunday Dispatch between May 27, 1855 (Vol. VIII, No. 4) and October 7, 1855 (Vol. VIII, No. 23), while those belonging to the second series appeared between June 29, 1856 (Vol. IX, No. 9) and February 8, 1857 (Vol. IX, No. 41).

In the final part of the first series, Durang comments upon the last years of the old Chestnut Street Theatre, up to the fire which caused its closure in 1820. The first appearances on stage of Edwin Forrest, as well as the Philadelphia debut of British actor Edmund Kean, are discussed at length. In this portion of the series Durang also describes the new Chestnut Street Theatre (opened in 1822), and provides a long list of all the American plays produced in Philadelphia before 1822.

In the first chapters of the second series, Durang discusses the activities of the new Chestnut Street Theatre, as well as that of other institutions such as the Walnut Street Theatre, the Prune Street Theatre, the Tivoli Garden Theatre, and the Olympic Circus. As in the final part of the preceding series, every season is described in full detail. Additional anecdotes and biographical descriptions of famous actors, such as Junius Brutus Booth, Charles William Macready, and Charles Mathews, are also included.

The collection of portraits and engravings added by Westcott to the volume features a wide number of figures quoted by Durang in the text and variously connected with the Philadelphia theatrical scene – among them, Louisa Cranstoun Nisbett, Joseph George Holman, Robert William Elliston, Anna Maria Crouch, Charles Incledon, Ann Catley, Sarah Bartley, Wolfgang Amadeus Mozart, James William Wallack, Susanna Centlivre, Elizabeth Inchbald, John Philip Kemble, Alexander Rae, William West, Edwin Forrest, Edmund Kean, Sarah Siddons, Joseph Jefferson, Maria Gibbs, Dorothea Jordan, Ann Street Barry, Elizabeth Billington, Junius Brutus Booth, Charlotte Goodall, Thomas Potter Cooke, Julia Dean, Elizabeth Hopkins, John Fawcett, Maria Theresa Bland, John Henderson, Elizabeth Hartley, François-Joseph Talma, Mademoiselle Mars, John Bannister, Charles Mathews, Elizabeth Farren, William Farren, Eliza Logan Wood, Anna Thillon, Sarah Egerton, Maria Foote, Mary Ann Davenport, Sam Cowell, Maria Theresa Kemble, Fanny Maria Kelly, and Charles William Macready. The volume also includes several engravings of American and European theaters, opera houses, and other performance venues, such as the Prune Street Theatre, the new Chestnut Street Theatre, and the New Adelphi Theatre of Philadelphia, the Holliday Street Theatre (Baltimore), the Bowery Theatre (New York), the Tremont Theatre (Boston), the Theatre Royal, Haymarket, the Surrey Theatre, Sadler’s Wells Theatre, and Astley’s Royal Amphitheatre (London), the Queen’s Theatre and Opera House (Edinburgh), the Théâtre de la Porte Saint-Martin and the Théâtre de l’Opéra-Comique (Paris), the Schauspielhaus (Cologne). Autographs include a handwritten payment receipt, penned by actor William Warren, and a signed portrait of actor Robert Dempster.

2
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 3. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume III includes the last 23 chapters (XXXIV to LVI) of the second series, and the first 22 installments (I to XXII) of the third and last series, for a total of 118 pages of text. The chapters belonging to the second series were published in the Dispatch between February 15, 1857 (Vol. IX, No. 42) and August 2, 1857 (Vol. X, No. 14), while those included in the third series came out between July 8, 1860 (Vol. XIII, No. 2) and December 2, 1860 (Vol. XIII, No. 32).

In this portion of his history, Durang chronicles the seasons of Philadelphia theaters from 1826-27 to 1831-32. The author presents a cast list for the most important performances, and in some cases even quotes contemporary playbills and reviews. Special events include the Philadelphia debut of actor Charles Kean and the performances of Metamora; or, The Last of the Wampanoags, a tremendously successful play produced at the Arch Street Theatre at the beginning of 1830, and featuring Edwin Forrest in the main part. Opera singer Maria Malibran, who toured the United States from 1825 to 1827 and performed in Philadelphia during these same years, is the focus of a whole chapter discussing her life and career (series III, chapter XIII). A new theater, the Arch Street Theatre, was inaugurated in 1828 and soon became one of the most important institutions in the city along with the Chestnut Street Theatre and the Walnut Street Theatre.

A great deal of information is given on the managerial aspects regulating the life of these artistic centers, and on the actors, singers, writers, and other figures who were involved during those years. Many such figures appear in the rich iconographic portion of the volume, which includes portraits of Emma Albertazzi, Geneviève-Aimé-Zoë Prévost, Marie Taglioni, Antonio Guerra, Sarah Egerton, Charles William Macready, Marie Caroline Félix-Miolan, John Liston, Laure Cinti-Damoreau, William Dowton, James Henry Hackett, William Henry West Betty, Margaret Somerville, Madame Céleste, Charles Edward Horn, William Rufus Blake, Henriette Sontag, Giovanna Baccelli, Joseph Grimaldi, Armand Vestris, Lucia Elizabeth Vestris, John Philip Kemble, Giuditta Pasta, Rachel Félix, Margaret Martyr, John Vanbrugh, Edwin Forrest, Luigia Caldarini, Sam Cowell, Dorothea Jordan, Rebecca Davison, Caius Gabriel Cibber, John Pritt Harley, Carlotta Grisi, Stephen Kemble, Sarah Siddons, Thomas Sheridan, James Edward Murdoch, Elizabeth Rainforth, Charles William Macready, Calvin Edson, Thomas Apthorpe Cooper, Jane Stephens, Elizabeth Sharp, Edwin Booth, Charles Kean, Charlotte Cushman, Herr Driesbach, David Garrick, Harriet Waylett, Frances Abington, General Tom Thumb, Samuel Phelps, John Quick, Thomas Hilson, Samuel Reddish, Maria Malibran, Elena D’Angri, John Reeve, George Washington Dixon, Oliver Goldsmith, Julia Fortescue, and many others. The volume also contains engravings of the three main Philadelphia theaters (Chestnut Street Theatre, Walnut Street Theatre, and Arch Street Theatre) and of other international venues such as the Théâtre de l’Académie Royale de Musique (Salle Le Peletier) of Paris, and the Teatro Principal of Havana, Cuba. An autograph letter by Herr Driesbach, the famous lion tamer, is attached to the volume, along with an autographed portrait of actor George Handel Hill.

3
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 4. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume IV contains the next 40 chapters (XXIII to LXII) of the third and last series of Durang’s history, consisting of 120 pages of text. Those chapters appeared in the Dispatch between December 9, 1860 (Vol. XIII, No. 33) and September 15, 1861(Vol. XIV, No. 21).

The clippings contained in the volume offer a detailed account of the management and the most notable shows performed in the Philadelphia theaters – especially the Chestnut Street Theatre, the Walnut Street Theatre, and the Arch Street Theatre – between the 1830-1831 and 1840-1841 seasons. Salient events include the rivalry between Edwin Forrest, based at the Arch Street Theater, and the members of the Kemble family, based at the Chestnut Street Theatre, in the early 1830s; the arrival in Philadelphia of the Montresor opera troupe and the first production of Italian operas at the Chestnut Street Theatre in 1833; and a detailed report of the successes and failures of several troupes and individual actors and singers who performed in Philadelphia during the decade.

For most of those artists, Westcott provided at least one portrait as part of the rich collection of drawings and engravings inserted in the volume. Notable figures include, among others, William Francis Brough, Fanny Tacchinardi Persiani, Pauline Garcia (Viardot), Henry Betty, Gabriel Ravel, Sarah Siddons, Charles Kemble, Fanny Kemble, Anne Maria Tree, William Smith, Lester Wallack, Henry Placide, Thomas Placide, William Warren, Charles Kean, Elizabeth Brunton (Yates), Walter Scott, Sarah Ward, John Sinclair, Tate Wilkinson, Anaïde Castellan Giampietro, James Edward Murdoch, Edwin Booth, Charles William Macready, Andrew Ducrow, James S. Wallace, Henry Erskine Johnston, Joseph Wood, Mary Giovanna Cawse, Mary Ann Paton, Tyrone Power, Ralph Sherwin, William Evans Burton, John Howard Payne, Madame Celeste, Samuel Phelps, John Reeve, Thomas D. Rice, Tryphosa Jane Wallis, Edwin Forrest, Mary Anne Goward, Robert Keeley, Margarita Graddon, Victoria Balfe, Francis Courtney Wemyss, Robert Hamilton, Robert Campbell Maywood, Charlotte Elizabeth Vanderhoff, John M. Vandenhoff, David Garrick, Robert William Elliston, Lucia Elizabeth Vestris, Elizabeth Kemble, Samuel S. Sanford, Edward Fitzwilliam, Fanny Fitzwilliam, Fanny Elssler, Mary Anne Stirling, Charlotte Cushman, Susan Cushman, John Braham, Peter Richings, Ira Aldridge, Giuseppe De Begnis, and Giuseppina Ronzi De Begnis. Included in the volume are also a few pictures of Philadelphia and other national and international theaters, such as the Arch Street Theatre, the Academy of Music, the Northern Exchange Theatre, the Coates Street Theatre, and Sanford’s Opera House (Philadelphia), the State Street Theatre (Columbus, OH), Niblo’s Opera House (New York City), the St. Charles Theatre and the American Theatre and Arcade Baths (New Orleans), East London Theatre (formerly Royalty Theatre, London), and the Paris Opera House (Palais Garnier, Paris). The scrapbook also includes a playbill of the show "Venitian [sic] Carnival, or Punch in Good Humour," arranged by French vaudeville artist Gabriel Ravel, and an original letter by playwright, publisher, and theater manager William Evans Burton.

4
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 5. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume V includes the following 36 chapters (LXIII to XCVIII) of Charles Durang’s history, for a total of 119 pages of text. These chapters were originally published in the Dispatch between September 22, 1861 (Vol. XIV, No. 22) and June 8, 1862 (Vol. XV, No. 7).

In this part of his work, Durang offers an extensive description of the management and life of the most important Philadelphia theaters between the 1841-1842 and 1849-1850 seasons. The author comments upon the vicissitudes of several actors, impresarios and artists active in the city in those years, most notably William Evans Burton, Charlotte Cushman, Edward Loomis Davenport, Charles William Macready, and Edwin Forrest. In particular, the escalating rivalry between Macready and Forrest is documented by numerous chapters, from its early stages in 1844 – when both actors were cast in the same role in the same play by two different theaters, the Arch Street and the Walnut Street – to further altercation in England in 1846 and the final lawsuit announced by Macready in November 1848. A copy of the announcement in which the British actor proclaims his intention to sue Forrest is included in the volume. These chapters also discuss the growing importance of Italian opera in the city, which was visited by travelling companies such as the Havana Opera Company (1847) and the Max Maretzek Italian Opera Company (1848).

Westcott offers numerous portraits of all these figures, along with a considerable number of engravings depicting numerous artists and impresarios such as Fanny Cerrito, James Rogers, Susan Cushman, William Evans Burton, Elizabeth Yates, Edward Fitzwilliam, Fanny Fitzwilliam, James William Wallack, George H. Hill, Charles Kemble, John Brougham, Lucia Elizabeth Vestris, Isabella Glyn, William Wheatley, Henry Woodward, William Dowton, William Creswick, William Maybury Fleming, Joshua Silsbee, Phineas Taylor Barnum, Richard Brinsley Sheridan, Maria Gibbs, John Liston, Harriet Waylett, George Jamieson, Henri Vieuxtemps, George H. Barrett, Gustavus Vaughan Brooke, Charles Bass, Mary Ann Povey, Anna Cora Mowatt, Charles Kean, Lucille Western, John Sinclair, Eliza Logan, Ira Aldridge, Laura Keene, Mary Taylor, Arabella Goddard, Julia Dean, Henry Compton, George John Bennett, Fanny Cooper, Hanry Marston, Robert Keeley, Barney Williams, Ann Bishop, Federico Beneventano, John Edward Owens, Junius Brutus Booth, Edwin Booth, Amalia Patti, Carlotta Patti, Elena D’Angri, Maurice Strakosch, Caroline Richings, Julia Dean, Hector Berlioz, Alexina F. Baker, James Hudson, Charles Walter Couldock, McKean Buchanan, Francis Marion Brower, Teresa Rolla, and many others. Images of Philadelphia theaters such as the Arch Street Theatre and the Walnut Street Theatre are also present, as well as another engraving depicting the Continental Theatre fire of 1861— a famous accident in which seven performers lost their lives. The scrapbooks also contains a few manuscript documents, including a note by actor Edward Loomis Davenport, and two additional letters from actors and managers Francis Courtney Wemyss and Louisa Lane Drew.

5
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 6. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume VI includes the final 38 chapters (XCIX to CXXXVI) of the third series of Durang’s history, for a total of 110 pages of text. These installments appeared in the Dispatch between June 15, 1862 (Vol. XV, No. 8) and April 19, 1863 (Vol. XV, No. 52).

Here Durang discusses the theatrical seasons of several city institutions, such as the Chestnut Street Theatre, the Walnut Street Theatre, the Arch Street Theatre, the Musical Fund Hall, and Welch’s National Circus, Theatre, and Hippodrome, up to the closure of the second Chestnut Street Theatre in 1855. Prominent events include the Italian opera season at the Chestnut Street Theatre, under the management of impresario Max Maretzek, and the parallel programming of Jenny Lind’s performances at the Musical Fund Hall. A biographical sketch of Jenny Lind, complete with a description of her career in the United States, is provided. The volume also includes other clippings concerning the closing of the second Chestnut Street Theatre in 1855, the opening of the third Chestnut Street Theatre in 1862, and the renovation of the Arch Street Theatre in 1861, after Louisa Lane Drew assumed the management of the theater. A brief article by L. G. Thomas, originally published in the Sunday Dispatch and titled "Reminiscences of Private Dramatic Associations," is also found in the final part of the scrapbook.

A wide number of artists, impresarios, and theatrical figures are portrayed in the images added by Westcott to the volume. Among them are Philip Rohr, William Warren, Harriet Waylett, Joseph Jefferson, Ephraim Horn, Richard Brinsley Sheridan, William F. Wallet, Giovanni Battista Belletti, Marie Taglioni, George John Bennett, Virginia Howard, John Brougham, John Henderson, Junius Brutus Booth, Edwin Booth, John Philip Kemble, Phineas Taylor Barnum, Jenny Lind, Teresa Parodi, John Gilbert, Mary Amelia Warner, James Edward Murdoch, Laura Keene, William Henry Don, John Drew, Gustavus Vaughan Brooke, Lola Montez, Julia Bennett Barrow, Edwin Forrest, Laura Addison, Jean Margaret Davenport (Mrs. Lander), Peter Richings, Max Maretzek, Mary Anne Stirling, Lizzie Weston, Louis Moreau Gottschalk, George E. Locke, Lester Wallack, Gabriel Ravel, Henriette Sontag, Cora De Wilhorst, Charles William Macready, Thomas Potter Cooke, Isabella Glyn, William Dowton, John Edward Owens, Kate Josephine Bateman, William Farren, John Liston, Louisa Pyne, Giulia Grisi, McKean Buchanan, Adeliaide Phillipps, Susanna Centlivre, Charlotte Thompson, Edwin Pearce Christy, Charles Walter Couldock, Marietta Alboni, and George Frederick Cooke. A list of “maiden and married names of actresses” is located at the beginning of the volume, and offers researchers a useful research tool as they reconstruct the career of famous female performers. The scrapbook also contains images of numerous theaters and cultural institutions, both in Philadelphia and in other U.S. cities, such as the Philadelphia Academy of Music, the Walnut Street Theatre, the City Museum of Callowhill Street, and Welch's National Circus (at the National Theatre) in Philadelphia, Astor Place Opera House, Castle Garden Theatre, Pike's Opera House, Booth’s New Theatre, and Brougham’s Theatre in New York City, and the New National Theatre and the People’s Theatre in Cincinnati, OH. Finally, the volume comprises a small number of autograph letters, including one by theater manager John Sefton, and another one by actor and theater manager John Drew.

6

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Brazier, Emma Josephine, 1867-1953
Title:
Emma Josephine Brazier theater and opera scrapbooks
Date [inclusive]:
1858-1918
Call Number:
Ms. Coll. 1149
Extent:
0.75 linear feet (3 boxes)
Language:
English
Language Note:
Primarily English, some French.
Abstract:
Emma Josephine Brazier (1867-1953) was a Philadelphian who followed the theater and opera scene. Her scrapbooks consist of three volumes that contain playbills, theater and opera advertisements, and actors' photographs and cards from 19th centuryand early 20th century in Philadelphia and New York City.
Cite as:
Emma Josephine Brazier theater and opera scrapbooks, 1858-1918, Ms. Coll. 1149, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
McCredy, Richard Wilson, 1854-1924
Title:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills
Date [bulk]:
1869-1905
Date [inclusive]:
1869-1906
Call Number:
Ms. Coll. 1322
Extent:
0.2 linear foot (1 volume)
Language:
English
Abstract:
The son of Thomas McCredy and Emma Dolores Wilson, Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). A gift by McCredy, this scrapbook consists of a collection of about 750 playbills and programs from Philadelphia and New York City, arranged in chronological order and pasted onto a volume of more than 200 pages.
Cite as:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills, 1869-1906, MS. Coll. 1322, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Title:
"Theatricals in Philadelphia" scrapbooks
Date [bulk]:
1838-1897
Date [inclusive]:
1838-1936
Call Number:
Ms. Coll. 1384
Extent:
6 linear feet (22 volumes)
General Physical Description note:
Two different bindings exist for the scrapbook series. The first, featuring large numbers but no title on the spine, is possibly the one used for all volumes when they were purchased in 1920. Some volumes were subsequently rebound using a new spine bearing the title "Theatricals in Philadelphia". This title was probably taken from the description of the set compiled by auctioneer Stanislaus Henkel prior to the purchase of the collection.
Language:
English
Abstract:
The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage, dating from the second half of the 19th century. These materials mostly relate to theaters and other performing venues located in Philadelphia, although there are also some items from New York, Boston, and other U.S. cities. Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks, this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.
Cite as:
"Theatricals in Philadelphia" scrapbooks, 1838-1936 Ms. Coll. 1384, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Durang, Charles
Creator:
Westcott, Thompson
Title:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855
Date:
1868
Call Number:
Ms. Coll. 1316
Extent:
2 linear feet (6 volumes)
Language:
English
Abstract:
A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. Westcott's scrapbooks consist of the complete series of the 267 chapters of Charles Durang’s history of theater in Philadelphia between the years 1749 and 1855, published as weekly installments in the Sunday Dispatch from 1854 to 1863. Including page numbers, indexes, and lists of illustrations, the six volumes are interleaved with images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.
Cite as:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855, Ms. Coll. 1316, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Biography/History

Emma Josephine Brazier was born on August 15, 1867 to Joseph Harrison and Ellen Kemball Bartol Brazier. She, her parents, and her brother lived in Philadelphia where her father was employed by the jewelry firm, J.E. Caldwell & Co. of Philadelphia. Her brother, Henry Bartol Brazier, appears to have been an inventor of automobile components.

Little is known of Emma Josephine Brazier except that she was apparently an ardent fan of theater and opera. She appears to have attended many plays and operas in Philadelphia and New York and to have followed the actors and actresses closely. She may have traveled to Europe in 1909. There is no indication that she ever married. She died in Massachusetts on November 14, 1953, at the age of 86.

Biography/History

The son of Thomas McCredy (1826-1856), and Emma Dolores Wilson (1826-1911), Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). Born in Philadelphia, McCredy lived in the city for most of his life, residing in the Rittenhouse Square area. He enrolled as a student in the Arts department in 1870, but did not complete his degree and left college at the end of his freshman year, in 1871. Over the the following decades, however, he remained involved with many organizations connected with the University of Pennsylvania including the Delta Sigma fraternity (Delta chapter), for which he served as secretary. In the 1890s, he was a board member of the Penn Athletic Association, and was affiliated with the University Barge and Corinthians Yacht Clubs. He married Frances Hart Ruckman (b. 1868) on January 16, 1909. The couple had no children, and divided their time between their residence in Philadelphia and their summer home in Cape May, New Jersey. Richard Wilson and Frances Ruckman McCredy are buried in the Doylestown Cemetery (Doylestown, Pennsylvania).

McCredy donated this scrapbook to Penn in March 1917. It includes a collection of playbills dated from 1869 to 1905, and mostly from Philadelphia and New York City. The authorship of the volume is uncertain. However, a comparison between the handwritten notes in the scrapbook and the hand who filled out McCredy’s alumnus form – currently held by the University of Pennsylvania Records Center, and possibly compiled by McCredy himself – shows some similarities, and indicates that McCredy may have assembled the volume himself.

Biography/History

The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage. These materials all date from the second half of the 19th century, and are mostly related to theaters and other performing venues located in Philadelphia. However, the scrapbooks also contain a smaller number of items from New York, Boston, and other U.S. cities. In 1936, all the items included in the scrapbooks were listed by title in a typewritten index in 7 volumes, which is also part of the collection.

The 15-volume scrapbook set joined the special collections of the University of Pennsylvania in May 1920, after it was purchased from Philadelphia auctioneer Stanislaus Vincent Henkels. Funding for the purchase came from a special fund established by Morris Lewis Clothier (1869-1947), a trustee of the University of Pennsylvania. The set became part of what was then known as the Clothier Collection of American Drama, an important theater collection that would be expanded for several decades under the supervision of University of Pennsylvania English professor Arthur Hobson Quinn (1875-1960). Quinn also oversaw the compilation of the title index, which was completed in 1936 by an employee of the Works Progress Administration. It was probably at this time that numbers were penciled on the margin of each page.

The creator of the scrapbooks is unknown, and was probably unknown at the time of the acquisition. A clipping pasted on the first page of volume 1, possibly excerpted from the original auction catalog, states that “somebody has devoted almost a lifetime in making this collection,” but does not provide any indication as to who assembled the scrapbooks. Annotations in one or more hands can be found throughout the volumes. Some of the materials included in the scrapbooks were probably donated to the collection’s creator. Volume 7 includes a letter from the Wallack Theatre (New York) dated 1886 and addressed to "Mr. Siegel," while a note by "G. N. Galloway" is annotated on the margin of a program included in volume 14. It is possible – although not certain – that one of these names corresponds to the person who assembled the volumes.

Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks – from opera, tragedy, and instrumental music to minstrel shows, vaudeville, and side shows – this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.

Biography/History

A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. He studied English at the University of Pennsylvania, and later completed the study of law under Henry M. Phillips, until he was admitted to the bar in 1841. Westcott began his writing career with humorous pieces published under the name "Joe Miller Jr." in newspapers such as St. Louis Reveille,  New York Mirror, and  Knickerbocker Magazine. In 1841, he officially entered journalism and became law reporter for the  Public Ledger. A few years later, in 1848, John Lawlor, Robert Everett, and Edward J. Hincken, founders of the  Sunday Dispatch, offered Westcott a position as main editor of their newspaper. Westcott worked for the  Dispatch for thirty-six years, until his retirement in 1884. In the meantime, he collaborated as a writer or editor with a number of other city papers and publications, including  The Philadelphia Inquirer (1863-1871),  Commercial List, the  Old Franklin Almanac, and the  Public Ledger Almanac.

In addition to his career as a journalist, Westcott established himself as a local historian, primarily through his series on the history of Philadelphia, which he published weekly in the Sunday Dispatch between 1867 and 1884. In 1884, he published the three-volume book  History of Philadelphia, 1609-1884, which he co-edited with another prolific historian of the time, John Thomas Scharf (1843-1898). Westcott was the author of several other works, including  Life of John Fitch the Inventor of the Steam-Boat (1857),  Taxpayer’s Guide (1864),  Names of persons who took the oath of allegiance to the State of Pennsylvania, Between the Years 1777 and 1789, with a History of the "Test laws" of Pennsylvania (1865),  Chronicles of the Great Rebellion Against the United States of America (1867),  Centennial Portfolio (1876), and  The Historic Mansions and Buildings of Philadelphia: with some notice of their owners and occupants (1877).

Thomas Westcott compiled a set of scrapbooks which includes the complete series of the 267 chapters of Charles Durang's history of theater in Philadelphia between the years 1749 and 1855. These chapters appeared in three different series in the weekly newspaper Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to April 19, 1863 (Vol. XV, No. 52). Primarily active as a dancer, actor, and ballet master, Charles Durang (1794-1870) drew upon his life-long experience with the Philadelphia theatrical scene to write a historical work after his retirement from the stage in 1853. Partly based upon the notes of his father John Durang (1768-1822), America’s first professional dancer; and integrating notes of the editors of the  Dispatch (including, probably, Westcott himself), Durang’s history was never published in book form. In 1868, Westcott arranged the clippings from the  Dispatch in a six-volume set of scrapbooks titled "History of the Philadelphia Stage, Between the Years 1749 and 1855." The scrapbooks, which include page numbers, indexes, and lists of illustrations, are interleaved with hundreds of images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.

Upon Westcott’s death in 1888, historian John Thomas Scharf, who had co-edited with Westcott the History of Philadelphia, 1609-1884 (1884), acquired a large portion of Westcott’s papers and collections. In 1891, Scharf gave them to Johns Hopkins University, as part of a larger donation of archival material mostly relating to the history of the southern states. Westcott’s set of scrapbooks was probably part of that donation, as “Durang’s History of the Philadelphia Stage” was explicitly mentioned by Scharf in the accompanying letter. However, in June 1915, the scrapbooks were sold in Philadelphia by auctioneer S.V. Henkel. At the beginning of the following year, Westcott’s scrapbooks joined the University of Pennsylvania special collections, as a gift of one of the university trustees, businessman Morris Lewis Clothier (1869-1947). Especially after their conversion to microfilm in 1956, Westcott’s six scrapbooks have been widely consulted and referenced by theater, music and cultural historians, not only for their textual context, but also for their extremely rich iconographic and documentary apparatus. A volume VII, microfilmed with the six Durang/Westcott scrapbooks, contained playbills and other material post-dating and not related to Durang - it is not covered here.

Scope and Contents

The Emma Josephine Brazier theater and opera scrapbooks consists of three volumes that date between 1858 and 1918. They contain playbills and advertisements from theaters and opera houses primarily in Philadelphia and New York, as well as cards and photographs of the actors and actresses that performed in them.

"The Stage 1" scrapbook primarily focuses on Philadelphia theater in the mid 19th century. Several theaters are highlighted in this series of newspaper clippings and playbills, including Wheatley and Clark’s Arch Street Theater, Wallack’s Theatre, Laura Keene’s Theater, and Walnut Street Theater. In addition to information on the theaters themselves are several cabinet cards with actors’ photographs and names. These actors include Emma Taylor, John Drew, John Sleeper Clark, Laura Keene, William Wheatley, and Edwin Booth. Researchers should be aware that many of the playbills in this volume date from before Emma Josephine Brazier's birth. However, it is clear by construction that the volume was not compiled until the late 1890s or even the early 1900s.

The second scrapbook, which is untitled, primarily focuses on opera in Philadelphia and New York City, with an emphasis on its relationship with opera in London and Paris and dates from 1884 to 1909. It houses dozens of photographs of opera singers, including Marcella Sembrich, Emil Fischer, Marie Van Zandt, Zelie de Lussan, Emma Nevada, Emma Eames, Victor Maurel, and Nellie Melba. It also contains numerous playbills from the Metropolitan Opera, an opera house in which all of the above listed singers performed. In addition to that commonality, these singers all spent part of their careers in either London or Paris as well as in either Philadelphia or New York City. One letter addressed to Emma Josephine Brazier indicates that she dined with Dr. R. and Emma Nevada Palmer in 1895.

The final scrapbook's spine reads "Dayl's Company," however, it is almost certain that it should read "Daly's Company." This volume, dating from 1883 to 1918, contains information on both opera houses and theaters in Philadelphia and New York City. Of note is the extensive information on Augustin Daly, his funeral, and the dismantling of his house. Daly, a playwright, opened a successful theater in New York City in 1879. Many of the most notable actors and actresses of the time attributed their success to Daly, including John Drew Jr., Maurice Barrymore, and Fanny Davenport. This volume contains many playbills with a penciled notation, "Daly's Company." In addition, researchers will find many photographs and a fair amount of published information on Mary Anderson, Fanny Davenport, John Drew, George Grossman, Marie Jansen, Clara Morris, Cora Potter, Ada Rehan, Vesta Tilley, and Francis Wilson. This volume includes two letters to Emma Josephine Brazier, one from Ada Rehan thanking her for flowers, and one, dated 1918, from an unidentified writer thanking her for an evening.

All three of these volumes contain playbills and advertisements from theaters and opera houses; clippings from newspapers, magazines, and theatrical publications; collectible cards from theaters; and cabinet cards (some of which are hand-colored and a few of which are signed by the actors or actresses). In many cases, information about a specific actor or actress is grouped together, so that a researcher may find photographs, clippings, biographical sketches, and even writings by actors or actresses on several adjacent pages.

Scope and Contents

This scrapbook of playbills consists of a collection of about 750 playbills and programs from Philadelphia and New York City, pasted into or laid in a volume of more than 200 unnumbered pages. The playbills are mostly arranged in chronological order, from 1869 to 1905, although a small number of loose playbills are enclosed as single documents in a pocket created between two pages at the end of the volume. Given the extensive range of theatrical genres documented by the playbills, and the consistency in which this material is presented, the scrapbook works as a useful resource to better understand the evolution of the theatrical scene of two important cultural centers on the East Coast.

The repertoire covered by the playbills includes almost every form of theatrical entertainment—comedies, Shakespeare plays, melodramas, vaudeville shows, tragedies, opera bouffe, operetta, French, Italian, and German opera, dime theaters, amateur performances, minstrel shows, and early cinema. However, the majority of playbills is devoted to comedy, operettas, and opera bouffe, and features some among the most celebrated artists of the time: Lydia Thompson, John Sleeper Clarke, Frank Maguire Mayo, Marie Aimée, Edward Askew Sothern, Joseph Jefferson, Joseph K. Emmett, and Lotta Crabtree. Other prominent personalities mentioned in the playbills include, among others, actors Henry Irving, Louisa Lane Drew, Robert Bruce Mantell, Helena Modjeska, Richard Mansfield, Julia Marlowe, Ellen Terry, Sarah Bernhardt, Clara Morris, Olga Nethersole, Maurice Barrymore, Caroline Louise Dudley (Mrs. Leslie Carter), Ada Rehan, Fanny Janauschek, Edward Loomis Davenport, Fanny Davenport, Tommaso Salvini, Lillie Langtry, and Minnie Maddern Fiske, and singers Christina Nilsson, Italo Campanini, Luigi Ravelli, Adelina Patti, Nellie Melba, Sofia Scalchi, Emma Calvé, Lillian Nordica, Emma Earnes, Marcella Sembrich, Emilio De Marchi, and Johanna Gadski.

The wide number of institutions represented in the volume testifies of the thriving theatrical life of Philadelphia and New York City in those decades. The list of Philadelphia theaters includes the Arch Street Theatre, the Chestnut Street Theatre, the Walnut Street Theatre, Fox’s American Theatre (later known as Central Theatre and Grand Central Variety Theatre), the Seventh Street Theatre, the Academy of Music, the Arch Street Opera House, the Eleventh Street Opera House, the Horticultural Hall, the New National Theatre (later named Mortimer’s Varieties), the New Philadelphia Varieties, the Broad Street Theatre (later known as Lyceum Theatre, Haverly’s Theatre, and McCaull Opera House), the Haydn and Handel Hall, the Alhambra Theatre, the North Broad Street Theatre, the International Comique, the Temple Theatre, B. F. Keith’s Bijou Theatre, the Girard Avenue Theatre, the Garrick Theatre, the Arcade Garden, Dougherty’s Alhambra Palace, the Olympic Theatre, the Grand Sultan Divan, and Enoch’s Varieties. The scrapbooks also contains a smaller number of playbills from theaters in New York City, such as the Metropolitan Opera House, Booth’s Theatre, Wallack’s Theatre, Daly’s Theatre, Union Square Theatre, The Casino, and Belasco Theatre. A few dime museum playbills (especially the New American Museum and Menagerie on the northwest corner of Arch and 9th Street, later also known as Simpson’s Museum and Menagerie, and as Philadelphia Museum) can also be found in the volume, providing precious information on this form of popular entertainment from the late 1800s. Another playbill from 1897 announces an early exhibition of Lumière’s cinematograph at the B. F. Keith’s Bijou Theatre, the first Philadelphia theater to show motion pictures. Finally, the scrapbooks contains programs and playbills of amateur performances organized by the Mask and Wig Club, and by other associations affiliated with the University of Pennsylvania.

Scope and Contents

The collection is divided into two series. Series I includes the set of 15 scrapbooks, and series II consists of the 7 volumes of the title index.

The materials included in the scrapbooks are not arranged following a precise order, which makes the consultation of these volumes potentially challenging. However, a few guiding principles could be identified. In most of the scrapbooks (volumes 1-11 and 13) the materials are grouped by artist or theatrical company, although not in alphabetical or chronological order. Some volumes are especially (although not exclusively) dedicated to specific genres. Volume 1 largely relates to opera; volume 8 focuses on comedy, comic opera, and burlesque; volumes 12 and 13 are dedicated to minstrel shows, circus, magic shows, and burlesque; and volume 15 includes materials on side shows and other exhibits of artifacts and technological curiosities. Volume 14 is exclusively dedicated to the Philadelphia theatrical scene during the Civil War years (1861-1865), and the materials that it contains are organized by performing venue.

Researchers interested in a particular production are encouraged to consult the title index for the scrapbooks, which is located in series II. Because it is organized by title, however, the index is less helpful to locate specific artists, performing venues, articles, or other items in the scrapbook set. For these and other research criteria, researchers should consult the full description of each scrapbook, which can be found at the volume level in the finding aid. Each description include a list of the most prominent artists or theatrical companies featured in the volume, a list of performing venues, and a summary of notable articles, images, programs, playbills, and other materials found in the scrapbook.

Scope and Contents

Durang's history of Philadelphia theater was published in the Sunday Dispatch in three series, each bearing a different title:  The Philadelphia Stage: From 1749 to 1821 (first series, 75 installments published from May 7, 1854 to October 7, 1855);  The Philadelphia Stage From 1749 to 1855 (second series, 56 installments published from June 29, 1856 to August 2, 1857); and  The Philadelphia Stage From the Year 1749 to the Year 1855 (third series, 136 installments published from July 8, 1860 to April 19, 1863). The three series were distributed by Westcott among the six volumes so that each volume contains a similar number of pages. Volume I covers the years from 1749 to 1817-18; volume II from 1817-18 to 1826-27; volume III from 1826-27 to 1831-32; volume IV from 1831-32 to 1841-42; volume V from 1841-42 to 1849-1850; and volume VI from 1849-50 to 1855. All the scrapbooks include page numbers, a handwritten index, and a list of portraits. Westcott inserted portraits and other images, as well as personal correspondence, playbills, and additional clippings relating to Durang's chapters, resulting in a remarkably thorough representation of the history of Philadelphia's theater history. The chronological order in which Durang presents the historical events, combined with the author’s limited use of narrative flashbacks and flash-forwards, makes the indexes useful to locate any mention or image of a given figure or institution active or relevant in a specific period of time. Please see the container list for more detailed information on each volume.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2015 November 16

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  September 7, 2017

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2019 May 7

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2017 August 25

Finding Aid Author

Finding aid prepared by Kelin Baldridge

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Access Restrictions

Access to this item is subject to staff review. Please contact rbml@pobox.upenn.edu in order to consult with a curator.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Richard Wilson McCredy, March 20, 1917

Source of Acquisition

Sold by Stanislaus Vincent Henkels on May 5, 1920 (acquired through the Morris L. Clothier Fund).

Source of Acquisition

Gift of Morris L. Clothier, January 21, 1916

Processing Information note

Formerly Dewey Folio 812H T342 and 812H T342 Ind.

Processing Information note

Formerly Dewey 812 P54D.

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Related Materials

Related Archival Materials note

At Maryland Historical Society:

J. Thomas Scharf Collection, 1730s-1892, MS 1999, including a portion of Thompson Westcott's papers.

Other similar but less inclusive scrapbooks of Durang's history can be found at the Library Company of Philadelphia, the Historical Society of Pennsylvania, the Harvard Theater Collection, the University of Texas at Austin, the Columbia University Library, and at the Washington State University Library (Robert Cushman Butler Collection).

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Cabinet photographs
  • Clippings (information artifacts)
  • Scrapbooks
Subject(s)
  • Actors
  • Musical theater
  • Opera
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--Pennsylvania--Philadelphia--20th century
  • Theater--United States--19th century
  • Theater--United States--20th century

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Mask and Wig Club.
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • McCredy, Richard Wilson, 1854-1924
Subject(s)
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Opera House (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Clippings
  • Engravings (prints)
  • Portraits
  • Posters
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)
Subject(s)
  • Actors
  • Actresses
  • Circus--History
  • Freak shows
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--United States
  • Theater--United States--History--19th century
  • Vaudeville

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Autographs (manuscripts)
  • Correspondence
  • Engravings (prints)
  • Scrapbooks
Geographic Name(s)
  • Philadelphia (Pa.)--History
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • Clothier, Morris L. (Morris Lewis), 1868-
Subject(s)
  • Actors
  • Actors--Portraits
  • Circus--History
  • Drama--History and criticism
  • Performing arts
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States--History--19th century

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Collection Inventory

Box

"The Stage 1," theater scrapbook, 1858-1902.

1

Opera scrapbook, 1884-1909.

2

"Dayl's Company," (should probably be "Daly's Company"), theater and opera scrapbook, 1883-1918.

3

Collection Inventory

Volume

Scrapbook of Philadelphia and New York City playbills, 1869-1906.

1

Collection Inventory

Series I. "Theatricals in Philadelphia".

Volume
Volume 1 (generally focusing on opera), 1850-1896.
Scope and Contents note

Volume 1 includes articles, portraits, and programs relating to many celebrated figures from opera and theater. Among them are Jenny Lind (pages 1-8; 10-23); Charles R. Thorne and Richard Wagner (8-10); Louis-Antoine Jullien (24-26); Adelina Patti (27-36; 42-70); Carlotta Patti (38-41; 77-79); Christine Nilsson (75-77; 81-87); Annie Louise Cary (85-87); Minnie Hauk (99-101); Pauline Lucca (102-103); Susan Galton (113-117); Sarah Smith (Mrs. Bartley) (122); Genevieve Ward (127-131); Mary Frances Scott-Siddons (137-147); Emma and Daniel Waller (158-161), Jean Margaret Davenport (168-171); Helena Modjeska (172-175); Fanny Janauschek (178-189); Helen Maud Holt (Mrs. Beerbohm Tree) (191-195); Madge Lessing (197); Merri Osborne (198); Carrie Perkins (198); Adelaide Ristori (199-202); Rosina Vokes, Victoria Vokes, Jessie Vokes, Frederick Vokes, and Fawdon Vokes (212-218); Edward Smith Willard (222); Annie Yeamans (223); Lydia Thompson (227-240); Dion Boucicault and Agnes Robertson (241-271); Maggie Moore and James Cassius Williamson (283); and Marie Aimee (285-287).

Notable items found in the volume include images of the interior and exterior of Castle Garden (New York) in the early 1850s (page 4); a large cartoon featuring the most famous European singers and actors of the 1860s-1870s returning to Europe after their American successes (44-45); an engraving of a gala performance of Gounod’s opera Faust at the Academy of Music (New York) in honor of grand duke Alexei of Russia (1871) (92-93); a poster promoting the beginning of an Italian opera season (probably the Mapleson Opera Company) and including caricatures of Minnie Hauk, Luigi Arditi, Etelka Gerster, Italo Campanini, Allan James Foley (Signor Foli), Sig. Frapolli, and Mlle. Pisani (96-97); images of the interior of Park Theatre (New York) (109); a large image showing the exterior of Union Square Theatre (New York) surrounded by portraits of famous actors, actresses, and performers who appeared on its stage (123-126); sketches depicting scenes from the drama  Forget Me Not (by H. C. Merivale and F. C. Grove), featuring Genevieve Ward in the main role (129, 132); and two playbills from the Ninth and Arch Dime Museum (Philadelphia), starring "Herr Winkelmann, the Great Austrian Giant" (290), and "Elder Joshua Baker and His Big Mormon Family comprising three wives and ten children" (291) (both playbills are dated 1887).

The volume includes playbills from the following Philadelphia theaters: Arch Street Theatre, Chestnut Street Theatre, Academy of Music, North Broad Street Theatre, and the Ninth and Arch Dime Museum. There is also a limited number of playbills from the Park Theatre (New York).

1
Volume 2, 1856-1897.
Scope and Contents note

About a third of the materials included in volume 2 are devoted to members of the Drew family of actors: John Drew (pages 140-147, 190-191, 196-199, 202-207, 209-210, 243); Louisa Lane Drew (107-161, 176-180, 182-186, 223-224, 227); Frank Drew (187-189, 208, 211-214); and Georgie Drew Barrymore (225-226). Other notable figures include John McCullough (1-80); John Sleeper Clarke (81-92); Creston Clarke (93-100); the Vokes family (162-163); Emily Eliza Saunders, Lady Don (164-165); Charlotte Thompson (166-169); Sam Hemple (170-171); Julia Dean (172-173); Catherine (Kate) Reignolds (174-175); Edwin Forrest (181); Eugène Godard (192-195, 216-217); Elizabeth Crocker (D. P. ) Bowers (200); Polly Marshall (218-221); Otis Skinner (237); Sarah Truax (237); Bob Hilliard (238); Amelia Bingham (238); James K. Hackett (239); Mary Mannering (239); Frank Mills (239); Marie Shotwell (239); Edward Hugh Sothern (240); Marion Giroux (240, 243); Maud Adams (243); Ethel Barrymore (243); John Gibbs Gilbert (244-319); and John Collins (322-335).

Notable additional items found in the volume include a small number of images relating to the 1883 dramatic festival in Cincinnati, Ohio (pages 15-17); a picture of the exterior of the Walnut Street Theatre (92); and multiple programs of William Gillette's comedy A Train Wreck, produced at the Arch Street Theatre in 1889 (the programs also include sketches of scenes from the play) (228-235).

The volume contains programs and playbills from many Philadelphia theaters, including Mrs. John Drew's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the Grand Opera House, the Broad Street Theater, and the Walnut Street Theatre.

2
Volume 3, 1857-1888.
Scope and Contents note

Volume 3 is mostly dedicated to comedy, burlesque, circus, and minstrel shows, but it also includes newspaper clippings and pictures on other subjects. Notable figures of the stage featured in the volume include William Warren (pages 1-10); William Davidge (11-15); Antonio Blitz (21); Alice Oates (Mrs. Jas. A. Oates) (30-34); Hugh Reginald Haweis (53); Frank Brower (55-57); Jennie, Irene, and Sophie Worrell (59); Young America (dancer and acrobat) (60-61); John “Jolly” Nash (69); George L. Fox (91-97); John Drew, Louise Lane Drew, and Frank Drew (140-145); Eugène Godard (146-147); George Christy (148-149); Miss E. Kimberly (Shakespearian actress) (150-154); Wesley Barmore (also known as S. E. Harris) (156-161, 170-174); Adelina Patti (176-177); Annie Goodall (182); Robert Craig (183-185); and Alfred S. Phillips (189-191).

The volume also contains a large number of newspaper articles on several topics, such as the “rise and fall” of the New York Crystal Palace (1853-1858) (pages 17-19), the first elephant in the United States (18), the history of burlesque (20), Chinese actors in the United States (22-23), freak shows (24), the art of making figureheads for vessels (27), circus in the Unites States (19-20, 37-38), the selection process for those being hired in dime museums (54), early American plays (175), and big California trees (especially sequoias) (180-181). The scrapbook also includes numerous articles, engravings, and playbills relating with theater fires in Philadelphia, New York, Brooklyn, and London (71-80, 85-88, 115-119, 125-137). Theaters mentioned include the American Theatre, the Central Theatre, the International Comique, and the Temple Theatre (Philadelphia); the Butler's Theatre (New York); the Brooklyn Theatre (Brooklyn); and the Exeter Theatre (London). An article with a list of all theater fires in Philadelphia from 1798 to 1888 can be found on page 76.

Enclosed in the volume are also a set of sketches depicting characters and costumes in the opéra bouffe La Grande-Duchesse de Gérolstein, produced in New York by Batesman's Parisian Opera Troupe (pages 99-100); and additional clippings and engravings (including images of play scenes and backstage) relating to the "theatrical extravaganza"  The White Fawn (with Jarrett and Palmer's combined Viennoise & Parisian Ballet Troupes, including Mlle. Marietta Bonfanti), as produced at Chestnut Street Theatre (circa 1868) (104-110). The scrapbook concludes with a set of engravings depicting scenes from Shakespeare's plays (199-217).

The volume contains playbills from many theaters in Philadelphia, New York, Boston, and other cities, including Col. Wood’s Museum (9th and Arch), the Continental Theatre, the New 11th St. Opera House, the New American Theatre, Fox's American Theatre, John Drew's National Theatre, Welch's National Theatre, and Sanford's Opera House (Philadelphia); Butler's American Theatre (New York); the Boston Museum (Boston); and the Grand Opera House of London, Ontario.

3
Volume 4, 1838-1889.
Scope and Contents note

Volume 4 contains engravings, playbills, and articles relating to celebrated comedians, tragic actors and actresses, singers, and acrobats, including Joseph Jefferson (pages 6-20, 23-29); Laura Keene (21); Edward Loomis Davenport (34-60); John Baldwin Buckstone (38); Fanny Vining Davenport (61-86); Peter Richings and Caroline Richings (88-125); Kate Josephine Bateman and Ellen Bateman (129-131); Charles Dillon (132-135); Charles Walter Couldock (136-142); Maggie Mitchell (144-160); James Edward Murdoch (163-206); Gabriel Ravel and Francois Ravel (208-243); McKean Buchanan (244-245); Marian Russell (Mrs. George Farren) and Fanny Fitz Farren (246-252); James Henry Hackett (253-261, 295); and Charles Blondin (262-294).

Additional items include images of several theaters, including the New Casino (New York) (page 84), the Metropolitan Opera House (New York) (84), the Chestnut Street Theatre (155, 168, 176, 206), and the South Broad Street Theatre (155). Also included in the volume is a rare color playbill of the comic opera Electric Light (words by William B. Hazelton and Edward Spencer, music by William Wallace Furst), staged in 1879 at the Broad Street Theatre (Philadelphia) (120-122).

The volume contains playbills from theaters in Philadelphia, New York, and other cities, including the Walnut Street Theatre, the Broad Street Theatre, the Chestnut Street Theatre, Mrs. John Drew's Arch Street Theatre, Wheatley's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the National Theatre, the American Academy of Music, and the Continental Theatre (Philadelphia); Laura Keene's Theatre, the Olympic Theatre, and the Union Square Theatre (New York); and the Citizens' Theatre (Vicksburg, Mississippi).

4
Volume 5, 1872-1897.
Scope and Contents note

Volume 5 contains playbills, articles, portraits, engravings, and other materials relating to several notable figures of the stage, including Carmen Dauset Moreno (Carmencita) (pages 1-5); Eleanore Carey (6-9); John H. Fitzpatrick (10-12); Max Figman (13); Julia Marlowe (16-36); Robert Taber (21-22, 24-25, 35-36); Benoît-Constant Coquelin (39-40, 42); Jane Hading (40-41); Rosina Vokes (43-48); Victoria Vokes (49-50); Helen Barry (51-54); Thomas W. Keene (55-59); George S. Knight and Sophie Worrell (Mrs. George S. Knight) (61-67); James O’Neill (70-89); Henry Miller (90-91); Blanche Walsch (90-91, 97); Marie Wainwright (90-96); Louis James (92-95); Helen Dauvray (97); William Faversham (99); Millie Maddern (99-102); Marie Jansen (115-122); Theresa Vaughn (123-124); Vernona Jarbeau (124-126); Ada Gray (127-129); Louise Allen (130-131); Emily Rigl (133); William Terriss (143-148); Jessie Milward (143-148); George Richards (149-156); Eugene Canfield (149-156); Tim Murphy (157); Dorothy Sherrod (157); Peggy Logan (159-161); Frank I. Frayne (162-166); Pete F. Baker (168-169); Ray Maskell (171); Frederick Paulding (172); Julia McKay (180); Augustus Cook (181-187); and Joseph Haworth (187).

The volume also contains images of scenes, cards, and other promotional materials relating to the following plays: Victorien Sardou's Dolores (including large portraits of Eleanore Carey and John H. Fitzpatrick) (pages 6-7, 10-12, 14-15); Augustus Thomas's play  A Night's Frolic, starring Halen Barry (55); the play  Baron Rudolph, starring George S. Knight and Sophie Worrell (Mrs. George S. Knight) (64); Charles Fechter's adaptation of Alexandre Dumas's play  Monte-Cristo, starring James O’Neil (Chicago, Grand Opera House, 1883) (80-89); Elliot Barnes’s play  Only a Farmer’s Daughter (135-140); the melodrama  Roger La Honte, produced by H.C. Miner and adapted from the novel of the same name by Jules Mary (145-148); the comedy  A Midnight Bell, written by Charles H. Hoyt and performed at the Chestnut Street Theatre in 1892 (151-152); the "operatic extravaganza"  Two Old Cronies (performed at Mrs. John Drew’s Arch Street Theatre in 1890) (175-179); George R. Sims and Henry Pettitt's drama  Harbor Lights (181-184); George R. Sims's play  Lights of London (188-189); William Irving Paulding's comedy  The Struggle of Life (172); and the comedy  A Breezy Time, by E. B. Fitz and Dan Shelby (199-202).

Included in the volume are also a few rare stickers advertising the play Spider and the Fly, by Robert Fraser and William Gill (also performed at Mrs. John Drew's Arch Street Theatre, circa 1890) (page 131). Other notable items include an image of the exterior of New Park Theatre (Philadelphia) (2); a long article on David Belasco and Franklin Fyles' play  The Girl I Left Behind Me (also performed at the Chestnut Street Theatre, 1894) (104-113); a program of the inaugural performance of the New Standard Theatre (Philadelphia) (1888), including a ticket stub (99); and diagrams of Haverly's Theatre (Philadelphia) (4) and of Chestnut Street Opera House in 1882 (194).

Researchers will also find in the volume several playbills from theaters in Philadelphia (New Park Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Herrmann's Theatre, Broad Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Standard Theatre, Continental Theatre, H. R. Jacobs' Lyceum Theatre, Forepaugh’s Theatre, and Haverly’s Theatre), New York (Star Theatre, Tony Pastor’s 14th Street Theatre), Boston (Windsor Theatre, Globe Theatre, and Boston Museum), Chicago (Grand Opera House), and New Orleans (Academy of Music).

5
Volume 6, 1872-1896.
Scope and Contents note

Volume 6 includes playbills, articles, portraits, engravings, and other materials relating to the following theatrical figures: Mary Anderson (pages 5-42); Emma Abbott (38); Alessandro Salvini (44); Tommaso Salvini (45-46): Ernesto Rossi (47-51); Clara Morris (52-64); Kate Claxton (62, 64-65); Fanny Morant (64-65); Ann Gilbert (Mrs. G. H. Gilbert) (64-65); James Lewis (64-65); Lillie Langtry (66-111); Charles Coghlan (94-95); Katherine Florence (95); Hattie Russell (94-95); Cora Urquhart-Brown Potter (117-138); Lotta Crabtree (139-158); Annie Pixley (159-182); Fay Templeton (178-181); Hortense Rhéa (183-189); Creston Clarke (191-193); Margaret Mather (195-200); Neil Burgess (201-211); Minnie Palmer (213-222); and Lewis Morrison (223-230).

The volume also contains additional materials, including a booklet titled Salvini: A biographical Sketch of the Italian Tragedian together with Critical Judgments of His Acting (New York: George F. Nesbitt & Co., 1873) (45); a large image depicting "The Histrionic and Lyric Firmament" (1882), with portraits of many famous figures of contemporary opera and theater (106-108); "The Langtry Puzzle," a maze revealing Lillie Langtry's name as it is solved (110-111); promotional material for play  M'Liss, Child of the Sierras, starring Annie Pixley (161-164, 172-173); a booklet promoting Hortense Rhéa's farewell tour of season 1886-1887 (185); a booklet titled "Souvenir of Neil Burgess in 'Vim,'" printed by Mrs. John Drew’s Arch Street Theatre and including images of scenes from the play (209); figures depicting scenes from the play  The Great Fair Scene, featuring Neil Burgess (209-211); and a set of cards portraying actor Lewis Morrison performing as Mephistopheles in  Faust (226-227).

The scrapbook includes playbills from a number of theaters in Philadelphia, New York, and other cities: Walnut Street Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Academy of Music, Mrs. John Drew's Arch Street Theatre, Herrmann’s Theatre, Eleventh Street Opera House, Park Theatre, New Park Theatre, and Empire Theatre (Philadelphia); Union Square Theatre, Fifth Avenue Theatre, and Poole's Theatre (New York); Park Theatre (Newark, New Jersey); Opera House (Wilmington, Delaware); Van Wyck's Academy of Music (Norfolk, Virginia), Ford's Grand Opera House (Baltimore, Maryland); Mobile Theatre (Mobile, Alabama); and Prince's Theatre (London).

6
Volume 7, 1838-1888.
Scope and Contents note

About half of the materials included in volume 7 is relating to members of the Wallack stage family: Henry Wallack, James William Wallack, and Lester Wallack (pages 1-107). The rest of the scrapbook materials concerns the following figures: Elizabeth Ponisi Wallis (Madame Ponisi) (5, 65); Josephine Shaw (Mrs. John Hoey) (6-7); Joseph Haworth (63); Stella Boniface Weaver (65); Marie Jansen (71); Digby Bell (71); DeWolf Hopper (71); William Rufus Blake (74); Edwin Booth (74); Herbert Kelcey (92); Kyrle Bellew (92, 105); May Yohé (94-95); Grace Filkins (94-95); Osmond Tearle (103); Herbert Kelcey (108); John Randolph Scott (110-121); John T. Raymond (123-134); Edward Askew Sothern (131); John Edward Owens (135-141); John Howson (144-147); John Edwin McDonough (149-169); and John Brougham (171-194)

Additional materials of interest include a diagram of Walnut Street Theatre (Philadelphia) (60); a rare playbill of the final performance of the Wallack Company at Wallack's Theatre (1888), printed on fabric (73); a program of Wallack’s Theatre enclosed to an autograph note addressed to a "Mr. Siegel" (perhaps the author of the scrapbook set, pages 87-91); a poster of Arthur Wing Pinero's farce The Magistrate, performed at the Walnut Street Theatre and featuring John T. Raymond (132-134); sketches, playbills, and a poster relating to the minstrel show  The Royal Marionettes (162-169); an engraving depicting the "Grand ball in honor of the Japanese, given by the New York City authorities" (1860) (174); and a set of caricatures of famous actors and actresses, including Edwin Forrest, Charlotte Cushman, and Lester Wallack (190-192).

The volume also contains playbills from several theaters in Philadelphia, New York, and other cities, including the Wheatley and Clarke's Arch Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Walch's National Amphitheatre, Broad Street Theatre, McDonough’s Gaieties, and Concert Hall (Philadelphia); Wallack’s Theatre, Abbey's Park Theatre, Madison Square Theatre, Broadway Theatre, Bijou Opera House, Haverly's 5th Avenue Theatre, Olympic Theatre, Brougham's Theatre, and Niblo's Garden (New York); Washington's Theatre (Washington, D. C.); and unidentified theaters in Wilmington, Delaware, and in Vicksburg, Mississippi (the latter possibly being the Citizens Theatre).

7
Volume 8 (generally focusing on comedy, comic opera, and burlesque), 1876-1896.
Scope and Contents note

Volume 8 is mostly devoted to comedy, burlesque, and light opera. Researchers will find articles, playbills, programs, portraits, engravings, and other materials relating to the following theatrical figures: Lillian Russell (pages 5-41); Pauline Hall (42-56, 60-61); Eva Davenport (50, 56); George Holland (50); Rudolph Aronson (51-53); Jennie Weathersby (53); Anna O’Keefe (53, 61); Francis Wilson (53-54); Kitty Cheatham (54); Fanny Rice (54-55); Delia Stacey (55); Isabelle Urquhart (55, 57); James T. Powers (57); Lillian Grubb (57-58); Alfred Klein (59); Francis Wilson (59-61, 63-64); Nettie Lyford (62); John Philip Sousa (63); Adolph Zink (63); Selma Goerner (63); Franz Ebert (63); Francis Wilson (63-64); Edward Everett Rice (65-80, 86-110); Annie Yeamans (72, 74); John A. Mackay (73); Virginia Earl (78); Marion Giroux (78, 80); Richard Golden (81-85); Laura Joyce (84-85); Kitty Blanchard (Mrs. McKee Rankin) (84-85); Henry E. Dixey (84-86) Nathaniel Carl Goodwin (85, 139-159); Amelia Somerville (86); Maurice Curtis (M. B. Curtis) (111-124); Jennie Hughes (129-132); Barney McAuley (133-138); Nathaniel Carl Goodwin (139-159); Loie Fuller (144-145, 150, 160-161); Grace Kimball (158-159); Minnie Dupree (159); Maud Granger (165-171); Atkins Lawrence (169); Lizzie Evans (181-199); Louise Dempsey (202-211); and Adelaide Detchon (213).

The volume also contains additional materials, often but not necessarily related to the figures mentioned above. Such materials include sketches of scenes from the play Billee Taylor, featuring Lilian Russell (8); a waltz from the comic opera  Erminie (arranged by Henry White) (62); programs, playbills, and sketches of scenes and characters from the opera buffa  Evangeline (music by Edward Everett Rice, word by John Cheever Goodwin), performed at the Broad Street Theatre and the Walnut Street Theatre (86-110); sketches of scenes of  Sam’l of Posen; The Commercial Drummer, featuring M. B. Curtis (119-124); engravings depicting scenes of burlesque show  The French Spy (129-132), with images of actress Jennie Hughes; portraits and engravings depicting scenes from the play  Uncle Dan’l, featuring Barney McAuley (134, 137-138); image of living tableau on the "Destruction of Pompeii," staged by Matt Morgan at the New York Opera Comique (circa 1875)(162-163); a large engraving depicting scenes from Jules Verne’s novel  Le Tour de Monde en 80 Jours (172-173); clippings and a playbill relating to the opening of the Kiralfy Theatre in Philadelphia (1876) (174-175); a playbill and images depicting scenes from the show  Ruth; or, the Curse of Rum (Academy of Music, Philadelphia) (177-180); and several large portraits of actress Louise Dempsey en travesti (202-211).

Included in the scrapbook are also several playbills and programs from theaters in Philadelphia and in other cities in the United States, such as the Chestnut Street Opera House, the Chestnut Street Theatre, the Broad Street Theatre, the Park Theatre, the Walnut Street Theatre, Kiralfy's Alhambra Palace, the Academy of Music, and Mrs. John Drew's Arch Street Theatre (Philadelphia); the Boston Museum, the Boston Theatre, and the Globe Theatre (Boston); The Casino; Tony Pastor's 14th St. Theatre, Haverly's Theatre, the Standard Theatre, and the Bijou Opera House (New York); the Pickwick Theatre (St. Louis, Missouri); and the Grand Opera House (Cincinnati, Ohio).

8
Volume 9, 1880-1896.
Scope and Contents note

The materials included in volume 9 relate to a relatively limited number of celebrated figures of the stage: Sarah Bernhardt (1-71); Jane Hading (73-153); Benoît-Constant Coquelin (74-181); Henry Irving (170-180, 186-219); Rachel Félix (Mademoiselle Rachel) (172, 175); Joseph Levinsky (174); Frédérick Lemaître (173, 175); François Joseph Talma (175); Ellen Terry (188-198, 203-221); Robert Drouet (222); and Oscar Wilde (224-243).

The volume contains several notable items, including several caricatures and portraits of Sarah Bernhardt (1-71); an essay on "Acting and Actors," by Benoît-Constant Coquelin (77); an article on "The Comèdie Française" by Theodore Child (originally published in Harper’s New Monthly Magazine, possibly vol. 74, 1886-1887) (88); articles relating to a debate between Henry Irving and Benoît-Constant Coquelin over acting techniques (176-181); copy of a booklet titled "The Lyceum 'Faust,'" by Joseph Hatton (reprinted from the  London Art Journal, circa 1890) (190); and caricatures of and articles about Oscar Wilde (especially concerning his affiliation with the Aesthetic Movement) (224-243).

Researchers can find in the volume playbills and programs from the following theaters: Chestnut Street Theatre, Chestnut Street Opera House, and Sanford's Opera House (Philadelphia); Booth's Theatre, Star Theatre, and Palmer's Theatre (New York); and the Royal Lyceum Theatre (London).

9
Volume 10, 1851-1893.
Scope and Contents note

Volume 10 is mostly devoted to comedy, and includes playbills, programs, portraits, and other materials relating to the following theatrical figures: Gus Williams (pages 1-13); Samuel Piercy (14-15), Louise Pomeroy (16-17); Owen Fawcett (18), Marie Gordon (19), Asger Hamerik (20), Effie Ellster (21-23), George Reed Cromwell (24), Joseph Murphy (25, 35-41); Little Corinne (26-34); Fred Leslie (45, 47-48, 50); Nellie Farren (46, 48-50); Letty Lind (50); Tony Pastor (55-68); Maggie Cline (58, 60); Bessie Bonehill (59, 63); Mary Ann Ford (Talma) (72); Eugen Sandow (73-80); Charles A. Gardner (81-92); William Hoey (93-96); Charles E. Evans (93-96); Cheridah Simpson (93-96); Adèle Levey, May Levey, and Carlotta Levey (94-96); Minnie French (94-96); Jesse Merrilees (94-96); Adele Ritchie (96); Anna Held (96); Frederick Hallen (97-98); Joseph Hart (97-98); Roland Reed (99-103, 109-110); Isadore Rush (99, 103, 108-109); Annie Lewis (102); Tommy Russell (116-117, 122); Marie Prescott (119-121); Rezin Davis Shepherd (R. D. MacLean) (119-121); Elsie Leslie (122); William J. Scanlan (123-133); Chauncey Olcott (134); Rose Coghlan (137-146); Charles Coghlan (145-146); Sadie Martinot (142, 145-146); John Frederick Zimmerman, Jr. (143-146); McKee Rankin and Kitty Blanchard (Mrs. McKee Rankin) (159-168); George Hanlon (173); Edward Hanlon (173); William Hanlon (173-174); Genevieve Ward (175); W. H. Vernon (175); Albert M. Palmer (177); Wilton Lackaye (180-182); and Blanche Walsh (182-183).

The volume also contains other material relating to the figures mentioned above. Among this material is drawings of scenes from the play One of the Finest, featuring Gus Williams (3-9, 13); a program presenting three comedies featuring Joseph Murphy (  Shaun Rhue,  Kerry Gow, and  The Donagh), and including the tunes of the songs "My Dora Darling," "A Handful of Earth," and "Core O' My Heart" (41); playbills and a large scene photograph of the play  Zitka, by William Carleton (51-54); a poster advertising the play  Pink Dominos (71); a set of engravings advertising the melodramas  Sweet Singer,  Fatherland, and  The Man Hunt, featuring Charles A. Gardner (81-92); two large engravings depicting the façade of the Boston Museum (106-107); engravings and playbills relating to the play  Little Roy Fauntleroy, performed at the Walnut Street Theatre and the Boston Museum and starring respectively Tommy Russell and Olive Homans in the Lord's role (111-118, with additional photo of Elsie Leslie as Little Lord at p. 122); playbill and a program (including sketches of scenes) of the comedy-drama  Mavourneen, written by George H. Jessop and produced by Augustus Pitou at the Walnut Street Theatre (134-135); series of engravings depicting scenes from the play  The Strangler of Paris (147-157); series of playbills and programs relating to performances of Salbury's Troubadours (169-170); a playbill of play  Kayanka, produced by the Miller Brothers' Company and performed at the National Theatre (Philadelphia) in 1890 (171) and a playbill of a performance of Dockstader's Minstrels at the Chestnut Street Theatre (1887) (179).

Playbills from the following theaters are included in the volume: Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, National Theatre, Chestnut Street Opera House, South Broad Street Theatre, Central Theatre, Gilmore's Auditorium, Central Theatre, and Broad Street Theatre (Philadelphia); People's Theatre, Tony Pastor's Theatre, Empire Theatre, Poole's Theatre, and Star Theatre (New York); Harris Bijou Theater (Washington, District of Columbia); Van Wyck's Academy of Music (Norfolk, Virginia); Boston Museum (Boston); Olympic Theatre (St. Louis, Missouri); and the Royal Opera House (Toronto).

10
Volume 11, 1857-1897.
Scope and Contents note

Volume 11 includes playbills, portraits, programs, and other materials relating to the following theatrical figures: Frank Maguire Mayo (pages 17-18); Oliver Doud Byron (21-24); Francis C. Bangs (32-34); Dominick Murray (35-42); Roland Reed (38); Isabella Nickinson (Mrs. Charles Walcot) (38-39); Charles Walcot (39); G. Swaine Buckley (51-52); Louis Aldrich (57-67); Grace Huntington (64-65); Marina Paoli (65); George C. Boniface (74-76, 86-87); Tony Denier (80-81); Myra Goodwin (89-90); Simon M. Landis (103-104); John B. Schoeffel (referred to in the scrapbook as "the husband of Agnes Booth") (112); John M. Burke (118); Edith Mason (118-119); Steele MacKaye (128, 130); Effie Ellsler (129-130); Marie Geistinger (133-134); Sara Jewett (136-138); Jacques Offenbach (140-142); Louis-Jacques Mandé Daguerre (141); Joseph Hofmann (142); Hortense Pierse (144-145); Marshall Pinckney Wilder (146); Mary H. Fiske (158, 160-162, 166); Harrison Grey Fiske (159); Frederick Paulding (165-166); ); E. H. Van Veghten (168-173); Florence Bindley (174-176); Milton Nobles (189, 197); Robert Hilliard (192-194); Georgia Cayvan (193-194); John Drew (196, 202, 204-205); Dollie Nobles (197); Ada Rehan (198-206); Charles Richman (198); Creston Clarke (199); Catherine Lewis (199); Augustin Daly (199-200, 202, 204); James Lewis (202-206); Frederic Bond (202, 204-205); Ann Gilbert (Mrs. G. H. Gilbert) (202-204); and Isabel Irving (204-206).

The scrapbook also contains additional materials, often not related to the stage figures listed above. Among such materials are a lithograph and a program of the play Naiad Queen, performed at the Arch Street Theatre of Philadelphia in 1857 and 1860 (pages 5-7); a ticket stub from a "Sunday Night Concert" at the dining and boxing venue Harry Hills (New York, 1881) (9); photographs of Modoc leaders Captain Jack and Shonchin (11), and a playbill advertising a "lecture" by Redpaths's Modoc Lecture Company (Horticultural Hall, Philadelphia, 1876) (12-13); a poster advertising a lacrosse tournament in Philadelphia (14-15); images of Oliver Doud Byron performing in the play  Across the Continent, with images of scenes from the play (22-24); a large lithograph promoting the play  Poverty Flat: Or, California in -49, performed at the Walnut Street Theatre in 1872 (26-27); a playbill of a performance of  Romeo and Juliet at the Walnut Street Theatre (1873), featuring six different actresses in the role of Juliet (Effie Johns, Helen Houghton, Lillie Hinton, Maude Stuart, Marie Muhlanbring, and Miss Imogene) (29); programs, cards, and other promotional material relating to the play  The Silver King (written by Henry A. Jones and Henry Herman (31); newspaper clippings on different subjects, including articles on French dancer Marie Taglioni, on a vast collection of object of arts left by Mrs. Morgan (a New York widower), and on a reunion of the Pennypacker family in Schwenksville, Pennsylvania (43-46); playbill and sketches depicting a scene from the play  Henry Dunbar, by Tom Taylor (47-49); a playbill and a newspaper clipping on a "Nautch Girls" show produced by Col. T. E. Snelbaker Majestic Consolidated Company and performed in Philadelphia in 1881 (54-56); playbills and souvenir cards relating to several productions of comedy  Our Strategists (69-73); program and playbill of comedy  Our Candidate, performed at the Standard Theatre (New York) in 1880 (77); a rare poster printed on fabric and advertising comedy  Humpty Dumpty, with Tony Denier (80-81); card and playbills relating to the play  Two Orphans, performed at the Chestnut Street Theatre (1875) and the Chestnut Street Opera House (1880) (85-87); playbills and sketches from the comedy  Humpty Dumpty's Travels (Stewart's Novelty Theatre, Philadelphia, 1876) (92-100); playbills of productions of the Union Square Theatre Company performed at the Park Theatre (Philadelphia) in 1879 (105-111); playbills of Park Theatre productions, including  Robinson Crusoe,  Fun on the Bristol,  The Princess Toto,  Our School-Days; Or, Boys and Girls Again (performed by the Liliputian Opera Company), and the romantic opera  Valerie, or the Treasured Tokens (first performed at the National Theatre, Washington, District of Columbia) (113-117); poster advertising a dog show at Colonel Wood's Museum (Philadelphia), with an additional image of the Museum (formerly known as Simpson’s Museum) in 1876 (120-121); playbill of  Krieg im Frieden, a play in German produced at the Philadelphia Germania Theatre in 1888 (122); playbill of "grand popular concert" by the Maurice Grau French Opera Company at The Casino (New York, 1884) (132); articles relating to Fourth of July celebrations in Woodstock, Connecticut, and in Germantown (Philadelphia), circa 1883 (139); programs and other materials relating to burlesque  King Cole II by Woolson Morse (Herrmann’s Theatre, Philadelphia, 1889) (150-153); program of comedy  Peck's Bad Boy and His Pa, after George Wilbur Puck's dime novel with the same name (154); playbill promoting a show of "Scenes and Battles of the American Revolution" (performed by Adam Forepaugh Shows at Broad and Dauphin Streets, Philadelphia, 1893) (156); series of articles from "The Actresses' Corner" and "The Giddy Gusher" (the latter were probably penned by Mary H. Fiske and published on  The New York Dramatic Mirror) (160-162); playbill advertising the "Crucifixion of Christ" and other "biblical groups in wax" saved from the Temple Theatre fire (Philadelphia, 1886) and put on exhibit at Temple Hall, Philadelphia (170); poster advertising comedy  The Book Agent, including sketches of scenes from the play (181-183); card advertising comedy  Is Marriage a Failure?, performed by vaudeville company Guy Hill's World of Novelties (184); a copy of chapter III from  Folly's Queens; or Women Whose Loves Have Ruled the World, published by Richard Kyle Fox (186-188); a poster advertising the "oriental pageant"  Lalla Rookh’s Departure From Delhi, produced by Adam Forepaugh (1881) (190); clippings on the theme "Acting and Advertising," including a short satirical play titled "The Drama of the Present, with Advertising Attachment," and a lithograph showing an actor and an actress performing amidst theatre props used as advertisement (191); a playbill of  A Wall Street Bandit, by Archibald Clavering Gunther (Standard Theatre, New York, 1886) (195); and clippings including stage pictures of a production of William Shakespeare's  Twelfth Night, performed at Daly's Theatre (New York) and starring Ada Rehan (200).

Researchers will find in the volume playbills and programs from the following theaters: Wheatley and Clarke's Arch Street Theatre, Jacobs and Hickey's Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut St. Theatre, Horticultural Hall, National Theatre, Forepaugh's Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Stewart's Novelty Theatre, Park Theatre, Grand Central Variety Theatre, Enoch’s Variety, Grand Opera House, Colonel Wood's Museum, Germania Theatre, Herrmann's Theatre, Continental Theatre, Temple Theatre, Temple Hall, Arch Street Opera House, and Grand Central Theatre (Philadelphia); The Casino, H. R. Jacobs' Lyceum Theatre, and Standard Theatre (New York); Tremont Theatre, and Hollis Street Theatre (Boston); Van Wyck's Academy of Music (Norfolk, Virginia); and Crawford's Opera House (Topeka, Kansas).

11
Volume 12 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1846-1879.
Scope and Contents note

Volume 12 mostly consists of playbills and programs relating to minstrel, burlesque, and circus shows performed in Philadelphia. The materials included in the scrapbook tend to be organized by genre and performing place. However, several performers and artists could be singled out, including Antonio Blitz (pages 4-7, 26-27); Samuel Sharpe (S. M. Sharpley) and Sharpley's Minstrels (8-10); D. B. St. Jean (magician) (20-21); William Lingard (22-25); Louisa Pyne (37); Sigismund Thalberg (38-39); Agnes Sutherland (59-60); J. B. Roberts (64-65); Elizabeth Crocker (D. P. ) Bowers (68-69); Julia Turnbull (70-77); Julia Mortimer (82-83, 93-95); Julia Price (82-87, 90-95); Freddy Carlo (84-85, 88-89); William Carlo (84-85, 88-89); A. M. Hernandez (86-89); Aaron Jones (90-95); Matt Rusk (90-95); Julien Martinetti (96-99); P. Martinetti (96-97); Mme. P. Martinetti (96-99) Ignacio Martinetti (97-99); John Edwin McDonough (100-118); Cordelia Howard (102-107); Joseph Fannin (114-117); Dan Rice (124-135, 214-217, 222-235, 228-239, 244-253); Alfred Stewart (136-137); Charles Foster (138-143, 146-151, 153-175); Julia Daly (176-181); G. C. Charles (176-183); and Frank Brower (192-193).

The volume also includes additional materials not necessarily related to the artists mentioned above, a list of which is provided below: playbills of magic shows (pages 1-7); playbills of minstrel shows, including Sharpley's Minstrels, Birch and Sharpley's Minstrels, Fox's Casino Minstrels, George Christy's Minstrels, Simmons and Slocum's Minstrels, Huntley's Minstrels, Tunison and Co.'s Minstrels (8-19, 46-55, 66-67); a playbill advertising a show of Father Kemp's Old Folks Concert Company (National Hall, Philadelphia, 1857) (28-29); playbill of concerts at Parkinson's Illuminated Garden (Philadelphia, 1857) (30-33); a playbill advertising a "cafe theatre" concert at Thomeuf's Varieties (Philadelphia, 1857) (34); playbills of concerts and performances at the Musical Fund Hall (1855-1858) (35-43); playbill advertising concerts and other theater shows at Kossuth Exchange (Philadelphia, circa 1857-1861) (44-45); a playbill of the Wyoming Minstrels (performing on the U.S.S. Wyoming in 1860) (46-47); newspaper clippings describing a fight involving Samuel Sharpley, Thomas Sharpley, Edwin Kelly, and Francis Leon (the fight occurred in 1867 in New York City, outside the Fifth Street Opera House, and ended with the murder of Thomas Sharpley by Kelly’s hand) (52-54); playbills of shows at Sanford's Opera House (54, 56-62); a program for the celebration of the Ebenezer Sunday School Temperance Society (probably at the Ebenezer Methodist Episcopal Church, Philadelphia, December 25, 1846) (63); a set of programs and playbills of performances at the McDonough's Gaieties and McDonough's Olympic (1859-1860) (80-118); and programs and playbills of circus and burlesque performances at the National Circus (later Welch's National Circus, later Welch's National Theatre), featuring Charles Foster and his company (including Julia M. Cooke, W. H. Bailey, H. A. Langdon, Mrs. J. H. Reed, and others) (138-175), the Star Company (including C. M. Lewis, Miss A. M. Roberts, W. J. Rainnie, and others) (182-189), Marsh's Juvenile Comedians (194-211), and Dan Rice and his company (including Ella Zoyara, Joe Pentland, Andre "Herr" Cline, Frank Drew, and others) (212-253).

Also in the scrapbook, researchers will find multiple programs and playbills documenting the activities of the following Philadelphia theaters: Concert Hall, Commonwealth Hall, Assembly Buildings, Southwark Opera House, Sharpley's Opera House (2nd and Vine Street), Birch and Sharpley's Opera House (6th and Chestnut Streets), Musical Fund Hall, Fox's Casino, Masonic Hall, Eleventh Street Opera House, The Melodeon, National Hall, Thomeuf's Varieties, Kossuth Exchange Concert Salon, Davis' Theatre and Music Hall, Arch Street Opera House, Sanford's Opera House, New South Street Theatre, Seventh Street Opera House, City Museum, Frank Rivers' Melodeon, McDonough's Gaieties, McDonough's Olympic, National Circus, and Welch's National Circus.

12
Volume 13 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1854-1895.
Scope and Contents note

Volume 13 is mostly dedicated to minstrel shows, but some material relating to magic shows, burlesque, and vaudeville is also included in the scrapbook. Researchers will find playbills, portraits, newspaper clippings, and other materials relating to the following artists and companies: R. Bishop Buckley (pages 5-7); George Christy and Wood's Minstrels (16-17); Morris Bros., Pell and Trowbridge's Minstrels (20-21, 74-77, 152-155, 184-193, 235-236); Buckley's Serenaders (22, 80, 241-250, 264-276); George Christy's Minstrels (24-28, 112-117, 251-252); Wood's Minstrels (32-33, 146-147); Thomas Dartmouth Rice (T. D. Rice) (34-36); Carncross and Dixey's Minstrels (41-45); Simmons and Slocum's Minstrels (46, 49); Sweatnam's Minstrels (47); Kelly and Leon's Minstrels (54-57, 59-66); John Wyman (72-73, 255-256); Huntley's Minstrels (78-79, 196-219); John H. Collins (82-83); Hooley and Campbell's Minstrels (128-129); Bryant's Minstrels (130-135); San Francisco Minstrels (136-139); John Pond Ordway and Ordway's Aeolians (140-145); Shorey, Carle, Duprez and Green's Opera Troupe (148-149), Rumsey and Newcomb's Original Campbell Minstrels (150-151, 237-240); T. G. Riggs (160-161); Sam Ryan (162-165); Birch and Sharpley's Minstrels (168-182); Duprez and Benedict's Minstrels (223-226, 283-284); the Peak Family (Lancashire Bell Ringers) (233-234); Doctor Valentine (253-254); Carter's Zouave Troupe (257-258); Tunison and Co.'s Minstrels (277-278); Hooley's Minstrels (279-282); and Alfred Burnett (285-289).

The volume also contains materials on minstrelsy and on other topics, including an article on "Negro minstrelsy" in England, with mention of the Christy Minstrels (1880) (pages 9-10): a piano score of the song "Such a Gitting Up Stairs" (as sung by minstrel singer Bob Farrell) (11-12); an image depicting the interior of Henry Wood's New Theatre, at 561-563 Broadway, New York (15); a set of clippings on the history of minstrel shows, with interview with Hughey Dougherty (18-19); an article on "The Origins of Christy’s Minstrels" (23-24); additional clippings on minstrelsy, with an interview with Samuel S. Sanford and another article on the Christy's Minstrels (37-39); diagrams of the Eleven Street Opera House and of the Arch Street Opera House (58); a collection of playbills of minstrel shows at Sanford Opera House (1858-1860) (66-111); a newspaper clipping on the history of the Old City Assembly Rooms (444 Broadway, New York) (159); a collection of playbills of shows at the American Theatre (444 Broadway, New York) (159-165); a playbill and a poster relating to shows at the New Olympic Theatre (Philadelphia) (1873) (227-230); a collection of playbills of shows at Concert Hall (Chestnut Street, Philadelphia) (231-258); playbills of magic and minstrel shows at Franklin Hall (Philadelphia) (1854) (259-262); and playbills of shows at Cartee’s Lyceum and at the Melodeon (Philadelphia) (1854-1857) (263-268).

The scrapbook includes playbills and programs from the following theaters in Philadelphia, New York, and Boston: Arch Street Theatre, New Eleventh Street Opera House, Carncross Opera House, New Chestnut Street Theatre, Assembly Building, Wheatley's Arch Street Theatre, Concert Hall, New Olympic Theatre, Franklin Hall, Cartee's Lyceum, The Melodeon, Jayne’s New Hall, New Philadelphia Opera House, Hooley's Opera House, Duprez and Benedict's Opera House (Philadelphia); Buckley's New Hall, American Theatre and Old City Assembly Rooms (444 Broadway), Niblo's Saloon, Art-Union Concert Hall (497 Broadway), Mechanics' Hall, and San Francisco Minstrels (585 Broadway) (New York); Buckleys' New Minstrel Hall and Aquarial Gardens (Boston).

13
Volume 14 (generally focusing on the Philadelphia theatrical scene during the Civil War years), 1861-1895.
Scope and Contents note

Volume 14 only contains materials from and about Philadelphia theaters in the years of the American Civil War, as also indicated by a handwritten annotation on the first page of the scrapbook ("Philadelphia Places of Amusement during the Rebellion 1861-1865"). Notable theater companies and figures of the stage mentioned in the volume include Edwin Adams (pages 5-6, 119-121, 136-143, 150-151); the circus and theater company of the Continental Theatre, including Henry Moreste, John Foster, Emma Pastor, James Pilgrim, Harry Chapman, Julia Drake (Mrs. Harry Chapman), Caroline Chapman, H. A. Langdon, Kate Archer, W. H. Bailey, J. B. Studley, and others (7-60); Tony Pastor (45-46, 49-52); Margaret Ann Rice (former wife of Dan Rice, performing in the 1860s as Mrs. Charles Warner) (59-60); Joe Pentland (59-60); John Henry "Professor" Anderson (71-75); Benjamin Young (77-78); Anna Cowell (79-80); Edward Askew Sothern (83-84); W. A. Chapman (91-92); Emma Waller (94-95, 108-113); James Edward Murdoch (96-107); Joey Gougenheim (114-117); the French Dramatic Troupe (from the Theatre Francais in New York) (122-125); Hooley and Campbell’s Minstrels (126-131); John Sleeper Clarke (132-135, 154-155, 158-161); Alexina Fischer Baker (132-135); Vining Bowers (136-143); Charles Walter Couldock (144-149); Dan Setchell (152-153); James William Wallack (156); Edward Loomis Davenport (156); Buckley's Serenaders (163); Tunison and Co.'s Minstrels (168-169); Elise De Courcy (182-183); Frank Brower (184-185); Birch and Sharpley's Minstrels (184-187); John Edwin McDonough (188-191); Annie Lonsdale (198-199); Harry Pearson (200-205); and Charley White (206-207).

The playbills in the volume are mostly organized by performing venue. The volume includes a collection of playbills of shows and circus performances at the Continental Theatre (later renamed American Theatre, and, from 1865, Fox’s American Variety Theatre) (1861-1865) (pages 7-62), including a program from the evening before the fire of September 14, 1861, and annotated by a "G. N. Galloway" (28); a large number of playbills from the Walnut Street Theatre (71-161); and smaller groups of playbills from the Sanford's Opera House (170-175), Irving Hall (New York) (176-179), and McDonough's Olympic Theatre (later known as Olympic Music Hall) (180-207). The volume also contains the program of a show at Long's Variety and Museum (Philadelphia) (1864) (162) and additional playbills of Lincoln Memorial Tableaux at National Hall (164-165) and at Concert Hall (Philadelphia) (166-167).

In this scrapbook, researchers will find materials relating to the following Philadelphia theaters: Mrs. John Drew's Arch Street Theatre, Continental Theatre, Wheatley's Continental Theatre, New American Theatre, Grover's New Chestnut Street Theatre, Chestnut Street Theatre, Walnut Street Theatre, Long's Variety and Museum, Sanford's Opera House, Seventh Street Opera House, National Hall, Concert Hall, McDonough's Olympic Theatre, and Olympic Music Hall. A limited number of playbills from Irving Hall (New York) are also enclosed.

14
Volume 15 (generally focusing on side shows and other exhibits of artifacts and technological curiosities), 1849-1897.
Scope and Contents note

Volume 15 is almost exclusively dedicated to side shows, minstrel shows, and magic shows, but it also includes a limited amount of materials relating to opera and instrumental music, university and school concerts, and the exhibits of automata, early moving pictures, and other artifacts. The playbills, programs, portraits, flyers, and other materials contained in the volume are loosely organized by genre and performing venue. However, a few notable figures and performing companies can be singled out, including "Herr Haag" (page 2); "Colonel Goshen" (3); Charles Nestel (Commodore Foote) (3); Eliza Nestel (Queenie Foote) (3); the "Rossow Midgets" (3); Jack and Annie O’Brien (3); Sam Cowell (6-9); S. K. Murdoch (14); Clara Louise Kellogg (18); Julia Pastrana (19-21); Chang Bunker and Eng Bunker (the "Siamese Twins") (22-23); Millie and Christine McCoy (the "Carolina Twins") (30-31, 35); Doctor Valentine (34-35); Dollie Dutton (43); Anna Madah Hyers and Emma Louise Hyers (43); Elena D’Angri (48); Teresa Parodi (49-50); Louis-Antoine Jullien (51-52); Pete Lane (53-54); Rumsey and Newcomb's Original Campbell Minstrels (55-60); Shorey, Carle, Duprez and Green's Opera Troupe (61-62); George Christy's Minstrels (63-66); John Henry "Professor" Anderson (67-70); Charles Dean (73); Philip Prentice Anderson (Rubini) (73); Georgia Minstrels (76); Julia Mortimer (79-80); Robert Heller (William Henry Palmer) (87-88); and Joseph Hartz (89-90).

The volume also contains a large number of additional items, including pictures of sideshow artists (mostly excerpted from Marmaduke Humphrey, "The Pranks of Nature," Godey's Magazine 132, no. 788, February 1896) (pages 2-3, 38, 88, 92); a playbill and a flyer advertising the Cardiff Giant on exhibit in Philadelphia (4, 43); a playbill advertising hot air balloon ascensions at Lemon Hill (Philadelphia) (1857) (5); a playbill of shows at the Musical Fund Hall (Philadelphia) (1849) (10-11); printed images of Musical Fund Hall (12); a collection of playbills advertising concerts and "Prof. Cromwell’s Art Course of Entertainments" at Concert Hall (Philadelphia) (1855-1872) (13-18); an article from the  Philadelphia Medical Times about medical examination of "Siamese twins" Chang Bunker and Eng Bunker at the College of Physicians (1874) (22); a playbill of shows at Sanderson's Exhibition Rooms (Philadelphia) (1859-1860) (24-27); playbills advertising shows at the Assembly Rooms (Philadelphia), including exhibition of Joseph Faber's Talking Machine (1871), and of conjoined twins Millie and Christine McCoy (1866) (28-31); a playbill advertising a "grand colored baby show" at the Concert Hall (1855) (32-33); playbills of freak shows at the Museum of Living Wonders and at Barnum's Museum (Philadelphia) (36-37, 39, 41-42); a playbill advertising a show at Adams' California Menagerie (1860) (40); flyer advertising the bomb that William King Thomas (Alexander Keith Jr.) used to cause an attack in Bremerhaven (Germany) in 1875 (the bomb was put on exhibit at 915 Market Street, Philadelphia, circa 1876) (40); a collection of playbills relating to shows and events at Concert Hall, including living tableaux, concerts, minstrel shows, and magic shows (circa 1857-1860) (44-70); promotional materials relating to exhibitions, concerts, and magic shows at Assembly Buildings (circa 1867-1870) (71-73); a program of a concert of the Yale Glee Club at the Musical Fund Hall (1873) (73); a program of Mrs. Jarley's exhibit waxworks and tableaux vivants at Horticultural Hall (Philadelphia) (1872) (74); a program of the Sunday School concert of the Church of the Evangelist at Musical Fund Hall (1856) (75); a program of the concert of the students of the Hampton Normal and Agricultural Institute (now Hampton University) at Horticultural Hall (1873) (76); playbills of shows at Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, and Sanford's Opera House (1861) (78-86); a collection of newspaper clippings on several topic, including obituaries of Robert Heller (stage name of William Henry Palmer), a review of a performance of the tableaux Paradise Lost by John Milton at the Lutherbaum English Lutheran Church (Philadelphia), and an article on the closure and imminent demolition of Concert Hall (87-88); a playbill advertising exhibition of the mechanical Steam Man invented by Zadoc Dederick and Isaac Grass in Philadelphia, with attached photograph (91-92); and programs of early silent movie exhibits at Bijou Theatre (Philadelphia) and Electrical Casino (Asbury Park, New Jersey) (93).

The scrapbook includes playbills and programs from the following Philadelphia theaters and performing venues: Concert Hall, Philadelphia Museum (7th and Chestnut Street), New Philadelphia Museum (833 Market Street), Grand Polytechnic and Anatomical Museum of Science and Art, Sanderson's Exhibition Rooms, Assembly Buildings, Museum of living Wonders (Old Melodeon), Barnum’s Museum, Horticultural Hall, Musical Fund Hall, Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, Sanford's Opera House, and Bijou Theatre. There are also a limited number of playbills from performing venues located in other cities, including Adam's California Menagerie (New York), and the Electrical Casino (Asbury Park, New Jersey).

15

Series II. Index to "Theatricals in Philadelphia" (produced by the WPA), 1936.

Volume

Volume 1, A to B, 1936.

16

Volume 2, C to E, 1936.

17

Volume 3, F to I, 1936.

18

Volume 4, J to L, 1936.

19

Volume 5, M to O, 1936.

20

Volume 6, P to S, 1936.

21

Volume 7, T to Z, 1936.

22

Collection Inventory

Volume
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 1. 1749 to 1818. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume I includes the first 55 chapters (I to LV) of the first series, published in the Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to May 20, 1855 (Vol. VIII, No. 3), for a total of 118 pages of text. Because Charles Durang was born in 1794, he could not rely on personal recollections for the description of most of the events that took place in this period. Possibly also for this reason, this scrapbook is the one that covers the widest chronological span, from 1749 to 1818, with only 61 pages of text devoted to the years up to 1800.

The portion of Durang’s history included in the scrapbook mentions the first instances of theatrical performances in Philadelphia (including those of the Hallam Company – later renamed American Company), and discusses the vicissitudes of the theaters that were opened in the city during those decades, including the Society Hill Theatre, the Southwark Theatre, the Northern Liberty Theatre, the Chestnut Street Theatre, the Apollo Street Theatre, and the Olympic Theatre (later renamed Walnut Street Theatre). Theatrical seasons are described in full detail by Durang, especially after the mid 1790s, following the opening of the Chestnut Street Theatre. A whole chapter (XXV) provides a history of the circus in Philadelphia, and the next chapters also include references to theatrical performances, concerts, and other forms of live entertainment that took place in circuses and outdoor locations, including Ricketts Circus and the Vauxhall Gardens. References to the contemporary theatrical life in England and in other American cities (New York City, Boston, Baltimore, and Annapolis, among others) can also be found in the text.

The volume contains engravings and drawings of theatrical institutions such as the Southwark Theatre, the Chestnut Street Theatre (destroyed by fire in 1820), the Ricketts Amphitheatre, the Theatre Royal, Covent Garden (London), the Richmond Theatre (Richmond, VA), and the Old Federal Street Theatre (Boston). The scrapbook is also embellished with a conspicuous number of portraits of actresses, actors, and other theatrical figures, such as William Shakespeare, Daniel Terry, Anna Marcella Lydall , Sarah Siddons, Charles Macklin, Henry Mossop, Spranger Barry, Thomas Sheridan, Thomas King, James William Dodd, Elizabeth Singer Rowe, John Bannister, William Parsons, John Moody, Susannah Maria Cibber, Ann Street, Robert Bensley, Isabella Mattocks, Charles Macklin, John Philip Kemble, Robert Bensley, Jane Powell, John Henderson, Elizabeth Yates, Thomas Holcroft, Charlotte Melmoth, Elizabeth Barry, Frances Abbington, Mary Ann Wrighten, Maria Theresa Bland, Colley Cibber, William Dimond, Fanny Fleming, Thomas Hull, Thomas Cooke, Maria Duncan, John Bernard, Samuel Phelps, and Edmund Kean, among others. A few autographs letters, some written by Charles Durang himself, are also included. Finally, a small collection of playbills, mostly from the 1820s, was inserted in the final part of the scrapbook. Most notably, the collection features the playbill of the play Douglas; or, The Noble Shepherd (performed at the Walnut Street Theatre, Philadelphia, on November 27th, 1820), which saw the first appearance on stage of actor Edwin Forrest.

A list of the portraits included in the volume is located at the beginning of the scrapbook, while a general index is placed at the end. The source and date of acquisition of the entire set (“g[ift] Morris L. Clothier, 1-21-[19]16”) are penciled on the first page of the list of portraits.

1
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 2. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume II contains 118 pages of text, including the remaining 20 chapters of the first series (LVI to LXXV) and the first 33 chapters (I to XXXIII) of the second series. The chapters of the first series were published in the Sunday Dispatch between May 27, 1855 (Vol. VIII, No. 4) and October 7, 1855 (Vol. VIII, No. 23), while those belonging to the second series appeared between June 29, 1856 (Vol. IX, No. 9) and February 8, 1857 (Vol. IX, No. 41).

In the final part of the first series, Durang comments upon the last years of the old Chestnut Street Theatre, up to the fire which caused its closure in 1820. The first appearances on stage of Edwin Forrest, as well as the Philadelphia debut of British actor Edmund Kean, are discussed at length. In this portion of the series Durang also describes the new Chestnut Street Theatre (opened in 1822), and provides a long list of all the American plays produced in Philadelphia before 1822.

In the first chapters of the second series, Durang discusses the activities of the new Chestnut Street Theatre, as well as that of other institutions such as the Walnut Street Theatre, the Prune Street Theatre, the Tivoli Garden Theatre, and the Olympic Circus. As in the final part of the preceding series, every season is described in full detail. Additional anecdotes and biographical descriptions of famous actors, such as Junius Brutus Booth, Charles William Macready, and Charles Mathews, are also included.

The collection of portraits and engravings added by Westcott to the volume features a wide number of figures quoted by Durang in the text and variously connected with the Philadelphia theatrical scene – among them, Louisa Cranstoun Nisbett, Joseph George Holman, Robert William Elliston, Anna Maria Crouch, Charles Incledon, Ann Catley, Sarah Bartley, Wolfgang Amadeus Mozart, James William Wallack, Susanna Centlivre, Elizabeth Inchbald, John Philip Kemble, Alexander Rae, William West, Edwin Forrest, Edmund Kean, Sarah Siddons, Joseph Jefferson, Maria Gibbs, Dorothea Jordan, Ann Street Barry, Elizabeth Billington, Junius Brutus Booth, Charlotte Goodall, Thomas Potter Cooke, Julia Dean, Elizabeth Hopkins, John Fawcett, Maria Theresa Bland, John Henderson, Elizabeth Hartley, François-Joseph Talma, Mademoiselle Mars, John Bannister, Charles Mathews, Elizabeth Farren, William Farren, Eliza Logan Wood, Anna Thillon, Sarah Egerton, Maria Foote, Mary Ann Davenport, Sam Cowell, Maria Theresa Kemble, Fanny Maria Kelly, and Charles William Macready. The volume also includes several engravings of American and European theaters, opera houses, and other performance venues, such as the Prune Street Theatre, the new Chestnut Street Theatre, and the New Adelphi Theatre of Philadelphia, the Holliday Street Theatre (Baltimore), the Bowery Theatre (New York), the Tremont Theatre (Boston), the Theatre Royal, Haymarket, the Surrey Theatre, Sadler’s Wells Theatre, and Astley’s Royal Amphitheatre (London), the Queen’s Theatre and Opera House (Edinburgh), the Théâtre de la Porte Saint-Martin and the Théâtre de l’Opéra-Comique (Paris), the Schauspielhaus (Cologne). Autographs include a handwritten payment receipt, penned by actor William Warren, and a signed portrait of actor Robert Dempster.

2
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 3. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume III includes the last 23 chapters (XXXIV to LVI) of the second series, and the first 22 installments (I to XXII) of the third and last series, for a total of 118 pages of text. The chapters belonging to the second series were published in the Dispatch between February 15, 1857 (Vol. IX, No. 42) and August 2, 1857 (Vol. X, No. 14), while those included in the third series came out between July 8, 1860 (Vol. XIII, No. 2) and December 2, 1860 (Vol. XIII, No. 32).

In this portion of his history, Durang chronicles the seasons of Philadelphia theaters from 1826-27 to 1831-32. The author presents a cast list for the most important performances, and in some cases even quotes contemporary playbills and reviews. Special events include the Philadelphia debut of actor Charles Kean and the performances of Metamora; or, The Last of the Wampanoags, a tremendously successful play produced at the Arch Street Theatre at the beginning of 1830, and featuring Edwin Forrest in the main part. Opera singer Maria Malibran, who toured the United States from 1825 to 1827 and performed in Philadelphia during these same years, is the focus of a whole chapter discussing her life and career (series III, chapter XIII). A new theater, the Arch Street Theatre, was inaugurated in 1828 and soon became one of the most important institutions in the city along with the Chestnut Street Theatre and the Walnut Street Theatre.

A great deal of information is given on the managerial aspects regulating the life of these artistic centers, and on the actors, singers, writers, and other figures who were involved during those years. Many such figures appear in the rich iconographic portion of the volume, which includes portraits of Emma Albertazzi, Geneviève-Aimé-Zoë Prévost, Marie Taglioni, Antonio Guerra, Sarah Egerton, Charles William Macready, Marie Caroline Félix-Miolan, John Liston, Laure Cinti-Damoreau, William Dowton, James Henry Hackett, William Henry West Betty, Margaret Somerville, Madame Céleste, Charles Edward Horn, William Rufus Blake, Henriette Sontag, Giovanna Baccelli, Joseph Grimaldi, Armand Vestris, Lucia Elizabeth Vestris, John Philip Kemble, Giuditta Pasta, Rachel Félix, Margaret Martyr, John Vanbrugh, Edwin Forrest, Luigia Caldarini, Sam Cowell, Dorothea Jordan, Rebecca Davison, Caius Gabriel Cibber, John Pritt Harley, Carlotta Grisi, Stephen Kemble, Sarah Siddons, Thomas Sheridan, James Edward Murdoch, Elizabeth Rainforth, Charles William Macready, Calvin Edson, Thomas Apthorpe Cooper, Jane Stephens, Elizabeth Sharp, Edwin Booth, Charles Kean, Charlotte Cushman, Herr Driesbach, David Garrick, Harriet Waylett, Frances Abington, General Tom Thumb, Samuel Phelps, John Quick, Thomas Hilson, Samuel Reddish, Maria Malibran, Elena D’Angri, John Reeve, George Washington Dixon, Oliver Goldsmith, Julia Fortescue, and many others. The volume also contains engravings of the three main Philadelphia theaters (Chestnut Street Theatre, Walnut Street Theatre, and Arch Street Theatre) and of other international venues such as the Théâtre de l’Académie Royale de Musique (Salle Le Peletier) of Paris, and the Teatro Principal of Havana, Cuba. An autograph letter by Herr Driesbach, the famous lion tamer, is attached to the volume, along with an autographed portrait of actor George Handel Hill.

3
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 4. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume IV contains the next 40 chapters (XXIII to LXII) of the third and last series of Durang’s history, consisting of 120 pages of text. Those chapters appeared in the Dispatch between December 9, 1860 (Vol. XIII, No. 33) and September 15, 1861(Vol. XIV, No. 21).

The clippings contained in the volume offer a detailed account of the management and the most notable shows performed in the Philadelphia theaters – especially the Chestnut Street Theatre, the Walnut Street Theatre, and the Arch Street Theatre – between the 1830-1831 and 1840-1841 seasons. Salient events include the rivalry between Edwin Forrest, based at the Arch Street Theater, and the members of the Kemble family, based at the Chestnut Street Theatre, in the early 1830s; the arrival in Philadelphia of the Montresor opera troupe and the first production of Italian operas at the Chestnut Street Theatre in 1833; and a detailed report of the successes and failures of several troupes and individual actors and singers who performed in Philadelphia during the decade.

For most of those artists, Westcott provided at least one portrait as part of the rich collection of drawings and engravings inserted in the volume. Notable figures include, among others, William Francis Brough, Fanny Tacchinardi Persiani, Pauline Garcia (Viardot), Henry Betty, Gabriel Ravel, Sarah Siddons, Charles Kemble, Fanny Kemble, Anne Maria Tree, William Smith, Lester Wallack, Henry Placide, Thomas Placide, William Warren, Charles Kean, Elizabeth Brunton (Yates), Walter Scott, Sarah Ward, John Sinclair, Tate Wilkinson, Anaïde Castellan Giampietro, James Edward Murdoch, Edwin Booth, Charles William Macready, Andrew Ducrow, James S. Wallace, Henry Erskine Johnston, Joseph Wood, Mary Giovanna Cawse, Mary Ann Paton, Tyrone Power, Ralph Sherwin, William Evans Burton, John Howard Payne, Madame Celeste, Samuel Phelps, John Reeve, Thomas D. Rice, Tryphosa Jane Wallis, Edwin Forrest, Mary Anne Goward, Robert Keeley, Margarita Graddon, Victoria Balfe, Francis Courtney Wemyss, Robert Hamilton, Robert Campbell Maywood, Charlotte Elizabeth Vanderhoff, John M. Vandenhoff, David Garrick, Robert William Elliston, Lucia Elizabeth Vestris, Elizabeth Kemble, Samuel S. Sanford, Edward Fitzwilliam, Fanny Fitzwilliam, Fanny Elssler, Mary Anne Stirling, Charlotte Cushman, Susan Cushman, John Braham, Peter Richings, Ira Aldridge, Giuseppe De Begnis, and Giuseppina Ronzi De Begnis. Included in the volume are also a few pictures of Philadelphia and other national and international theaters, such as the Arch Street Theatre, the Academy of Music, the Northern Exchange Theatre, the Coates Street Theatre, and Sanford’s Opera House (Philadelphia), the State Street Theatre (Columbus, OH), Niblo’s Opera House (New York City), the St. Charles Theatre and the American Theatre and Arcade Baths (New Orleans), East London Theatre (formerly Royalty Theatre, London), and the Paris Opera House (Palais Garnier, Paris). The scrapbook also includes a playbill of the show "Venitian [sic] Carnival, or Punch in Good Humour," arranged by French vaudeville artist Gabriel Ravel, and an original letter by playwright, publisher, and theater manager William Evans Burton.

4
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 5. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume V includes the following 36 chapters (LXIII to XCVIII) of Charles Durang’s history, for a total of 119 pages of text. These chapters were originally published in the Dispatch between September 22, 1861 (Vol. XIV, No. 22) and June 8, 1862 (Vol. XV, No. 7).

In this part of his work, Durang offers an extensive description of the management and life of the most important Philadelphia theaters between the 1841-1842 and 1849-1850 seasons. The author comments upon the vicissitudes of several actors, impresarios and artists active in the city in those years, most notably William Evans Burton, Charlotte Cushman, Edward Loomis Davenport, Charles William Macready, and Edwin Forrest. In particular, the escalating rivalry between Macready and Forrest is documented by numerous chapters, from its early stages in 1844 – when both actors were cast in the same role in the same play by two different theaters, the Arch Street and the Walnut Street – to further altercation in England in 1846 and the final lawsuit announced by Macready in November 1848. A copy of the announcement in which the British actor proclaims his intention to sue Forrest is included in the volume. These chapters also discuss the growing importance of Italian opera in the city, which was visited by travelling companies such as the Havana Opera Company (1847) and the Max Maretzek Italian Opera Company (1848).

Westcott offers numerous portraits of all these figures, along with a considerable number of engravings depicting numerous artists and impresarios such as Fanny Cerrito, James Rogers, Susan Cushman, William Evans Burton, Elizabeth Yates, Edward Fitzwilliam, Fanny Fitzwilliam, James William Wallack, George H. Hill, Charles Kemble, John Brougham, Lucia Elizabeth Vestris, Isabella Glyn, William Wheatley, Henry Woodward, William Dowton, William Creswick, William Maybury Fleming, Joshua Silsbee, Phineas Taylor Barnum, Richard Brinsley Sheridan, Maria Gibbs, John Liston, Harriet Waylett, George Jamieson, Henri Vieuxtemps, George H. Barrett, Gustavus Vaughan Brooke, Charles Bass, Mary Ann Povey, Anna Cora Mowatt, Charles Kean, Lucille Western, John Sinclair, Eliza Logan, Ira Aldridge, Laura Keene, Mary Taylor, Arabella Goddard, Julia Dean, Henry Compton, George John Bennett, Fanny Cooper, Hanry Marston, Robert Keeley, Barney Williams, Ann Bishop, Federico Beneventano, John Edward Owens, Junius Brutus Booth, Edwin Booth, Amalia Patti, Carlotta Patti, Elena D’Angri, Maurice Strakosch, Caroline Richings, Julia Dean, Hector Berlioz, Alexina F. Baker, James Hudson, Charles Walter Couldock, McKean Buchanan, Francis Marion Brower, Teresa Rolla, and many others. Images of Philadelphia theaters such as the Arch Street Theatre and the Walnut Street Theatre are also present, as well as another engraving depicting the Continental Theatre fire of 1861— a famous accident in which seven performers lost their lives. The scrapbooks also contains a few manuscript documents, including a note by actor Edward Loomis Davenport, and two additional letters from actors and managers Francis Courtney Wemyss and Louisa Lane Drew.

5
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 6. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume VI includes the final 38 chapters (XCIX to CXXXVI) of the third series of Durang’s history, for a total of 110 pages of text. These installments appeared in the Dispatch between June 15, 1862 (Vol. XV, No. 8) and April 19, 1863 (Vol. XV, No. 52).

Here Durang discusses the theatrical seasons of several city institutions, such as the Chestnut Street Theatre, the Walnut Street Theatre, the Arch Street Theatre, the Musical Fund Hall, and Welch’s National Circus, Theatre, and Hippodrome, up to the closure of the second Chestnut Street Theatre in 1855. Prominent events include the Italian opera season at the Chestnut Street Theatre, under the management of impresario Max Maretzek, and the parallel programming of Jenny Lind’s performances at the Musical Fund Hall. A biographical sketch of Jenny Lind, complete with a description of her career in the United States, is provided. The volume also includes other clippings concerning the closing of the second Chestnut Street Theatre in 1855, the opening of the third Chestnut Street Theatre in 1862, and the renovation of the Arch Street Theatre in 1861, after Louisa Lane Drew assumed the management of the theater. A brief article by L. G. Thomas, originally published in the Sunday Dispatch and titled "Reminiscences of Private Dramatic Associations," is also found in the final part of the scrapbook.

A wide number of artists, impresarios, and theatrical figures are portrayed in the images added by Westcott to the volume. Among them are Philip Rohr, William Warren, Harriet Waylett, Joseph Jefferson, Ephraim Horn, Richard Brinsley Sheridan, William F. Wallet, Giovanni Battista Belletti, Marie Taglioni, George John Bennett, Virginia Howard, John Brougham, John Henderson, Junius Brutus Booth, Edwin Booth, John Philip Kemble, Phineas Taylor Barnum, Jenny Lind, Teresa Parodi, John Gilbert, Mary Amelia Warner, James Edward Murdoch, Laura Keene, William Henry Don, John Drew, Gustavus Vaughan Brooke, Lola Montez, Julia Bennett Barrow, Edwin Forrest, Laura Addison, Jean Margaret Davenport (Mrs. Lander), Peter Richings, Max Maretzek, Mary Anne Stirling, Lizzie Weston, Louis Moreau Gottschalk, George E. Locke, Lester Wallack, Gabriel Ravel, Henriette Sontag, Cora De Wilhorst, Charles William Macready, Thomas Potter Cooke, Isabella Glyn, William Dowton, John Edward Owens, Kate Josephine Bateman, William Farren, John Liston, Louisa Pyne, Giulia Grisi, McKean Buchanan, Adeliaide Phillipps, Susanna Centlivre, Charlotte Thompson, Edwin Pearce Christy, Charles Walter Couldock, Marietta Alboni, and George Frederick Cooke. A list of “maiden and married names of actresses” is located at the beginning of the volume, and offers researchers a useful research tool as they reconstruct the career of famous female performers. The scrapbook also contains images of numerous theaters and cultural institutions, both in Philadelphia and in other U.S. cities, such as the Philadelphia Academy of Music, the Walnut Street Theatre, the City Museum of Callowhill Street, and Welch's National Circus (at the National Theatre) in Philadelphia, Astor Place Opera House, Castle Garden Theatre, Pike's Opera House, Booth’s New Theatre, and Brougham’s Theatre in New York City, and the New National Theatre and the People’s Theatre in Cincinnati, OH. Finally, the volume comprises a small number of autograph letters, including one by theater manager John Sefton, and another one by actor and theater manager John Drew.

6

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

Emma Josephine Brazier theater and opera scrapbooks

Ms. Coll. 1149

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Brazier, Emma Josephine, 1867-1953
Title:
Emma Josephine Brazier theater and opera scrapbooks
Date [inclusive]:
1858-1918
Call Number:
Ms. Coll. 1149
Extent:
0.75 linear feet (3 boxes)
Language:
English
Language Note:
Primarily English, some French.
Abstract:
Emma Josephine Brazier (1867-1953) was a Philadelphian who followed the theater and opera scene. Her scrapbooks consist of three volumes that contain playbills, theater and opera advertisements, and actors' photographs and cards from 19th centuryand early 20th century in Philadelphia and New York City.
Cite as:
Emma Josephine Brazier theater and opera scrapbooks, 1858-1918, Ms. Coll. 1149, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
McCredy, Richard Wilson, 1854-1924
Title:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills
Date [bulk]:
1869-1905
Date [inclusive]:
1869-1906
Call Number:
Ms. Coll. 1322
Extent:
0.2 linear foot (1 volume)
Language:
English
Abstract:
The son of Thomas McCredy and Emma Dolores Wilson, Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). A gift by McCredy, this scrapbook consists of a collection of about 750 playbills and programs from Philadelphia and New York City, arranged in chronological order and pasted onto a volume of more than 200 pages.
Cite as:
Richard Wilson McCredy scrapbook of Philadelphia and New York City playbills, 1869-1906, MS. Coll. 1322, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Title:
"Theatricals in Philadelphia" scrapbooks
Date [bulk]:
1838-1897
Date [inclusive]:
1838-1936
Call Number:
Ms. Coll. 1384
Extent:
6 linear feet (22 volumes)
General Physical Description note:
Two different bindings exist for the scrapbook series. The first, featuring large numbers but no title on the spine, is possibly the one used for all volumes when they were purchased in 1920. Some volumes were subsequently rebound using a new spine bearing the title "Theatricals in Philadelphia". This title was probably taken from the description of the set compiled by auctioneer Stanislaus Henkel prior to the purchase of the collection.
Language:
English
Abstract:
The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage, dating from the second half of the 19th century. These materials mostly relate to theaters and other performing venues located in Philadelphia, although there are also some items from New York, Boston, and other U.S. cities. Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks, this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.
Cite as:
"Theatricals in Philadelphia" scrapbooks, 1838-1936 Ms. Coll. 1384, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Durang, Charles
Creator:
Westcott, Thompson
Title:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855
Date:
1868
Call Number:
Ms. Coll. 1316
Extent:
2 linear feet (6 volumes)
Language:
English
Abstract:
A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. Westcott's scrapbooks consist of the complete series of the 267 chapters of Charles Durang’s history of theater in Philadelphia between the years 1749 and 1855, published as weekly installments in the Sunday Dispatch from 1854 to 1863. Including page numbers, indexes, and lists of illustrations, the six volumes are interleaved with images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.
Cite as:
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855, Ms. Coll. 1316, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Biography/History

Emma Josephine Brazier was born on August 15, 1867 to Joseph Harrison and Ellen Kemball Bartol Brazier. She, her parents, and her brother lived in Philadelphia where her father was employed by the jewelry firm, J.E. Caldwell & Co. of Philadelphia. Her brother, Henry Bartol Brazier, appears to have been an inventor of automobile components.

Little is known of Emma Josephine Brazier except that she was apparently an ardent fan of theater and opera. She appears to have attended many plays and operas in Philadelphia and New York and to have followed the actors and actresses closely. She may have traveled to Europe in 1909. There is no indication that she ever married. She died in Massachusetts on November 14, 1953, at the age of 86.

Biography/History

The son of Thomas McCredy (1826-1856), and Emma Dolores Wilson (1826-1911), Richard Wilson McCredy (1854-1924) was an iron merchant and alumnus of the University of Pennsylvania (Class of 1874). Born in Philadelphia, McCredy lived in the city for most of his life, residing in the Rittenhouse Square area. He enrolled as a student in the Arts department in 1870, but did not complete his degree and left college at the end of his freshman year, in 1871. Over the the following decades, however, he remained involved with many organizations connected with the University of Pennsylvania including the Delta Sigma fraternity (Delta chapter), for which he served as secretary. In the 1890s, he was a board member of the Penn Athletic Association, and was affiliated with the University Barge and Corinthians Yacht Clubs. He married Frances Hart Ruckman (b. 1868) on January 16, 1909. The couple had no children, and divided their time between their residence in Philadelphia and their summer home in Cape May, New Jersey. Richard Wilson and Frances Ruckman McCredy are buried in the Doylestown Cemetery (Doylestown, Pennsylvania).

McCredy donated this scrapbook to Penn in March 1917. It includes a collection of playbills dated from 1869 to 1905, and mostly from Philadelphia and New York City. The authorship of the volume is uncertain. However, a comparison between the handwritten notes in the scrapbook and the hand who filled out McCredy’s alumnus form – currently held by the University of Pennsylvania Records Center, and possibly compiled by McCredy himself – shows some similarities, and indicates that McCredy may have assembled the volume himself.

Biography/History

The "Theatricals in Philadelphia" scrapbooks consists of a set of 15 scrapbooks on theatrical subjects and contains programs, playbills, newspaper clippings, images, and portraits of artists of the stage. These materials all date from the second half of the 19th century, and are mostly related to theaters and other performing venues located in Philadelphia. However, the scrapbooks also contain a smaller number of items from New York, Boston, and other U.S. cities. In 1936, all the items included in the scrapbooks were listed by title in a typewritten index in 7 volumes, which is also part of the collection.

The 15-volume scrapbook set joined the special collections of the University of Pennsylvania in May 1920, after it was purchased from Philadelphia auctioneer Stanislaus Vincent Henkels. Funding for the purchase came from a special fund established by Morris Lewis Clothier (1869-1947), a trustee of the University of Pennsylvania. The set became part of what was then known as the Clothier Collection of American Drama, an important theater collection that would be expanded for several decades under the supervision of University of Pennsylvania English professor Arthur Hobson Quinn (1875-1960). Quinn also oversaw the compilation of the title index, which was completed in 1936 by an employee of the Works Progress Administration. It was probably at this time that numbers were penciled on the margin of each page.

The creator of the scrapbooks is unknown, and was probably unknown at the time of the acquisition. A clipping pasted on the first page of volume 1, possibly excerpted from the original auction catalog, states that “somebody has devoted almost a lifetime in making this collection,” but does not provide any indication as to who assembled the scrapbooks. Annotations in one or more hands can be found throughout the volumes. Some of the materials included in the scrapbooks were probably donated to the collection’s creator. Volume 7 includes a letter from the Wallack Theatre (New York) dated 1886 and addressed to "Mr. Siegel," while a note by "G. N. Galloway" is annotated on the margin of a program included in volume 14. It is possible – although not certain – that one of these names corresponds to the person who assembled the volumes.

Because of its extent (about 3,500 pages), its chronological and geographical focus, the richness of its materials, and the breadth of theatrical genres covered in the scrapbooks – from opera, tragedy, and instrumental music to minstrel shows, vaudeville, and side shows – this collection represents a unique and invaluable resource for anyone interested in the theatrical and cultural history of Philadelphia in the second half of the 19th century.

Biography/History

A native of Philadelphia, Thompson Westcott (1820-1888) was one of the city’s leading journalists and historians of his generation. He studied English at the University of Pennsylvania, and later completed the study of law under Henry M. Phillips, until he was admitted to the bar in 1841. Westcott began his writing career with humorous pieces published under the name "Joe Miller Jr." in newspapers such as St. Louis Reveille,  New York Mirror, and  Knickerbocker Magazine. In 1841, he officially entered journalism and became law reporter for the  Public Ledger. A few years later, in 1848, John Lawlor, Robert Everett, and Edward J. Hincken, founders of the  Sunday Dispatch, offered Westcott a position as main editor of their newspaper. Westcott worked for the  Dispatch for thirty-six years, until his retirement in 1884. In the meantime, he collaborated as a writer or editor with a number of other city papers and publications, including  The Philadelphia Inquirer (1863-1871),  Commercial List, the  Old Franklin Almanac, and the  Public Ledger Almanac.

In addition to his career as a journalist, Westcott established himself as a local historian, primarily through his series on the history of Philadelphia, which he published weekly in the Sunday Dispatch between 1867 and 1884. In 1884, he published the three-volume book  History of Philadelphia, 1609-1884, which he co-edited with another prolific historian of the time, John Thomas Scharf (1843-1898). Westcott was the author of several other works, including  Life of John Fitch the Inventor of the Steam-Boat (1857),  Taxpayer’s Guide (1864),  Names of persons who took the oath of allegiance to the State of Pennsylvania, Between the Years 1777 and 1789, with a History of the "Test laws" of Pennsylvania (1865),  Chronicles of the Great Rebellion Against the United States of America (1867),  Centennial Portfolio (1876), and  The Historic Mansions and Buildings of Philadelphia: with some notice of their owners and occupants (1877).

Thomas Westcott compiled a set of scrapbooks which includes the complete series of the 267 chapters of Charles Durang's history of theater in Philadelphia between the years 1749 and 1855. These chapters appeared in three different series in the weekly newspaper Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to April 19, 1863 (Vol. XV, No. 52). Primarily active as a dancer, actor, and ballet master, Charles Durang (1794-1870) drew upon his life-long experience with the Philadelphia theatrical scene to write a historical work after his retirement from the stage in 1853. Partly based upon the notes of his father John Durang (1768-1822), America’s first professional dancer; and integrating notes of the editors of the  Dispatch (including, probably, Westcott himself), Durang’s history was never published in book form. In 1868, Westcott arranged the clippings from the  Dispatch in a six-volume set of scrapbooks titled "History of the Philadelphia Stage, Between the Years 1749 and 1855." The scrapbooks, which include page numbers, indexes, and lists of illustrations, are interleaved with hundreds of images of theaters and portraits of famous actors and artists, as well as with personal correspondence, playbills, and additional clippings on theatrical subject.

Upon Westcott’s death in 1888, historian John Thomas Scharf, who had co-edited with Westcott the History of Philadelphia, 1609-1884 (1884), acquired a large portion of Westcott’s papers and collections. In 1891, Scharf gave them to Johns Hopkins University, as part of a larger donation of archival material mostly relating to the history of the southern states. Westcott’s set of scrapbooks was probably part of that donation, as “Durang’s History of the Philadelphia Stage” was explicitly mentioned by Scharf in the accompanying letter. However, in June 1915, the scrapbooks were sold in Philadelphia by auctioneer S.V. Henkel. At the beginning of the following year, Westcott’s scrapbooks joined the University of Pennsylvania special collections, as a gift of one of the university trustees, businessman Morris Lewis Clothier (1869-1947). Especially after their conversion to microfilm in 1956, Westcott’s six scrapbooks have been widely consulted and referenced by theater, music and cultural historians, not only for their textual context, but also for their extremely rich iconographic and documentary apparatus. A volume VII, microfilmed with the six Durang/Westcott scrapbooks, contained playbills and other material post-dating and not related to Durang - it is not covered here.

Scope and Contents

The Emma Josephine Brazier theater and opera scrapbooks consists of three volumes that date between 1858 and 1918. They contain playbills and advertisements from theaters and opera houses primarily in Philadelphia and New York, as well as cards and photographs of the actors and actresses that performed in them.

"The Stage 1" scrapbook primarily focuses on Philadelphia theater in the mid 19th century. Several theaters are highlighted in this series of newspaper clippings and playbills, including Wheatley and Clark’s Arch Street Theater, Wallack’s Theatre, Laura Keene’s Theater, and Walnut Street Theater. In addition to information on the theaters themselves are several cabinet cards with actors’ photographs and names. These actors include Emma Taylor, John Drew, John Sleeper Clark, Laura Keene, William Wheatley, and Edwin Booth. Researchers should be aware that many of the playbills in this volume date from before Emma Josephine Brazier's birth. However, it is clear by construction that the volume was not compiled until the late 1890s or even the early 1900s.

The second scrapbook, which is untitled, primarily focuses on opera in Philadelphia and New York City, with an emphasis on its relationship with opera in London and Paris and dates from 1884 to 1909. It houses dozens of photographs of opera singers, including Marcella Sembrich, Emil Fischer, Marie Van Zandt, Zelie de Lussan, Emma Nevada, Emma Eames, Victor Maurel, and Nellie Melba. It also contains numerous playbills from the Metropolitan Opera, an opera house in which all of the above listed singers performed. In addition to that commonality, these singers all spent part of their careers in either London or Paris as well as in either Philadelphia or New York City. One letter addressed to Emma Josephine Brazier indicates that she dined with Dr. R. and Emma Nevada Palmer in 1895.

The final scrapbook's spine reads "Dayl's Company," however, it is almost certain that it should read "Daly's Company." This volume, dating from 1883 to 1918, contains information on both opera houses and theaters in Philadelphia and New York City. Of note is the extensive information on Augustin Daly, his funeral, and the dismantling of his house. Daly, a playwright, opened a successful theater in New York City in 1879. Many of the most notable actors and actresses of the time attributed their success to Daly, including John Drew Jr., Maurice Barrymore, and Fanny Davenport. This volume contains many playbills with a penciled notation, "Daly's Company." In addition, researchers will find many photographs and a fair amount of published information on Mary Anderson, Fanny Davenport, John Drew, George Grossman, Marie Jansen, Clara Morris, Cora Potter, Ada Rehan, Vesta Tilley, and Francis Wilson. This volume includes two letters to Emma Josephine Brazier, one from Ada Rehan thanking her for flowers, and one, dated 1918, from an unidentified writer thanking her for an evening.

All three of these volumes contain playbills and advertisements from theaters and opera houses; clippings from newspapers, magazines, and theatrical publications; collectible cards from theaters; and cabinet cards (some of which are hand-colored and a few of which are signed by the actors or actresses). In many cases, information about a specific actor or actress is grouped together, so that a researcher may find photographs, clippings, biographical sketches, and even writings by actors or actresses on several adjacent pages.

Scope and Contents

This scrapbook of playbills consists of a collection of about 750 playbills and programs from Philadelphia and New York City, pasted into or laid in a volume of more than 200 unnumbered pages. The playbills are mostly arranged in chronological order, from 1869 to 1905, although a small number of loose playbills are enclosed as single documents in a pocket created between two pages at the end of the volume. Given the extensive range of theatrical genres documented by the playbills, and the consistency in which this material is presented, the scrapbook works as a useful resource to better understand the evolution of the theatrical scene of two important cultural centers on the East Coast.

The repertoire covered by the playbills includes almost every form of theatrical entertainment—comedies, Shakespeare plays, melodramas, vaudeville shows, tragedies, opera bouffe, operetta, French, Italian, and German opera, dime theaters, amateur performances, minstrel shows, and early cinema. However, the majority of playbills is devoted to comedy, operettas, and opera bouffe, and features some among the most celebrated artists of the time: Lydia Thompson, John Sleeper Clarke, Frank Maguire Mayo, Marie Aimée, Edward Askew Sothern, Joseph Jefferson, Joseph K. Emmett, and Lotta Crabtree. Other prominent personalities mentioned in the playbills include, among others, actors Henry Irving, Louisa Lane Drew, Robert Bruce Mantell, Helena Modjeska, Richard Mansfield, Julia Marlowe, Ellen Terry, Sarah Bernhardt, Clara Morris, Olga Nethersole, Maurice Barrymore, Caroline Louise Dudley (Mrs. Leslie Carter), Ada Rehan, Fanny Janauschek, Edward Loomis Davenport, Fanny Davenport, Tommaso Salvini, Lillie Langtry, and Minnie Maddern Fiske, and singers Christina Nilsson, Italo Campanini, Luigi Ravelli, Adelina Patti, Nellie Melba, Sofia Scalchi, Emma Calvé, Lillian Nordica, Emma Earnes, Marcella Sembrich, Emilio De Marchi, and Johanna Gadski.

The wide number of institutions represented in the volume testifies of the thriving theatrical life of Philadelphia and New York City in those decades. The list of Philadelphia theaters includes the Arch Street Theatre, the Chestnut Street Theatre, the Walnut Street Theatre, Fox’s American Theatre (later known as Central Theatre and Grand Central Variety Theatre), the Seventh Street Theatre, the Academy of Music, the Arch Street Opera House, the Eleventh Street Opera House, the Horticultural Hall, the New National Theatre (later named Mortimer’s Varieties), the New Philadelphia Varieties, the Broad Street Theatre (later known as Lyceum Theatre, Haverly’s Theatre, and McCaull Opera House), the Haydn and Handel Hall, the Alhambra Theatre, the North Broad Street Theatre, the International Comique, the Temple Theatre, B. F. Keith’s Bijou Theatre, the Girard Avenue Theatre, the Garrick Theatre, the Arcade Garden, Dougherty’s Alhambra Palace, the Olympic Theatre, the Grand Sultan Divan, and Enoch’s Varieties. The scrapbooks also contains a smaller number of playbills from theaters in New York City, such as the Metropolitan Opera House, Booth’s Theatre, Wallack’s Theatre, Daly’s Theatre, Union Square Theatre, The Casino, and Belasco Theatre. A few dime museum playbills (especially the New American Museum and Menagerie on the northwest corner of Arch and 9th Street, later also known as Simpson’s Museum and Menagerie, and as Philadelphia Museum) can also be found in the volume, providing precious information on this form of popular entertainment from the late 1800s. Another playbill from 1897 announces an early exhibition of Lumière’s cinematograph at the B. F. Keith’s Bijou Theatre, the first Philadelphia theater to show motion pictures. Finally, the scrapbooks contains programs and playbills of amateur performances organized by the Mask and Wig Club, and by other associations affiliated with the University of Pennsylvania.

Scope and Contents

The collection is divided into two series. Series I includes the set of 15 scrapbooks, and series II consists of the 7 volumes of the title index.

The materials included in the scrapbooks are not arranged following a precise order, which makes the consultation of these volumes potentially challenging. However, a few guiding principles could be identified. In most of the scrapbooks (volumes 1-11 and 13) the materials are grouped by artist or theatrical company, although not in alphabetical or chronological order. Some volumes are especially (although not exclusively) dedicated to specific genres. Volume 1 largely relates to opera; volume 8 focuses on comedy, comic opera, and burlesque; volumes 12 and 13 are dedicated to minstrel shows, circus, magic shows, and burlesque; and volume 15 includes materials on side shows and other exhibits of artifacts and technological curiosities. Volume 14 is exclusively dedicated to the Philadelphia theatrical scene during the Civil War years (1861-1865), and the materials that it contains are organized by performing venue.

Researchers interested in a particular production are encouraged to consult the title index for the scrapbooks, which is located in series II. Because it is organized by title, however, the index is less helpful to locate specific artists, performing venues, articles, or other items in the scrapbook set. For these and other research criteria, researchers should consult the full description of each scrapbook, which can be found at the volume level in the finding aid. Each description include a list of the most prominent artists or theatrical companies featured in the volume, a list of performing venues, and a summary of notable articles, images, programs, playbills, and other materials found in the scrapbook.

Scope and Contents

Durang's history of Philadelphia theater was published in the Sunday Dispatch in three series, each bearing a different title:  The Philadelphia Stage: From 1749 to 1821 (first series, 75 installments published from May 7, 1854 to October 7, 1855);  The Philadelphia Stage From 1749 to 1855 (second series, 56 installments published from June 29, 1856 to August 2, 1857); and  The Philadelphia Stage From the Year 1749 to the Year 1855 (third series, 136 installments published from July 8, 1860 to April 19, 1863). The three series were distributed by Westcott among the six volumes so that each volume contains a similar number of pages. Volume I covers the years from 1749 to 1817-18; volume II from 1817-18 to 1826-27; volume III from 1826-27 to 1831-32; volume IV from 1831-32 to 1841-42; volume V from 1841-42 to 1849-1850; and volume VI from 1849-50 to 1855. All the scrapbooks include page numbers, a handwritten index, and a list of portraits. Westcott inserted portraits and other images, as well as personal correspondence, playbills, and additional clippings relating to Durang's chapters, resulting in a remarkably thorough representation of the history of Philadelphia's theater history. The chronological order in which Durang presents the historical events, combined with the author’s limited use of narrative flashbacks and flash-forwards, makes the indexes useful to locate any mention or image of a given figure or institution active or relevant in a specific period of time. Please see the container list for more detailed information on each volume.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2015 November 16

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  September 7, 2017

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2019 May 7

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2017 August 25

Finding Aid Author

Finding aid prepared by Kelin Baldridge

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Finding Aid Author

Finding aid prepared by Siel Agugliaro

Access Restrictions

Access to this item is subject to staff review. Please contact rbml@pobox.upenn.edu in order to consult with a curator.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Access Restrictions

This collection is open for research use.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Richard Wilson McCredy, March 20, 1917

Source of Acquisition

Sold by Stanislaus Vincent Henkels on May 5, 1920 (acquired through the Morris L. Clothier Fund).

Source of Acquisition

Gift of Morris L. Clothier, January 21, 1916

Processing Information note

Formerly Dewey Folio 812H T342 and 812H T342 Ind.

Processing Information note

Formerly Dewey 812 P54D.

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Related Materials

Related Archival Materials note

At Maryland Historical Society:

J. Thomas Scharf Collection, 1730s-1892, MS 1999, including a portion of Thompson Westcott's papers.

Other similar but less inclusive scrapbooks of Durang's history can be found at the Library Company of Philadelphia, the Historical Society of Pennsylvania, the Harvard Theater Collection, the University of Texas at Austin, the Columbia University Library, and at the Washington State University Library (Robert Cushman Butler Collection).

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Cabinet photographs
  • Clippings (information artifacts)
  • Scrapbooks
Subject(s)
  • Actors
  • Musical theater
  • Opera
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--Pennsylvania--Philadelphia--20th century
  • Theater--United States--19th century
  • Theater--United States--20th century

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Mask and Wig Club.
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • McCredy, Richard Wilson, 1854-1924
Subject(s)
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Opera House (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Clippings
  • Engravings (prints)
  • Portraits
  • Posters
  • Scrapbooks
  • Theater programs
Geographic Name(s)
  • Philadelphia (Pa.)
Subject(s)
  • Actors
  • Actresses
  • Circus--History
  • Freak shows
  • Minstrel shows
  • Opera
  • Performing arts
  • Playbills
  • Theater
  • Theater--United States
  • Theater--United States--History--19th century
  • Vaudeville

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Controlled Access Headings

Corporate Name(s)
  • Arch Street Theatre (Philadelphia, Pa.).
  • Chestnut Street Theatre (Philadelphia, Pa.)
  • Walnut Street Theatre (Philadelphia, Pa.)
Form/Genre(s)
  • Autographs (manuscripts)
  • Correspondence
  • Engravings (prints)
  • Scrapbooks
Geographic Name(s)
  • Philadelphia (Pa.)--History
  • Philadelphia (Pa.)--Social life and customs
Personal Name(s)
  • Clothier, Morris L. (Morris Lewis), 1868-
Subject(s)
  • Actors
  • Actors--Portraits
  • Circus--History
  • Drama--History and criticism
  • Performing arts
  • Theater
  • Theater--Pennsylvania--Philadelphia--19th century
  • Theater--United States--History--19th century

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Collection Inventory

Box

"The Stage 1," theater scrapbook, 1858-1902.

1

Opera scrapbook, 1884-1909.

2

"Dayl's Company," (should probably be "Daly's Company"), theater and opera scrapbook, 1883-1918.

3

Collection Inventory

Volume

Scrapbook of Philadelphia and New York City playbills, 1869-1906.

1

Collection Inventory

Series I. "Theatricals in Philadelphia".

Volume
Volume 1 (generally focusing on opera), 1850-1896.
Scope and Contents note

Volume 1 includes articles, portraits, and programs relating to many celebrated figures from opera and theater. Among them are Jenny Lind (pages 1-8; 10-23); Charles R. Thorne and Richard Wagner (8-10); Louis-Antoine Jullien (24-26); Adelina Patti (27-36; 42-70); Carlotta Patti (38-41; 77-79); Christine Nilsson (75-77; 81-87); Annie Louise Cary (85-87); Minnie Hauk (99-101); Pauline Lucca (102-103); Susan Galton (113-117); Sarah Smith (Mrs. Bartley) (122); Genevieve Ward (127-131); Mary Frances Scott-Siddons (137-147); Emma and Daniel Waller (158-161), Jean Margaret Davenport (168-171); Helena Modjeska (172-175); Fanny Janauschek (178-189); Helen Maud Holt (Mrs. Beerbohm Tree) (191-195); Madge Lessing (197); Merri Osborne (198); Carrie Perkins (198); Adelaide Ristori (199-202); Rosina Vokes, Victoria Vokes, Jessie Vokes, Frederick Vokes, and Fawdon Vokes (212-218); Edward Smith Willard (222); Annie Yeamans (223); Lydia Thompson (227-240); Dion Boucicault and Agnes Robertson (241-271); Maggie Moore and James Cassius Williamson (283); and Marie Aimee (285-287).

Notable items found in the volume include images of the interior and exterior of Castle Garden (New York) in the early 1850s (page 4); a large cartoon featuring the most famous European singers and actors of the 1860s-1870s returning to Europe after their American successes (44-45); an engraving of a gala performance of Gounod’s opera Faust at the Academy of Music (New York) in honor of grand duke Alexei of Russia (1871) (92-93); a poster promoting the beginning of an Italian opera season (probably the Mapleson Opera Company) and including caricatures of Minnie Hauk, Luigi Arditi, Etelka Gerster, Italo Campanini, Allan James Foley (Signor Foli), Sig. Frapolli, and Mlle. Pisani (96-97); images of the interior of Park Theatre (New York) (109); a large image showing the exterior of Union Square Theatre (New York) surrounded by portraits of famous actors, actresses, and performers who appeared on its stage (123-126); sketches depicting scenes from the drama  Forget Me Not (by H. C. Merivale and F. C. Grove), featuring Genevieve Ward in the main role (129, 132); and two playbills from the Ninth and Arch Dime Museum (Philadelphia), starring "Herr Winkelmann, the Great Austrian Giant" (290), and "Elder Joshua Baker and His Big Mormon Family comprising three wives and ten children" (291) (both playbills are dated 1887).

The volume includes playbills from the following Philadelphia theaters: Arch Street Theatre, Chestnut Street Theatre, Academy of Music, North Broad Street Theatre, and the Ninth and Arch Dime Museum. There is also a limited number of playbills from the Park Theatre (New York).

1
Volume 2, 1856-1897.
Scope and Contents note

About a third of the materials included in volume 2 are devoted to members of the Drew family of actors: John Drew (pages 140-147, 190-191, 196-199, 202-207, 209-210, 243); Louisa Lane Drew (107-161, 176-180, 182-186, 223-224, 227); Frank Drew (187-189, 208, 211-214); and Georgie Drew Barrymore (225-226). Other notable figures include John McCullough (1-80); John Sleeper Clarke (81-92); Creston Clarke (93-100); the Vokes family (162-163); Emily Eliza Saunders, Lady Don (164-165); Charlotte Thompson (166-169); Sam Hemple (170-171); Julia Dean (172-173); Catherine (Kate) Reignolds (174-175); Edwin Forrest (181); Eugène Godard (192-195, 216-217); Elizabeth Crocker (D. P. ) Bowers (200); Polly Marshall (218-221); Otis Skinner (237); Sarah Truax (237); Bob Hilliard (238); Amelia Bingham (238); James K. Hackett (239); Mary Mannering (239); Frank Mills (239); Marie Shotwell (239); Edward Hugh Sothern (240); Marion Giroux (240, 243); Maud Adams (243); Ethel Barrymore (243); John Gibbs Gilbert (244-319); and John Collins (322-335).

Notable additional items found in the volume include a small number of images relating to the 1883 dramatic festival in Cincinnati, Ohio (pages 15-17); a picture of the exterior of the Walnut Street Theatre (92); and multiple programs of William Gillette's comedy A Train Wreck, produced at the Arch Street Theatre in 1889 (the programs also include sketches of scenes from the play) (228-235).

The volume contains programs and playbills from many Philadelphia theaters, including Mrs. John Drew's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the Grand Opera House, the Broad Street Theater, and the Walnut Street Theatre.

2
Volume 3, 1857-1888.
Scope and Contents note

Volume 3 is mostly dedicated to comedy, burlesque, circus, and minstrel shows, but it also includes newspaper clippings and pictures on other subjects. Notable figures of the stage featured in the volume include William Warren (pages 1-10); William Davidge (11-15); Antonio Blitz (21); Alice Oates (Mrs. Jas. A. Oates) (30-34); Hugh Reginald Haweis (53); Frank Brower (55-57); Jennie, Irene, and Sophie Worrell (59); Young America (dancer and acrobat) (60-61); John “Jolly” Nash (69); George L. Fox (91-97); John Drew, Louise Lane Drew, and Frank Drew (140-145); Eugène Godard (146-147); George Christy (148-149); Miss E. Kimberly (Shakespearian actress) (150-154); Wesley Barmore (also known as S. E. Harris) (156-161, 170-174); Adelina Patti (176-177); Annie Goodall (182); Robert Craig (183-185); and Alfred S. Phillips (189-191).

The volume also contains a large number of newspaper articles on several topics, such as the “rise and fall” of the New York Crystal Palace (1853-1858) (pages 17-19), the first elephant in the United States (18), the history of burlesque (20), Chinese actors in the United States (22-23), freak shows (24), the art of making figureheads for vessels (27), circus in the Unites States (19-20, 37-38), the selection process for those being hired in dime museums (54), early American plays (175), and big California trees (especially sequoias) (180-181). The scrapbook also includes numerous articles, engravings, and playbills relating with theater fires in Philadelphia, New York, Brooklyn, and London (71-80, 85-88, 115-119, 125-137). Theaters mentioned include the American Theatre, the Central Theatre, the International Comique, and the Temple Theatre (Philadelphia); the Butler's Theatre (New York); the Brooklyn Theatre (Brooklyn); and the Exeter Theatre (London). An article with a list of all theater fires in Philadelphia from 1798 to 1888 can be found on page 76.

Enclosed in the volume are also a set of sketches depicting characters and costumes in the opéra bouffe La Grande-Duchesse de Gérolstein, produced in New York by Batesman's Parisian Opera Troupe (pages 99-100); and additional clippings and engravings (including images of play scenes and backstage) relating to the "theatrical extravaganza"  The White Fawn (with Jarrett and Palmer's combined Viennoise & Parisian Ballet Troupes, including Mlle. Marietta Bonfanti), as produced at Chestnut Street Theatre (circa 1868) (104-110). The scrapbook concludes with a set of engravings depicting scenes from Shakespeare's plays (199-217).

The volume contains playbills from many theaters in Philadelphia, New York, Boston, and other cities, including Col. Wood’s Museum (9th and Arch), the Continental Theatre, the New 11th St. Opera House, the New American Theatre, Fox's American Theatre, John Drew's National Theatre, Welch's National Theatre, and Sanford's Opera House (Philadelphia); Butler's American Theatre (New York); the Boston Museum (Boston); and the Grand Opera House of London, Ontario.

3
Volume 4, 1838-1889.
Scope and Contents note

Volume 4 contains engravings, playbills, and articles relating to celebrated comedians, tragic actors and actresses, singers, and acrobats, including Joseph Jefferson (pages 6-20, 23-29); Laura Keene (21); Edward Loomis Davenport (34-60); John Baldwin Buckstone (38); Fanny Vining Davenport (61-86); Peter Richings and Caroline Richings (88-125); Kate Josephine Bateman and Ellen Bateman (129-131); Charles Dillon (132-135); Charles Walter Couldock (136-142); Maggie Mitchell (144-160); James Edward Murdoch (163-206); Gabriel Ravel and Francois Ravel (208-243); McKean Buchanan (244-245); Marian Russell (Mrs. George Farren) and Fanny Fitz Farren (246-252); James Henry Hackett (253-261, 295); and Charles Blondin (262-294).

Additional items include images of several theaters, including the New Casino (New York) (page 84), the Metropolitan Opera House (New York) (84), the Chestnut Street Theatre (155, 168, 176, 206), and the South Broad Street Theatre (155). Also included in the volume is a rare color playbill of the comic opera Electric Light (words by William B. Hazelton and Edward Spencer, music by William Wallace Furst), staged in 1879 at the Broad Street Theatre (Philadelphia) (120-122).

The volume contains playbills from theaters in Philadelphia, New York, and other cities, including the Walnut Street Theatre, the Broad Street Theatre, the Chestnut Street Theatre, Mrs. John Drew's Arch Street Theatre, Wheatley's Arch Street Theatre, Wheatley and Clarke's Arch Street Theatre, the National Theatre, the American Academy of Music, and the Continental Theatre (Philadelphia); Laura Keene's Theatre, the Olympic Theatre, and the Union Square Theatre (New York); and the Citizens' Theatre (Vicksburg, Mississippi).

4
Volume 5, 1872-1897.
Scope and Contents note

Volume 5 contains playbills, articles, portraits, engravings, and other materials relating to several notable figures of the stage, including Carmen Dauset Moreno (Carmencita) (pages 1-5); Eleanore Carey (6-9); John H. Fitzpatrick (10-12); Max Figman (13); Julia Marlowe (16-36); Robert Taber (21-22, 24-25, 35-36); Benoît-Constant Coquelin (39-40, 42); Jane Hading (40-41); Rosina Vokes (43-48); Victoria Vokes (49-50); Helen Barry (51-54); Thomas W. Keene (55-59); George S. Knight and Sophie Worrell (Mrs. George S. Knight) (61-67); James O’Neill (70-89); Henry Miller (90-91); Blanche Walsch (90-91, 97); Marie Wainwright (90-96); Louis James (92-95); Helen Dauvray (97); William Faversham (99); Millie Maddern (99-102); Marie Jansen (115-122); Theresa Vaughn (123-124); Vernona Jarbeau (124-126); Ada Gray (127-129); Louise Allen (130-131); Emily Rigl (133); William Terriss (143-148); Jessie Milward (143-148); George Richards (149-156); Eugene Canfield (149-156); Tim Murphy (157); Dorothy Sherrod (157); Peggy Logan (159-161); Frank I. Frayne (162-166); Pete F. Baker (168-169); Ray Maskell (171); Frederick Paulding (172); Julia McKay (180); Augustus Cook (181-187); and Joseph Haworth (187).

The volume also contains images of scenes, cards, and other promotional materials relating to the following plays: Victorien Sardou's Dolores (including large portraits of Eleanore Carey and John H. Fitzpatrick) (pages 6-7, 10-12, 14-15); Augustus Thomas's play  A Night's Frolic, starring Halen Barry (55); the play  Baron Rudolph, starring George S. Knight and Sophie Worrell (Mrs. George S. Knight) (64); Charles Fechter's adaptation of Alexandre Dumas's play  Monte-Cristo, starring James O’Neil (Chicago, Grand Opera House, 1883) (80-89); Elliot Barnes’s play  Only a Farmer’s Daughter (135-140); the melodrama  Roger La Honte, produced by H.C. Miner and adapted from the novel of the same name by Jules Mary (145-148); the comedy  A Midnight Bell, written by Charles H. Hoyt and performed at the Chestnut Street Theatre in 1892 (151-152); the "operatic extravaganza"  Two Old Cronies (performed at Mrs. John Drew’s Arch Street Theatre in 1890) (175-179); George R. Sims and Henry Pettitt's drama  Harbor Lights (181-184); George R. Sims's play  Lights of London (188-189); William Irving Paulding's comedy  The Struggle of Life (172); and the comedy  A Breezy Time, by E. B. Fitz and Dan Shelby (199-202).

Included in the volume are also a few rare stickers advertising the play Spider and the Fly, by Robert Fraser and William Gill (also performed at Mrs. John Drew's Arch Street Theatre, circa 1890) (page 131). Other notable items include an image of the exterior of New Park Theatre (Philadelphia) (2); a long article on David Belasco and Franklin Fyles' play  The Girl I Left Behind Me (also performed at the Chestnut Street Theatre, 1894) (104-113); a program of the inaugural performance of the New Standard Theatre (Philadelphia) (1888), including a ticket stub (99); and diagrams of Haverly's Theatre (Philadelphia) (4) and of Chestnut Street Opera House in 1882 (194).

Researchers will also find in the volume several playbills from theaters in Philadelphia (New Park Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Herrmann's Theatre, Broad Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Standard Theatre, Continental Theatre, H. R. Jacobs' Lyceum Theatre, Forepaugh’s Theatre, and Haverly’s Theatre), New York (Star Theatre, Tony Pastor’s 14th Street Theatre), Boston (Windsor Theatre, Globe Theatre, and Boston Museum), Chicago (Grand Opera House), and New Orleans (Academy of Music).

5
Volume 6, 1872-1896.
Scope and Contents note

Volume 6 includes playbills, articles, portraits, engravings, and other materials relating to the following theatrical figures: Mary Anderson (pages 5-42); Emma Abbott (38); Alessandro Salvini (44); Tommaso Salvini (45-46): Ernesto Rossi (47-51); Clara Morris (52-64); Kate Claxton (62, 64-65); Fanny Morant (64-65); Ann Gilbert (Mrs. G. H. Gilbert) (64-65); James Lewis (64-65); Lillie Langtry (66-111); Charles Coghlan (94-95); Katherine Florence (95); Hattie Russell (94-95); Cora Urquhart-Brown Potter (117-138); Lotta Crabtree (139-158); Annie Pixley (159-182); Fay Templeton (178-181); Hortense Rhéa (183-189); Creston Clarke (191-193); Margaret Mather (195-200); Neil Burgess (201-211); Minnie Palmer (213-222); and Lewis Morrison (223-230).

The volume also contains additional materials, including a booklet titled Salvini: A biographical Sketch of the Italian Tragedian together with Critical Judgments of His Acting (New York: George F. Nesbitt & Co., 1873) (45); a large image depicting "The Histrionic and Lyric Firmament" (1882), with portraits of many famous figures of contemporary opera and theater (106-108); "The Langtry Puzzle," a maze revealing Lillie Langtry's name as it is solved (110-111); promotional material for play  M'Liss, Child of the Sierras, starring Annie Pixley (161-164, 172-173); a booklet promoting Hortense Rhéa's farewell tour of season 1886-1887 (185); a booklet titled "Souvenir of Neil Burgess in 'Vim,'" printed by Mrs. John Drew’s Arch Street Theatre and including images of scenes from the play (209); figures depicting scenes from the play  The Great Fair Scene, featuring Neil Burgess (209-211); and a set of cards portraying actor Lewis Morrison performing as Mephistopheles in  Faust (226-227).

The scrapbook includes playbills from a number of theaters in Philadelphia, New York, and other cities: Walnut Street Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Academy of Music, Mrs. John Drew's Arch Street Theatre, Herrmann’s Theatre, Eleventh Street Opera House, Park Theatre, New Park Theatre, and Empire Theatre (Philadelphia); Union Square Theatre, Fifth Avenue Theatre, and Poole's Theatre (New York); Park Theatre (Newark, New Jersey); Opera House (Wilmington, Delaware); Van Wyck's Academy of Music (Norfolk, Virginia), Ford's Grand Opera House (Baltimore, Maryland); Mobile Theatre (Mobile, Alabama); and Prince's Theatre (London).

6
Volume 7, 1838-1888.
Scope and Contents note

About half of the materials included in volume 7 is relating to members of the Wallack stage family: Henry Wallack, James William Wallack, and Lester Wallack (pages 1-107). The rest of the scrapbook materials concerns the following figures: Elizabeth Ponisi Wallis (Madame Ponisi) (5, 65); Josephine Shaw (Mrs. John Hoey) (6-7); Joseph Haworth (63); Stella Boniface Weaver (65); Marie Jansen (71); Digby Bell (71); DeWolf Hopper (71); William Rufus Blake (74); Edwin Booth (74); Herbert Kelcey (92); Kyrle Bellew (92, 105); May Yohé (94-95); Grace Filkins (94-95); Osmond Tearle (103); Herbert Kelcey (108); John Randolph Scott (110-121); John T. Raymond (123-134); Edward Askew Sothern (131); John Edward Owens (135-141); John Howson (144-147); John Edwin McDonough (149-169); and John Brougham (171-194)

Additional materials of interest include a diagram of Walnut Street Theatre (Philadelphia) (60); a rare playbill of the final performance of the Wallack Company at Wallack's Theatre (1888), printed on fabric (73); a program of Wallack’s Theatre enclosed to an autograph note addressed to a "Mr. Siegel" (perhaps the author of the scrapbook set, pages 87-91); a poster of Arthur Wing Pinero's farce The Magistrate, performed at the Walnut Street Theatre and featuring John T. Raymond (132-134); sketches, playbills, and a poster relating to the minstrel show  The Royal Marionettes (162-169); an engraving depicting the "Grand ball in honor of the Japanese, given by the New York City authorities" (1860) (174); and a set of caricatures of famous actors and actresses, including Edwin Forrest, Charlotte Cushman, and Lester Wallack (190-192).

The volume also contains playbills from several theaters in Philadelphia, New York, and other cities, including the Wheatley and Clarke's Arch Street Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, Walch's National Amphitheatre, Broad Street Theatre, McDonough’s Gaieties, and Concert Hall (Philadelphia); Wallack’s Theatre, Abbey's Park Theatre, Madison Square Theatre, Broadway Theatre, Bijou Opera House, Haverly's 5th Avenue Theatre, Olympic Theatre, Brougham's Theatre, and Niblo's Garden (New York); Washington's Theatre (Washington, D. C.); and unidentified theaters in Wilmington, Delaware, and in Vicksburg, Mississippi (the latter possibly being the Citizens Theatre).

7
Volume 8 (generally focusing on comedy, comic opera, and burlesque), 1876-1896.
Scope and Contents note

Volume 8 is mostly devoted to comedy, burlesque, and light opera. Researchers will find articles, playbills, programs, portraits, engravings, and other materials relating to the following theatrical figures: Lillian Russell (pages 5-41); Pauline Hall (42-56, 60-61); Eva Davenport (50, 56); George Holland (50); Rudolph Aronson (51-53); Jennie Weathersby (53); Anna O’Keefe (53, 61); Francis Wilson (53-54); Kitty Cheatham (54); Fanny Rice (54-55); Delia Stacey (55); Isabelle Urquhart (55, 57); James T. Powers (57); Lillian Grubb (57-58); Alfred Klein (59); Francis Wilson (59-61, 63-64); Nettie Lyford (62); John Philip Sousa (63); Adolph Zink (63); Selma Goerner (63); Franz Ebert (63); Francis Wilson (63-64); Edward Everett Rice (65-80, 86-110); Annie Yeamans (72, 74); John A. Mackay (73); Virginia Earl (78); Marion Giroux (78, 80); Richard Golden (81-85); Laura Joyce (84-85); Kitty Blanchard (Mrs. McKee Rankin) (84-85); Henry E. Dixey (84-86) Nathaniel Carl Goodwin (85, 139-159); Amelia Somerville (86); Maurice Curtis (M. B. Curtis) (111-124); Jennie Hughes (129-132); Barney McAuley (133-138); Nathaniel Carl Goodwin (139-159); Loie Fuller (144-145, 150, 160-161); Grace Kimball (158-159); Minnie Dupree (159); Maud Granger (165-171); Atkins Lawrence (169); Lizzie Evans (181-199); Louise Dempsey (202-211); and Adelaide Detchon (213).

The volume also contains additional materials, often but not necessarily related to the figures mentioned above. Such materials include sketches of scenes from the play Billee Taylor, featuring Lilian Russell (8); a waltz from the comic opera  Erminie (arranged by Henry White) (62); programs, playbills, and sketches of scenes and characters from the opera buffa  Evangeline (music by Edward Everett Rice, word by John Cheever Goodwin), performed at the Broad Street Theatre and the Walnut Street Theatre (86-110); sketches of scenes of  Sam’l of Posen; The Commercial Drummer, featuring M. B. Curtis (119-124); engravings depicting scenes of burlesque show  The French Spy (129-132), with images of actress Jennie Hughes; portraits and engravings depicting scenes from the play  Uncle Dan’l, featuring Barney McAuley (134, 137-138); image of living tableau on the "Destruction of Pompeii," staged by Matt Morgan at the New York Opera Comique (circa 1875)(162-163); a large engraving depicting scenes from Jules Verne’s novel  Le Tour de Monde en 80 Jours (172-173); clippings and a playbill relating to the opening of the Kiralfy Theatre in Philadelphia (1876) (174-175); a playbill and images depicting scenes from the show  Ruth; or, the Curse of Rum (Academy of Music, Philadelphia) (177-180); and several large portraits of actress Louise Dempsey en travesti (202-211).

Included in the scrapbook are also several playbills and programs from theaters in Philadelphia and in other cities in the United States, such as the Chestnut Street Opera House, the Chestnut Street Theatre, the Broad Street Theatre, the Park Theatre, the Walnut Street Theatre, Kiralfy's Alhambra Palace, the Academy of Music, and Mrs. John Drew's Arch Street Theatre (Philadelphia); the Boston Museum, the Boston Theatre, and the Globe Theatre (Boston); The Casino; Tony Pastor's 14th St. Theatre, Haverly's Theatre, the Standard Theatre, and the Bijou Opera House (New York); the Pickwick Theatre (St. Louis, Missouri); and the Grand Opera House (Cincinnati, Ohio).

8
Volume 9, 1880-1896.
Scope and Contents note

The materials included in volume 9 relate to a relatively limited number of celebrated figures of the stage: Sarah Bernhardt (1-71); Jane Hading (73-153); Benoît-Constant Coquelin (74-181); Henry Irving (170-180, 186-219); Rachel Félix (Mademoiselle Rachel) (172, 175); Joseph Levinsky (174); Frédérick Lemaître (173, 175); François Joseph Talma (175); Ellen Terry (188-198, 203-221); Robert Drouet (222); and Oscar Wilde (224-243).

The volume contains several notable items, including several caricatures and portraits of Sarah Bernhardt (1-71); an essay on "Acting and Actors," by Benoît-Constant Coquelin (77); an article on "The Comèdie Française" by Theodore Child (originally published in Harper’s New Monthly Magazine, possibly vol. 74, 1886-1887) (88); articles relating to a debate between Henry Irving and Benoît-Constant Coquelin over acting techniques (176-181); copy of a booklet titled "The Lyceum 'Faust,'" by Joseph Hatton (reprinted from the  London Art Journal, circa 1890) (190); and caricatures of and articles about Oscar Wilde (especially concerning his affiliation with the Aesthetic Movement) (224-243).

Researchers can find in the volume playbills and programs from the following theaters: Chestnut Street Theatre, Chestnut Street Opera House, and Sanford's Opera House (Philadelphia); Booth's Theatre, Star Theatre, and Palmer's Theatre (New York); and the Royal Lyceum Theatre (London).

9
Volume 10, 1851-1893.
Scope and Contents note

Volume 10 is mostly devoted to comedy, and includes playbills, programs, portraits, and other materials relating to the following theatrical figures: Gus Williams (pages 1-13); Samuel Piercy (14-15), Louise Pomeroy (16-17); Owen Fawcett (18), Marie Gordon (19), Asger Hamerik (20), Effie Ellster (21-23), George Reed Cromwell (24), Joseph Murphy (25, 35-41); Little Corinne (26-34); Fred Leslie (45, 47-48, 50); Nellie Farren (46, 48-50); Letty Lind (50); Tony Pastor (55-68); Maggie Cline (58, 60); Bessie Bonehill (59, 63); Mary Ann Ford (Talma) (72); Eugen Sandow (73-80); Charles A. Gardner (81-92); William Hoey (93-96); Charles E. Evans (93-96); Cheridah Simpson (93-96); Adèle Levey, May Levey, and Carlotta Levey (94-96); Minnie French (94-96); Jesse Merrilees (94-96); Adele Ritchie (96); Anna Held (96); Frederick Hallen (97-98); Joseph Hart (97-98); Roland Reed (99-103, 109-110); Isadore Rush (99, 103, 108-109); Annie Lewis (102); Tommy Russell (116-117, 122); Marie Prescott (119-121); Rezin Davis Shepherd (R. D. MacLean) (119-121); Elsie Leslie (122); William J. Scanlan (123-133); Chauncey Olcott (134); Rose Coghlan (137-146); Charles Coghlan (145-146); Sadie Martinot (142, 145-146); John Frederick Zimmerman, Jr. (143-146); McKee Rankin and Kitty Blanchard (Mrs. McKee Rankin) (159-168); George Hanlon (173); Edward Hanlon (173); William Hanlon (173-174); Genevieve Ward (175); W. H. Vernon (175); Albert M. Palmer (177); Wilton Lackaye (180-182); and Blanche Walsh (182-183).

The volume also contains other material relating to the figures mentioned above. Among this material is drawings of scenes from the play One of the Finest, featuring Gus Williams (3-9, 13); a program presenting three comedies featuring Joseph Murphy (  Shaun Rhue,  Kerry Gow, and  The Donagh), and including the tunes of the songs "My Dora Darling," "A Handful of Earth," and "Core O' My Heart" (41); playbills and a large scene photograph of the play  Zitka, by William Carleton (51-54); a poster advertising the play  Pink Dominos (71); a set of engravings advertising the melodramas  Sweet Singer,  Fatherland, and  The Man Hunt, featuring Charles A. Gardner (81-92); two large engravings depicting the façade of the Boston Museum (106-107); engravings and playbills relating to the play  Little Roy Fauntleroy, performed at the Walnut Street Theatre and the Boston Museum and starring respectively Tommy Russell and Olive Homans in the Lord's role (111-118, with additional photo of Elsie Leslie as Little Lord at p. 122); playbill and a program (including sketches of scenes) of the comedy-drama  Mavourneen, written by George H. Jessop and produced by Augustus Pitou at the Walnut Street Theatre (134-135); series of engravings depicting scenes from the play  The Strangler of Paris (147-157); series of playbills and programs relating to performances of Salbury's Troubadours (169-170); a playbill of play  Kayanka, produced by the Miller Brothers' Company and performed at the National Theatre (Philadelphia) in 1890 (171) and a playbill of a performance of Dockstader's Minstrels at the Chestnut Street Theatre (1887) (179).

Playbills from the following theaters are included in the volume: Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut Street Theatre, National Theatre, Chestnut Street Opera House, South Broad Street Theatre, Central Theatre, Gilmore's Auditorium, Central Theatre, and Broad Street Theatre (Philadelphia); People's Theatre, Tony Pastor's Theatre, Empire Theatre, Poole's Theatre, and Star Theatre (New York); Harris Bijou Theater (Washington, District of Columbia); Van Wyck's Academy of Music (Norfolk, Virginia); Boston Museum (Boston); Olympic Theatre (St. Louis, Missouri); and the Royal Opera House (Toronto).

10
Volume 11, 1857-1897.
Scope and Contents note

Volume 11 includes playbills, portraits, programs, and other materials relating to the following theatrical figures: Frank Maguire Mayo (pages 17-18); Oliver Doud Byron (21-24); Francis C. Bangs (32-34); Dominick Murray (35-42); Roland Reed (38); Isabella Nickinson (Mrs. Charles Walcot) (38-39); Charles Walcot (39); G. Swaine Buckley (51-52); Louis Aldrich (57-67); Grace Huntington (64-65); Marina Paoli (65); George C. Boniface (74-76, 86-87); Tony Denier (80-81); Myra Goodwin (89-90); Simon M. Landis (103-104); John B. Schoeffel (referred to in the scrapbook as "the husband of Agnes Booth") (112); John M. Burke (118); Edith Mason (118-119); Steele MacKaye (128, 130); Effie Ellsler (129-130); Marie Geistinger (133-134); Sara Jewett (136-138); Jacques Offenbach (140-142); Louis-Jacques Mandé Daguerre (141); Joseph Hofmann (142); Hortense Pierse (144-145); Marshall Pinckney Wilder (146); Mary H. Fiske (158, 160-162, 166); Harrison Grey Fiske (159); Frederick Paulding (165-166); ); E. H. Van Veghten (168-173); Florence Bindley (174-176); Milton Nobles (189, 197); Robert Hilliard (192-194); Georgia Cayvan (193-194); John Drew (196, 202, 204-205); Dollie Nobles (197); Ada Rehan (198-206); Charles Richman (198); Creston Clarke (199); Catherine Lewis (199); Augustin Daly (199-200, 202, 204); James Lewis (202-206); Frederic Bond (202, 204-205); Ann Gilbert (Mrs. G. H. Gilbert) (202-204); and Isabel Irving (204-206).

The scrapbook also contains additional materials, often not related to the stage figures listed above. Among such materials are a lithograph and a program of the play Naiad Queen, performed at the Arch Street Theatre of Philadelphia in 1857 and 1860 (pages 5-7); a ticket stub from a "Sunday Night Concert" at the dining and boxing venue Harry Hills (New York, 1881) (9); photographs of Modoc leaders Captain Jack and Shonchin (11), and a playbill advertising a "lecture" by Redpaths's Modoc Lecture Company (Horticultural Hall, Philadelphia, 1876) (12-13); a poster advertising a lacrosse tournament in Philadelphia (14-15); images of Oliver Doud Byron performing in the play  Across the Continent, with images of scenes from the play (22-24); a large lithograph promoting the play  Poverty Flat: Or, California in -49, performed at the Walnut Street Theatre in 1872 (26-27); a playbill of a performance of  Romeo and Juliet at the Walnut Street Theatre (1873), featuring six different actresses in the role of Juliet (Effie Johns, Helen Houghton, Lillie Hinton, Maude Stuart, Marie Muhlanbring, and Miss Imogene) (29); programs, cards, and other promotional material relating to the play  The Silver King (written by Henry A. Jones and Henry Herman (31); newspaper clippings on different subjects, including articles on French dancer Marie Taglioni, on a vast collection of object of arts left by Mrs. Morgan (a New York widower), and on a reunion of the Pennypacker family in Schwenksville, Pennsylvania (43-46); playbill and sketches depicting a scene from the play  Henry Dunbar, by Tom Taylor (47-49); a playbill and a newspaper clipping on a "Nautch Girls" show produced by Col. T. E. Snelbaker Majestic Consolidated Company and performed in Philadelphia in 1881 (54-56); playbills and souvenir cards relating to several productions of comedy  Our Strategists (69-73); program and playbill of comedy  Our Candidate, performed at the Standard Theatre (New York) in 1880 (77); a rare poster printed on fabric and advertising comedy  Humpty Dumpty, with Tony Denier (80-81); card and playbills relating to the play  Two Orphans, performed at the Chestnut Street Theatre (1875) and the Chestnut Street Opera House (1880) (85-87); playbills and sketches from the comedy  Humpty Dumpty's Travels (Stewart's Novelty Theatre, Philadelphia, 1876) (92-100); playbills of productions of the Union Square Theatre Company performed at the Park Theatre (Philadelphia) in 1879 (105-111); playbills of Park Theatre productions, including  Robinson Crusoe,  Fun on the Bristol,  The Princess Toto,  Our School-Days; Or, Boys and Girls Again (performed by the Liliputian Opera Company), and the romantic opera  Valerie, or the Treasured Tokens (first performed at the National Theatre, Washington, District of Columbia) (113-117); poster advertising a dog show at Colonel Wood's Museum (Philadelphia), with an additional image of the Museum (formerly known as Simpson’s Museum) in 1876 (120-121); playbill of  Krieg im Frieden, a play in German produced at the Philadelphia Germania Theatre in 1888 (122); playbill of "grand popular concert" by the Maurice Grau French Opera Company at The Casino (New York, 1884) (132); articles relating to Fourth of July celebrations in Woodstock, Connecticut, and in Germantown (Philadelphia), circa 1883 (139); programs and other materials relating to burlesque  King Cole II by Woolson Morse (Herrmann’s Theatre, Philadelphia, 1889) (150-153); program of comedy  Peck's Bad Boy and His Pa, after George Wilbur Puck's dime novel with the same name (154); playbill promoting a show of "Scenes and Battles of the American Revolution" (performed by Adam Forepaugh Shows at Broad and Dauphin Streets, Philadelphia, 1893) (156); series of articles from "The Actresses' Corner" and "The Giddy Gusher" (the latter were probably penned by Mary H. Fiske and published on  The New York Dramatic Mirror) (160-162); playbill advertising the "Crucifixion of Christ" and other "biblical groups in wax" saved from the Temple Theatre fire (Philadelphia, 1886) and put on exhibit at Temple Hall, Philadelphia (170); poster advertising comedy  The Book Agent, including sketches of scenes from the play (181-183); card advertising comedy  Is Marriage a Failure?, performed by vaudeville company Guy Hill's World of Novelties (184); a copy of chapter III from  Folly's Queens; or Women Whose Loves Have Ruled the World, published by Richard Kyle Fox (186-188); a poster advertising the "oriental pageant"  Lalla Rookh’s Departure From Delhi, produced by Adam Forepaugh (1881) (190); clippings on the theme "Acting and Advertising," including a short satirical play titled "The Drama of the Present, with Advertising Attachment," and a lithograph showing an actor and an actress performing amidst theatre props used as advertisement (191); a playbill of  A Wall Street Bandit, by Archibald Clavering Gunther (Standard Theatre, New York, 1886) (195); and clippings including stage pictures of a production of William Shakespeare's  Twelfth Night, performed at Daly's Theatre (New York) and starring Ada Rehan (200).

Researchers will find in the volume playbills and programs from the following theaters: Wheatley and Clarke's Arch Street Theatre, Jacobs and Hickey's Continental Theatre, Mrs. John Drew's Arch Street Theatre, Walnut St. Theatre, Horticultural Hall, National Theatre, Forepaugh's Theatre, Chestnut Street Theatre, Chestnut Street Opera House, Stewart's Novelty Theatre, Park Theatre, Grand Central Variety Theatre, Enoch’s Variety, Grand Opera House, Colonel Wood's Museum, Germania Theatre, Herrmann's Theatre, Continental Theatre, Temple Theatre, Temple Hall, Arch Street Opera House, and Grand Central Theatre (Philadelphia); The Casino, H. R. Jacobs' Lyceum Theatre, and Standard Theatre (New York); Tremont Theatre, and Hollis Street Theatre (Boston); Van Wyck's Academy of Music (Norfolk, Virginia); and Crawford's Opera House (Topeka, Kansas).

11
Volume 12 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1846-1879.
Scope and Contents note

Volume 12 mostly consists of playbills and programs relating to minstrel, burlesque, and circus shows performed in Philadelphia. The materials included in the scrapbook tend to be organized by genre and performing place. However, several performers and artists could be singled out, including Antonio Blitz (pages 4-7, 26-27); Samuel Sharpe (S. M. Sharpley) and Sharpley's Minstrels (8-10); D. B. St. Jean (magician) (20-21); William Lingard (22-25); Louisa Pyne (37); Sigismund Thalberg (38-39); Agnes Sutherland (59-60); J. B. Roberts (64-65); Elizabeth Crocker (D. P. ) Bowers (68-69); Julia Turnbull (70-77); Julia Mortimer (82-83, 93-95); Julia Price (82-87, 90-95); Freddy Carlo (84-85, 88-89); William Carlo (84-85, 88-89); A. M. Hernandez (86-89); Aaron Jones (90-95); Matt Rusk (90-95); Julien Martinetti (96-99); P. Martinetti (96-97); Mme. P. Martinetti (96-99) Ignacio Martinetti (97-99); John Edwin McDonough (100-118); Cordelia Howard (102-107); Joseph Fannin (114-117); Dan Rice (124-135, 214-217, 222-235, 228-239, 244-253); Alfred Stewart (136-137); Charles Foster (138-143, 146-151, 153-175); Julia Daly (176-181); G. C. Charles (176-183); and Frank Brower (192-193).

The volume also includes additional materials not necessarily related to the artists mentioned above, a list of which is provided below: playbills of magic shows (pages 1-7); playbills of minstrel shows, including Sharpley's Minstrels, Birch and Sharpley's Minstrels, Fox's Casino Minstrels, George Christy's Minstrels, Simmons and Slocum's Minstrels, Huntley's Minstrels, Tunison and Co.'s Minstrels (8-19, 46-55, 66-67); a playbill advertising a show of Father Kemp's Old Folks Concert Company (National Hall, Philadelphia, 1857) (28-29); playbill of concerts at Parkinson's Illuminated Garden (Philadelphia, 1857) (30-33); a playbill advertising a "cafe theatre" concert at Thomeuf's Varieties (Philadelphia, 1857) (34); playbills of concerts and performances at the Musical Fund Hall (1855-1858) (35-43); playbill advertising concerts and other theater shows at Kossuth Exchange (Philadelphia, circa 1857-1861) (44-45); a playbill of the Wyoming Minstrels (performing on the U.S.S. Wyoming in 1860) (46-47); newspaper clippings describing a fight involving Samuel Sharpley, Thomas Sharpley, Edwin Kelly, and Francis Leon (the fight occurred in 1867 in New York City, outside the Fifth Street Opera House, and ended with the murder of Thomas Sharpley by Kelly’s hand) (52-54); playbills of shows at Sanford's Opera House (54, 56-62); a program for the celebration of the Ebenezer Sunday School Temperance Society (probably at the Ebenezer Methodist Episcopal Church, Philadelphia, December 25, 1846) (63); a set of programs and playbills of performances at the McDonough's Gaieties and McDonough's Olympic (1859-1860) (80-118); and programs and playbills of circus and burlesque performances at the National Circus (later Welch's National Circus, later Welch's National Theatre), featuring Charles Foster and his company (including Julia M. Cooke, W. H. Bailey, H. A. Langdon, Mrs. J. H. Reed, and others) (138-175), the Star Company (including C. M. Lewis, Miss A. M. Roberts, W. J. Rainnie, and others) (182-189), Marsh's Juvenile Comedians (194-211), and Dan Rice and his company (including Ella Zoyara, Joe Pentland, Andre "Herr" Cline, Frank Drew, and others) (212-253).

Also in the scrapbook, researchers will find multiple programs and playbills documenting the activities of the following Philadelphia theaters: Concert Hall, Commonwealth Hall, Assembly Buildings, Southwark Opera House, Sharpley's Opera House (2nd and Vine Street), Birch and Sharpley's Opera House (6th and Chestnut Streets), Musical Fund Hall, Fox's Casino, Masonic Hall, Eleventh Street Opera House, The Melodeon, National Hall, Thomeuf's Varieties, Kossuth Exchange Concert Salon, Davis' Theatre and Music Hall, Arch Street Opera House, Sanford's Opera House, New South Street Theatre, Seventh Street Opera House, City Museum, Frank Rivers' Melodeon, McDonough's Gaieties, McDonough's Olympic, National Circus, and Welch's National Circus.

12
Volume 13 (generally focusing on minstrel shows, circus, magic shows, and burlesque), 1854-1895.
Scope and Contents note

Volume 13 is mostly dedicated to minstrel shows, but some material relating to magic shows, burlesque, and vaudeville is also included in the scrapbook. Researchers will find playbills, portraits, newspaper clippings, and other materials relating to the following artists and companies: R. Bishop Buckley (pages 5-7); George Christy and Wood's Minstrels (16-17); Morris Bros., Pell and Trowbridge's Minstrels (20-21, 74-77, 152-155, 184-193, 235-236); Buckley's Serenaders (22, 80, 241-250, 264-276); George Christy's Minstrels (24-28, 112-117, 251-252); Wood's Minstrels (32-33, 146-147); Thomas Dartmouth Rice (T. D. Rice) (34-36); Carncross and Dixey's Minstrels (41-45); Simmons and Slocum's Minstrels (46, 49); Sweatnam's Minstrels (47); Kelly and Leon's Minstrels (54-57, 59-66); John Wyman (72-73, 255-256); Huntley's Minstrels (78-79, 196-219); John H. Collins (82-83); Hooley and Campbell's Minstrels (128-129); Bryant's Minstrels (130-135); San Francisco Minstrels (136-139); John Pond Ordway and Ordway's Aeolians (140-145); Shorey, Carle, Duprez and Green's Opera Troupe (148-149), Rumsey and Newcomb's Original Campbell Minstrels (150-151, 237-240); T. G. Riggs (160-161); Sam Ryan (162-165); Birch and Sharpley's Minstrels (168-182); Duprez and Benedict's Minstrels (223-226, 283-284); the Peak Family (Lancashire Bell Ringers) (233-234); Doctor Valentine (253-254); Carter's Zouave Troupe (257-258); Tunison and Co.'s Minstrels (277-278); Hooley's Minstrels (279-282); and Alfred Burnett (285-289).

The volume also contains materials on minstrelsy and on other topics, including an article on "Negro minstrelsy" in England, with mention of the Christy Minstrels (1880) (pages 9-10): a piano score of the song "Such a Gitting Up Stairs" (as sung by minstrel singer Bob Farrell) (11-12); an image depicting the interior of Henry Wood's New Theatre, at 561-563 Broadway, New York (15); a set of clippings on the history of minstrel shows, with interview with Hughey Dougherty (18-19); an article on "The Origins of Christy’s Minstrels" (23-24); additional clippings on minstrelsy, with an interview with Samuel S. Sanford and another article on the Christy's Minstrels (37-39); diagrams of the Eleven Street Opera House and of the Arch Street Opera House (58); a collection of playbills of minstrel shows at Sanford Opera House (1858-1860) (66-111); a newspaper clipping on the history of the Old City Assembly Rooms (444 Broadway, New York) (159); a collection of playbills of shows at the American Theatre (444 Broadway, New York) (159-165); a playbill and a poster relating to shows at the New Olympic Theatre (Philadelphia) (1873) (227-230); a collection of playbills of shows at Concert Hall (Chestnut Street, Philadelphia) (231-258); playbills of magic and minstrel shows at Franklin Hall (Philadelphia) (1854) (259-262); and playbills of shows at Cartee’s Lyceum and at the Melodeon (Philadelphia) (1854-1857) (263-268).

The scrapbook includes playbills and programs from the following theaters in Philadelphia, New York, and Boston: Arch Street Theatre, New Eleventh Street Opera House, Carncross Opera House, New Chestnut Street Theatre, Assembly Building, Wheatley's Arch Street Theatre, Concert Hall, New Olympic Theatre, Franklin Hall, Cartee's Lyceum, The Melodeon, Jayne’s New Hall, New Philadelphia Opera House, Hooley's Opera House, Duprez and Benedict's Opera House (Philadelphia); Buckley's New Hall, American Theatre and Old City Assembly Rooms (444 Broadway), Niblo's Saloon, Art-Union Concert Hall (497 Broadway), Mechanics' Hall, and San Francisco Minstrels (585 Broadway) (New York); Buckleys' New Minstrel Hall and Aquarial Gardens (Boston).

13
Volume 14 (generally focusing on the Philadelphia theatrical scene during the Civil War years), 1861-1895.
Scope and Contents note

Volume 14 only contains materials from and about Philadelphia theaters in the years of the American Civil War, as also indicated by a handwritten annotation on the first page of the scrapbook ("Philadelphia Places of Amusement during the Rebellion 1861-1865"). Notable theater companies and figures of the stage mentioned in the volume include Edwin Adams (pages 5-6, 119-121, 136-143, 150-151); the circus and theater company of the Continental Theatre, including Henry Moreste, John Foster, Emma Pastor, James Pilgrim, Harry Chapman, Julia Drake (Mrs. Harry Chapman), Caroline Chapman, H. A. Langdon, Kate Archer, W. H. Bailey, J. B. Studley, and others (7-60); Tony Pastor (45-46, 49-52); Margaret Ann Rice (former wife of Dan Rice, performing in the 1860s as Mrs. Charles Warner) (59-60); Joe Pentland (59-60); John Henry "Professor" Anderson (71-75); Benjamin Young (77-78); Anna Cowell (79-80); Edward Askew Sothern (83-84); W. A. Chapman (91-92); Emma Waller (94-95, 108-113); James Edward Murdoch (96-107); Joey Gougenheim (114-117); the French Dramatic Troupe (from the Theatre Francais in New York) (122-125); Hooley and Campbell’s Minstrels (126-131); John Sleeper Clarke (132-135, 154-155, 158-161); Alexina Fischer Baker (132-135); Vining Bowers (136-143); Charles Walter Couldock (144-149); Dan Setchell (152-153); James William Wallack (156); Edward Loomis Davenport (156); Buckley's Serenaders (163); Tunison and Co.'s Minstrels (168-169); Elise De Courcy (182-183); Frank Brower (184-185); Birch and Sharpley's Minstrels (184-187); John Edwin McDonough (188-191); Annie Lonsdale (198-199); Harry Pearson (200-205); and Charley White (206-207).

The playbills in the volume are mostly organized by performing venue. The volume includes a collection of playbills of shows and circus performances at the Continental Theatre (later renamed American Theatre, and, from 1865, Fox’s American Variety Theatre) (1861-1865) (pages 7-62), including a program from the evening before the fire of September 14, 1861, and annotated by a "G. N. Galloway" (28); a large number of playbills from the Walnut Street Theatre (71-161); and smaller groups of playbills from the Sanford's Opera House (170-175), Irving Hall (New York) (176-179), and McDonough's Olympic Theatre (later known as Olympic Music Hall) (180-207). The volume also contains the program of a show at Long's Variety and Museum (Philadelphia) (1864) (162) and additional playbills of Lincoln Memorial Tableaux at National Hall (164-165) and at Concert Hall (Philadelphia) (166-167).

In this scrapbook, researchers will find materials relating to the following Philadelphia theaters: Mrs. John Drew's Arch Street Theatre, Continental Theatre, Wheatley's Continental Theatre, New American Theatre, Grover's New Chestnut Street Theatre, Chestnut Street Theatre, Walnut Street Theatre, Long's Variety and Museum, Sanford's Opera House, Seventh Street Opera House, National Hall, Concert Hall, McDonough's Olympic Theatre, and Olympic Music Hall. A limited number of playbills from Irving Hall (New York) are also enclosed.

14
Volume 15 (generally focusing on side shows and other exhibits of artifacts and technological curiosities), 1849-1897.
Scope and Contents note

Volume 15 is almost exclusively dedicated to side shows, minstrel shows, and magic shows, but it also includes a limited amount of materials relating to opera and instrumental music, university and school concerts, and the exhibits of automata, early moving pictures, and other artifacts. The playbills, programs, portraits, flyers, and other materials contained in the volume are loosely organized by genre and performing venue. However, a few notable figures and performing companies can be singled out, including "Herr Haag" (page 2); "Colonel Goshen" (3); Charles Nestel (Commodore Foote) (3); Eliza Nestel (Queenie Foote) (3); the "Rossow Midgets" (3); Jack and Annie O’Brien (3); Sam Cowell (6-9); S. K. Murdoch (14); Clara Louise Kellogg (18); Julia Pastrana (19-21); Chang Bunker and Eng Bunker (the "Siamese Twins") (22-23); Millie and Christine McCoy (the "Carolina Twins") (30-31, 35); Doctor Valentine (34-35); Dollie Dutton (43); Anna Madah Hyers and Emma Louise Hyers (43); Elena D’Angri (48); Teresa Parodi (49-50); Louis-Antoine Jullien (51-52); Pete Lane (53-54); Rumsey and Newcomb's Original Campbell Minstrels (55-60); Shorey, Carle, Duprez and Green's Opera Troupe (61-62); George Christy's Minstrels (63-66); John Henry "Professor" Anderson (67-70); Charles Dean (73); Philip Prentice Anderson (Rubini) (73); Georgia Minstrels (76); Julia Mortimer (79-80); Robert Heller (William Henry Palmer) (87-88); and Joseph Hartz (89-90).

The volume also contains a large number of additional items, including pictures of sideshow artists (mostly excerpted from Marmaduke Humphrey, "The Pranks of Nature," Godey's Magazine 132, no. 788, February 1896) (pages 2-3, 38, 88, 92); a playbill and a flyer advertising the Cardiff Giant on exhibit in Philadelphia (4, 43); a playbill advertising hot air balloon ascensions at Lemon Hill (Philadelphia) (1857) (5); a playbill of shows at the Musical Fund Hall (Philadelphia) (1849) (10-11); printed images of Musical Fund Hall (12); a collection of playbills advertising concerts and "Prof. Cromwell’s Art Course of Entertainments" at Concert Hall (Philadelphia) (1855-1872) (13-18); an article from the  Philadelphia Medical Times about medical examination of "Siamese twins" Chang Bunker and Eng Bunker at the College of Physicians (1874) (22); a playbill of shows at Sanderson's Exhibition Rooms (Philadelphia) (1859-1860) (24-27); playbills advertising shows at the Assembly Rooms (Philadelphia), including exhibition of Joseph Faber's Talking Machine (1871), and of conjoined twins Millie and Christine McCoy (1866) (28-31); a playbill advertising a "grand colored baby show" at the Concert Hall (1855) (32-33); playbills of freak shows at the Museum of Living Wonders and at Barnum's Museum (Philadelphia) (36-37, 39, 41-42); a playbill advertising a show at Adams' California Menagerie (1860) (40); flyer advertising the bomb that William King Thomas (Alexander Keith Jr.) used to cause an attack in Bremerhaven (Germany) in 1875 (the bomb was put on exhibit at 915 Market Street, Philadelphia, circa 1876) (40); a collection of playbills relating to shows and events at Concert Hall, including living tableaux, concerts, minstrel shows, and magic shows (circa 1857-1860) (44-70); promotional materials relating to exhibitions, concerts, and magic shows at Assembly Buildings (circa 1867-1870) (71-73); a program of a concert of the Yale Glee Club at the Musical Fund Hall (1873) (73); a program of Mrs. Jarley's exhibit waxworks and tableaux vivants at Horticultural Hall (Philadelphia) (1872) (74); a program of the Sunday School concert of the Church of the Evangelist at Musical Fund Hall (1856) (75); a program of the concert of the students of the Hampton Normal and Agricultural Institute (now Hampton University) at Horticultural Hall (1873) (76); playbills of shows at Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, and Sanford's Opera House (1861) (78-86); a collection of newspaper clippings on several topic, including obituaries of Robert Heller (stage name of William Henry Palmer), a review of a performance of the tableaux Paradise Lost by John Milton at the Lutherbaum English Lutheran Church (Philadelphia), and an article on the closure and imminent demolition of Concert Hall (87-88); a playbill advertising exhibition of the mechanical Steam Man invented by Zadoc Dederick and Isaac Grass in Philadelphia, with attached photograph (91-92); and programs of early silent movie exhibits at Bijou Theatre (Philadelphia) and Electrical Casino (Asbury Park, New Jersey) (93).

The scrapbook includes playbills and programs from the following Philadelphia theaters and performing venues: Concert Hall, Philadelphia Museum (7th and Chestnut Street), New Philadelphia Museum (833 Market Street), Grand Polytechnic and Anatomical Museum of Science and Art, Sanderson's Exhibition Rooms, Assembly Buildings, Museum of living Wonders (Old Melodeon), Barnum’s Museum, Horticultural Hall, Musical Fund Hall, Alhambra Music Hall, Kossuth Exchange, Camac Woods Theatre, Sanford's Opera House, and Bijou Theatre. There are also a limited number of playbills from performing venues located in other cities, including Adam's California Menagerie (New York), and the Electrical Casino (Asbury Park, New Jersey).

15

Series II. Index to "Theatricals in Philadelphia" (produced by the WPA), 1936.

Volume

Volume 1, A to B, 1936.

16

Volume 2, C to E, 1936.

17

Volume 3, F to I, 1936.

18

Volume 4, J to L, 1936.

19

Volume 5, M to O, 1936.

20

Volume 6, P to S, 1936.

21

Volume 7, T to Z, 1936.

22

Collection Inventory

Volume
"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 1. 1749 to 1818. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume I includes the first 55 chapters (I to LV) of the first series, published in the Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to May 20, 1855 (Vol. VIII, No. 3), for a total of 118 pages of text. Because Charles Durang was born in 1794, he could not rely on personal recollections for the description of most of the events that took place in this period. Possibly also for this reason, this scrapbook is the one that covers the widest chronological span, from 1749 to 1818, with only 61 pages of text devoted to the years up to 1800.

The portion of Durang’s history included in the scrapbook mentions the first instances of theatrical performances in Philadelphia (including those of the Hallam Company – later renamed American Company), and discusses the vicissitudes of the theaters that were opened in the city during those decades, including the Society Hill Theatre, the Southwark Theatre, the Northern Liberty Theatre, the Chestnut Street Theatre, the Apollo Street Theatre, and the Olympic Theatre (later renamed Walnut Street Theatre). Theatrical seasons are described in full detail by Durang, especially after the mid 1790s, following the opening of the Chestnut Street Theatre. A whole chapter (XXV) provides a history of the circus in Philadelphia, and the next chapters also include references to theatrical performances, concerts, and other forms of live entertainment that took place in circuses and outdoor locations, including Ricketts Circus and the Vauxhall Gardens. References to the contemporary theatrical life in England and in other American cities (New York City, Boston, Baltimore, and Annapolis, among others) can also be found in the text.

The volume contains engravings and drawings of theatrical institutions such as the Southwark Theatre, the Chestnut Street Theatre (destroyed by fire in 1820), the Ricketts Amphitheatre, the Theatre Royal, Covent Garden (London), the Richmond Theatre (Richmond, VA), and the Old Federal Street Theatre (Boston). The scrapbook is also embellished with a conspicuous number of portraits of actresses, actors, and other theatrical figures, such as William Shakespeare, Daniel Terry, Anna Marcella Lydall , Sarah Siddons, Charles Macklin, Henry Mossop, Spranger Barry, Thomas Sheridan, Thomas King, James William Dodd, Elizabeth Singer Rowe, John Bannister, William Parsons, John Moody, Susannah Maria Cibber, Ann Street, Robert Bensley, Isabella Mattocks, Charles Macklin, John Philip Kemble, Robert Bensley, Jane Powell, John Henderson, Elizabeth Yates, Thomas Holcroft, Charlotte Melmoth, Elizabeth Barry, Frances Abbington, Mary Ann Wrighten, Maria Theresa Bland, Colley Cibber, William Dimond, Fanny Fleming, Thomas Hull, Thomas Cooke, Maria Duncan, John Bernard, Samuel Phelps, and Edmund Kean, among others. A few autographs letters, some written by Charles Durang himself, are also included. Finally, a small collection of playbills, mostly from the 1820s, was inserted in the final part of the scrapbook. Most notably, the collection features the playbill of the play Douglas; or, The Noble Shepherd (performed at the Walnut Street Theatre, Philadelphia, on November 27th, 1820), which saw the first appearance on stage of actor Edwin Forrest.

A list of the portraits included in the volume is located at the beginning of the scrapbook, while a general index is placed at the end. The source and date of acquisition of the entire set (“g[ift] Morris L. Clothier, 1-21-[19]16”) are penciled on the first page of the list of portraits.

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"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 2. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume II contains 118 pages of text, including the remaining 20 chapters of the first series (LVI to LXXV) and the first 33 chapters (I to XXXIII) of the second series. The chapters of the first series were published in the Sunday Dispatch between May 27, 1855 (Vol. VIII, No. 4) and October 7, 1855 (Vol. VIII, No. 23), while those belonging to the second series appeared between June 29, 1856 (Vol. IX, No. 9) and February 8, 1857 (Vol. IX, No. 41).

In the final part of the first series, Durang comments upon the last years of the old Chestnut Street Theatre, up to the fire which caused its closure in 1820. The first appearances on stage of Edwin Forrest, as well as the Philadelphia debut of British actor Edmund Kean, are discussed at length. In this portion of the series Durang also describes the new Chestnut Street Theatre (opened in 1822), and provides a long list of all the American plays produced in Philadelphia before 1822.

In the first chapters of the second series, Durang discusses the activities of the new Chestnut Street Theatre, as well as that of other institutions such as the Walnut Street Theatre, the Prune Street Theatre, the Tivoli Garden Theatre, and the Olympic Circus. As in the final part of the preceding series, every season is described in full detail. Additional anecdotes and biographical descriptions of famous actors, such as Junius Brutus Booth, Charles William Macready, and Charles Mathews, are also included.

The collection of portraits and engravings added by Westcott to the volume features a wide number of figures quoted by Durang in the text and variously connected with the Philadelphia theatrical scene – among them, Louisa Cranstoun Nisbett, Joseph George Holman, Robert William Elliston, Anna Maria Crouch, Charles Incledon, Ann Catley, Sarah Bartley, Wolfgang Amadeus Mozart, James William Wallack, Susanna Centlivre, Elizabeth Inchbald, John Philip Kemble, Alexander Rae, William West, Edwin Forrest, Edmund Kean, Sarah Siddons, Joseph Jefferson, Maria Gibbs, Dorothea Jordan, Ann Street Barry, Elizabeth Billington, Junius Brutus Booth, Charlotte Goodall, Thomas Potter Cooke, Julia Dean, Elizabeth Hopkins, John Fawcett, Maria Theresa Bland, John Henderson, Elizabeth Hartley, François-Joseph Talma, Mademoiselle Mars, John Bannister, Charles Mathews, Elizabeth Farren, William Farren, Eliza Logan Wood, Anna Thillon, Sarah Egerton, Maria Foote, Mary Ann Davenport, Sam Cowell, Maria Theresa Kemble, Fanny Maria Kelly, and Charles William Macready. The volume also includes several engravings of American and European theaters, opera houses, and other performance venues, such as the Prune Street Theatre, the new Chestnut Street Theatre, and the New Adelphi Theatre of Philadelphia, the Holliday Street Theatre (Baltimore), the Bowery Theatre (New York), the Tremont Theatre (Boston), the Theatre Royal, Haymarket, the Surrey Theatre, Sadler’s Wells Theatre, and Astley’s Royal Amphitheatre (London), the Queen’s Theatre and Opera House (Edinburgh), the Théâtre de la Porte Saint-Martin and the Théâtre de l’Opéra-Comique (Paris), the Schauspielhaus (Cologne). Autographs include a handwritten payment receipt, penned by actor William Warren, and a signed portrait of actor Robert Dempster.

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"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 3. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume III includes the last 23 chapters (XXXIV to LVI) of the second series, and the first 22 installments (I to XXII) of the third and last series, for a total of 118 pages of text. The chapters belonging to the second series were published in the Dispatch between February 15, 1857 (Vol. IX, No. 42) and August 2, 1857 (Vol. X, No. 14), while those included in the third series came out between July 8, 1860 (Vol. XIII, No. 2) and December 2, 1860 (Vol. XIII, No. 32).

In this portion of his history, Durang chronicles the seasons of Philadelphia theaters from 1826-27 to 1831-32. The author presents a cast list for the most important performances, and in some cases even quotes contemporary playbills and reviews. Special events include the Philadelphia debut of actor Charles Kean and the performances of Metamora; or, The Last of the Wampanoags, a tremendously successful play produced at the Arch Street Theatre at the beginning of 1830, and featuring Edwin Forrest in the main part. Opera singer Maria Malibran, who toured the United States from 1825 to 1827 and performed in Philadelphia during these same years, is the focus of a whole chapter discussing her life and career (series III, chapter XIII). A new theater, the Arch Street Theatre, was inaugurated in 1828 and soon became one of the most important institutions in the city along with the Chestnut Street Theatre and the Walnut Street Theatre.

A great deal of information is given on the managerial aspects regulating the life of these artistic centers, and on the actors, singers, writers, and other figures who were involved during those years. Many such figures appear in the rich iconographic portion of the volume, which includes portraits of Emma Albertazzi, Geneviève-Aimé-Zoë Prévost, Marie Taglioni, Antonio Guerra, Sarah Egerton, Charles William Macready, Marie Caroline Félix-Miolan, John Liston, Laure Cinti-Damoreau, William Dowton, James Henry Hackett, William Henry West Betty, Margaret Somerville, Madame Céleste, Charles Edward Horn, William Rufus Blake, Henriette Sontag, Giovanna Baccelli, Joseph Grimaldi, Armand Vestris, Lucia Elizabeth Vestris, John Philip Kemble, Giuditta Pasta, Rachel Félix, Margaret Martyr, John Vanbrugh, Edwin Forrest, Luigia Caldarini, Sam Cowell, Dorothea Jordan, Rebecca Davison, Caius Gabriel Cibber, John Pritt Harley, Carlotta Grisi, Stephen Kemble, Sarah Siddons, Thomas Sheridan, James Edward Murdoch, Elizabeth Rainforth, Charles William Macready, Calvin Edson, Thomas Apthorpe Cooper, Jane Stephens, Elizabeth Sharp, Edwin Booth, Charles Kean, Charlotte Cushman, Herr Driesbach, David Garrick, Harriet Waylett, Frances Abington, General Tom Thumb, Samuel Phelps, John Quick, Thomas Hilson, Samuel Reddish, Maria Malibran, Elena D’Angri, John Reeve, George Washington Dixon, Oliver Goldsmith, Julia Fortescue, and many others. The volume also contains engravings of the three main Philadelphia theaters (Chestnut Street Theatre, Walnut Street Theatre, and Arch Street Theatre) and of other international venues such as the Théâtre de l’Académie Royale de Musique (Salle Le Peletier) of Paris, and the Teatro Principal of Havana, Cuba. An autograph letter by Herr Driesbach, the famous lion tamer, is attached to the volume, along with an autographed portrait of actor George Handel Hill.

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"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 4. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume IV contains the next 40 chapters (XXIII to LXII) of the third and last series of Durang’s history, consisting of 120 pages of text. Those chapters appeared in the Dispatch between December 9, 1860 (Vol. XIII, No. 33) and September 15, 1861(Vol. XIV, No. 21).

The clippings contained in the volume offer a detailed account of the management and the most notable shows performed in the Philadelphia theaters – especially the Chestnut Street Theatre, the Walnut Street Theatre, and the Arch Street Theatre – between the 1830-1831 and 1840-1841 seasons. Salient events include the rivalry between Edwin Forrest, based at the Arch Street Theater, and the members of the Kemble family, based at the Chestnut Street Theatre, in the early 1830s; the arrival in Philadelphia of the Montresor opera troupe and the first production of Italian operas at the Chestnut Street Theatre in 1833; and a detailed report of the successes and failures of several troupes and individual actors and singers who performed in Philadelphia during the decade.

For most of those artists, Westcott provided at least one portrait as part of the rich collection of drawings and engravings inserted in the volume. Notable figures include, among others, William Francis Brough, Fanny Tacchinardi Persiani, Pauline Garcia (Viardot), Henry Betty, Gabriel Ravel, Sarah Siddons, Charles Kemble, Fanny Kemble, Anne Maria Tree, William Smith, Lester Wallack, Henry Placide, Thomas Placide, William Warren, Charles Kean, Elizabeth Brunton (Yates), Walter Scott, Sarah Ward, John Sinclair, Tate Wilkinson, Anaïde Castellan Giampietro, James Edward Murdoch, Edwin Booth, Charles William Macready, Andrew Ducrow, James S. Wallace, Henry Erskine Johnston, Joseph Wood, Mary Giovanna Cawse, Mary Ann Paton, Tyrone Power, Ralph Sherwin, William Evans Burton, John Howard Payne, Madame Celeste, Samuel Phelps, John Reeve, Thomas D. Rice, Tryphosa Jane Wallis, Edwin Forrest, Mary Anne Goward, Robert Keeley, Margarita Graddon, Victoria Balfe, Francis Courtney Wemyss, Robert Hamilton, Robert Campbell Maywood, Charlotte Elizabeth Vanderhoff, John M. Vandenhoff, David Garrick, Robert William Elliston, Lucia Elizabeth Vestris, Elizabeth Kemble, Samuel S. Sanford, Edward Fitzwilliam, Fanny Fitzwilliam, Fanny Elssler, Mary Anne Stirling, Charlotte Cushman, Susan Cushman, John Braham, Peter Richings, Ira Aldridge, Giuseppe De Begnis, and Giuseppina Ronzi De Begnis. Included in the volume are also a few pictures of Philadelphia and other national and international theaters, such as the Arch Street Theatre, the Academy of Music, the Northern Exchange Theatre, the Coates Street Theatre, and Sanford’s Opera House (Philadelphia), the State Street Theatre (Columbus, OH), Niblo’s Opera House (New York City), the St. Charles Theatre and the American Theatre and Arcade Baths (New Orleans), East London Theatre (formerly Royalty Theatre, London), and the Paris Opera House (Palais Garnier, Paris). The scrapbook also includes a playbill of the show "Venitian [sic] Carnival, or Punch in Good Humour," arranged by French vaudeville artist Gabriel Ravel, and an original letter by playwright, publisher, and theater manager William Evans Burton.

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"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 5. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume V includes the following 36 chapters (LXIII to XCVIII) of Charles Durang’s history, for a total of 119 pages of text. These chapters were originally published in the Dispatch between September 22, 1861 (Vol. XIV, No. 22) and June 8, 1862 (Vol. XV, No. 7).

In this part of his work, Durang offers an extensive description of the management and life of the most important Philadelphia theaters between the 1841-1842 and 1849-1850 seasons. The author comments upon the vicissitudes of several actors, impresarios and artists active in the city in those years, most notably William Evans Burton, Charlotte Cushman, Edward Loomis Davenport, Charles William Macready, and Edwin Forrest. In particular, the escalating rivalry between Macready and Forrest is documented by numerous chapters, from its early stages in 1844 – when both actors were cast in the same role in the same play by two different theaters, the Arch Street and the Walnut Street – to further altercation in England in 1846 and the final lawsuit announced by Macready in November 1848. A copy of the announcement in which the British actor proclaims his intention to sue Forrest is included in the volume. These chapters also discuss the growing importance of Italian opera in the city, which was visited by travelling companies such as the Havana Opera Company (1847) and the Max Maretzek Italian Opera Company (1848).

Westcott offers numerous portraits of all these figures, along with a considerable number of engravings depicting numerous artists and impresarios such as Fanny Cerrito, James Rogers, Susan Cushman, William Evans Burton, Elizabeth Yates, Edward Fitzwilliam, Fanny Fitzwilliam, James William Wallack, George H. Hill, Charles Kemble, John Brougham, Lucia Elizabeth Vestris, Isabella Glyn, William Wheatley, Henry Woodward, William Dowton, William Creswick, William Maybury Fleming, Joshua Silsbee, Phineas Taylor Barnum, Richard Brinsley Sheridan, Maria Gibbs, John Liston, Harriet Waylett, George Jamieson, Henri Vieuxtemps, George H. Barrett, Gustavus Vaughan Brooke, Charles Bass, Mary Ann Povey, Anna Cora Mowatt, Charles Kean, Lucille Western, John Sinclair, Eliza Logan, Ira Aldridge, Laura Keene, Mary Taylor, Arabella Goddard, Julia Dean, Henry Compton, George John Bennett, Fanny Cooper, Hanry Marston, Robert Keeley, Barney Williams, Ann Bishop, Federico Beneventano, John Edward Owens, Junius Brutus Booth, Edwin Booth, Amalia Patti, Carlotta Patti, Elena D’Angri, Maurice Strakosch, Caroline Richings, Julia Dean, Hector Berlioz, Alexina F. Baker, James Hudson, Charles Walter Couldock, McKean Buchanan, Francis Marion Brower, Teresa Rolla, and many others. Images of Philadelphia theaters such as the Arch Street Theatre and the Walnut Street Theatre are also present, as well as another engraving depicting the Continental Theatre fire of 1861— a famous accident in which seven performers lost their lives. The scrapbooks also contains a few manuscript documents, including a note by actor Edward Loomis Davenport, and two additional letters from actors and managers Francis Courtney Wemyss and Louisa Lane Drew.

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"History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 6. Arranged and illustrated by Thompson Westcott, 1868", 1868.
Scope and Contents note

Volume VI includes the final 38 chapters (XCIX to CXXXVI) of the third series of Durang’s history, for a total of 110 pages of text. These installments appeared in the Dispatch between June 15, 1862 (Vol. XV, No. 8) and April 19, 1863 (Vol. XV, No. 52).

Here Durang discusses the theatrical seasons of several city institutions, such as the Chestnut Street Theatre, the Walnut Street Theatre, the Arch Street Theatre, the Musical Fund Hall, and Welch’s National Circus, Theatre, and Hippodrome, up to the closure of the second Chestnut Street Theatre in 1855. Prominent events include the Italian opera season at the Chestnut Street Theatre, under the management of impresario Max Maretzek, and the parallel programming of Jenny Lind’s performances at the Musical Fund Hall. A biographical sketch of Jenny Lind, complete with a description of her career in the United States, is provided. The volume also includes other clippings concerning the closing of the second Chestnut Street Theatre in 1855, the opening of the third Chestnut Street Theatre in 1862, and the renovation of the Arch Street Theatre in 1861, after Louisa Lane Drew assumed the management of the theater. A brief article by L. G. Thomas, originally published in the Sunday Dispatch and titled "Reminiscences of Private Dramatic Associations," is also found in the final part of the scrapbook.

A wide number of artists, impresarios, and theatrical figures are portrayed in the images added by Westcott to the volume. Among them are Philip Rohr, William Warren, Harriet Waylett, Joseph Jefferson, Ephraim Horn, Richard Brinsley Sheridan, William F. Wallet, Giovanni Battista Belletti, Marie Taglioni, George John Bennett, Virginia Howard, John Brougham, John Henderson, Junius Brutus Booth, Edwin Booth, John Philip Kemble, Phineas Taylor Barnum, Jenny Lind, Teresa Parodi, John Gilbert, Mary Amelia Warner, James Edward Murdoch, Laura Keene, William Henry Don, John Drew, Gustavus Vaughan Brooke, Lola Montez, Julia Bennett Barrow, Edwin Forrest, Laura Addison, Jean Margaret Davenport (Mrs. Lander), Peter Richings, Max Maretzek, Mary Anne Stirling, Lizzie Weston, Louis Moreau Gottschalk, George E. Locke, Lester Wallack, Gabriel Ravel, Henriette Sontag, Cora De Wilhorst, Charles William Macready, Thomas Potter Cooke, Isabella Glyn, William Dowton, John Edward Owens, Kate Josephine Bateman, William Farren, John Liston, Louisa Pyne, Giulia Grisi, McKean Buchanan, Adeliaide Phillipps, Susanna Centlivre, Charlotte Thompson, Edwin Pearce Christy, Charles Walter Couldock, Marietta Alboni, and George Frederick Cooke. A list of “maiden and married names of actresses” is located at the beginning of the volume, and offers researchers a useful research tool as they reconstruct the career of famous female performers. The scrapbook also contains images of numerous theaters and cultural institutions, both in Philadelphia and in other U.S. cities, such as the Philadelphia Academy of Music, the Walnut Street Theatre, the City Museum of Callowhill Street, and Welch's National Circus (at the National Theatre) in Philadelphia, Astor Place Opera House, Castle Garden Theatre, Pike's Opera House, Booth’s New Theatre, and Brougham’s Theatre in New York City, and the New National Theatre and the People’s Theatre in Cincinnati, OH. Finally, the volume comprises a small number of autograph letters, including one by theater manager John Sefton, and another one by actor and theater manager John Drew.

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