A collection of seven copper theater passes or tickets for London theatres dating between 1762 and approximately 1820, all blank on the obverse sides except for the token for the Box Prince's Side (BPS 1796) which is decorated with a chain of small linked circles around the perimeter. The 1788 token for a box at Covent Garden is the only token with a hole in the center
Description:
Title devised by cataloger. and For further information, consult library staff.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
267 autograph letters, signed; 209 autograph postcards, signed; 5 autograph postcards; 3 typed letters, signed; 22 telegrams; and 17 calling cards with notes, from Arthur Schnitzler to Richard Beer-Hofmann, 1891 May 23-1928 September 24 and undated. Most letters are accompanied by envelopes. Many letters include postscripts, by Olga Schnitzler, Felix Salten, Paul Goldmann, Karl Kraus, Hugo von Hofmannsthal, Leopold Kramer, Jakob Wassermann, or Otto Brahm, With an obituary of Schnitzler's father, Johann Schnitzler, 1893 May 3; autograph letter, signed, from Die Zeit to Schnitzler, 1899 August 14; a financial statement, 1923 December 14; copy, typescript, of a letter from the Bundestheater-Kommissar to Raoul Auernheimer, possibly Schnitzler's lawyer, 1924 January 3; typed letter, carbon, from Schnitzler to the Bundestheater-Kommissar, 1924 January 21; list of corrections by Schnitzler for Beer-Hofmann's Schlaflied für Mirjam, circa 1898, autograph manuscript; autograph letter, signed, from Schnitzler to "Verehrtester Herr Doktor," possibly Leopold Sonnemann, director of the Frankfurter Zeitung, 1894 December 7, Vienna; autograph note, signed, from Schnitzler to an unidentified woman, 1902 January 1, Vienna, 15 autograph letters, signed; 9 autograph postcards, signed; and 2 calling cards with notes, from Olga Schnitzler to Paula Beer-Hofmann or Richard Beer-Hofmann, [1907]-1914 May 24. Most letters are accompanied by envelopes. Some postcards include postscripts by Arthur Schnitzler, and Box 1: letters from Arthur Schnitzler, 1891-1896; Box 2: letters from Arthur Schnitzler, 1896-1900; Box 3: letters from Arthur Schnitzler, 1900-1908; Box 4: letters from Arthur Schnitzler, 1909-1926 and undated, letters from Olga Schnitzler
Description:
Arthur Schnitzler (1862-1931), Austrian author and dramatist., Olga Gussmann Schnitzler (1882-1970), singer, married to Arthur Schnitzler, 1903-1921., Richard Beer-Hofmann (1866-1945), Austrian dramatist and poet., Available on microfilm, In German., and Accompanied by typed transcripts, some with supplied dates.
Manuscript, in primarily one hand, of a collection of several hundred documents related to the office of the Master of the Revels, including printed matter, engravings, and handwritten notes. The volume contains historical information pertaining to the office, including engravings of the armorial insignia of the office of master of revels; a printed history of the word "revel"; and salaries of the Master, his assistants, and numerous musicians. The manuscript also contains numerous notes, biographies, and other documents related to individual Masters, including an original letter the Lord High Chancellor and Lord Chamberlain of H. M. Household, 1662 by Henry Herbert, Master of the Revels to Charles I and Charles II; a list of names in his hand; a genealogy of the family of George Buck, Master of the Revels to James I; newspaper clippings about Thomas Killigrew; an engraved bookplate which is signed "Charles Killigrew his Book"; and a colored engraving of Sir Henry Guildford, Lord Chamberlain to King Henry VIII. Pasted into the front of the manuscript is the printed auction catalogue from Sotheby's, containing an entry for this volume
Description:
Partial finding aid available., In English., Title from p. 7., Binding: half morocco over marbled boards. On spine: Historical collections relative to the office of the Master of Revels. J. H. Burn., and Marbled endpapers.
Subject (Geographic):
Great Britain., Great Britain, and England
Subject (Name):
Buck, George, Sir, 1560-1622., Burn, Jacob Henry, -1869., Herbert, Henry, Sir, 1595-1673., Killigrew, Charles, 1655-1724 or 1725., and Killigrew, Thomas, 1612-1683.
Subject (Topic):
English drama, History, Royal households, Theater, Women authors, and Officials and employees
This manuscript, a unique specimen of dramatic composition by Queen Elizabeth, represents the only surviving piece of stage property from the Elizabethan theater. It was passed from player to player during the great Theobalds Entertainment of 1591, and it is the only surviving original manuscript of any part of that Entertainment., Elizabeth was entertained by her Lord High Treasurer, Lord Burghley, at his Hertfordshire house, Theobalds, between 10 and 20 May 1591. In a contemporary manuscript text of the entertainments at Theobalds (British Library, Egerton MS. 2623), there is preserved a fanciful speech by a "Hermit," delivered to the Queen on Burghley's behalf, in which, pleading for royal permission to retire from public life, he requests her to restore to him his "cell," namely, Theobalds. The present document was prepared as an answer to Burghley's request and grants the "Hermit," her "woorthely belooved Coounceloour," the right to retire to his "cave," his "own houus," with "full & pacifik possession of all & every part thearof," and to be henceforth free from public duties if he so wishes., The text of the "charter" was printed in John Strype's Annals of the Reformation (1709), where it is described as having been "drawn up by the queen herself in a facetious style, to cheer the said treasurer." A highly characteristic example of Elizabethan wit, it has the form of a formal charter, certified and signed by Lord Chancellor Hatton, who is known to have taken part in a number of court entertainments. It bears the Great Seal and was no doubt read out and presented to Burghley, or to an actor representing him as a hermit. Instead of giving a simple answer to Burghley's request to retire from public life, Elizabeth evidently chose to enter into the spirit of the Hermit's request and frame her reply accordingly having this charter drawn up by one of her chancery scribes and passed by Hatton under the Great Seal, as part of a prearranged performance for the amusement of the court on the first day of her visit to Theobalds., The entertainment at Theobalds are described by E.K. Chambers in The Elizabethan Stage (II:247-248), Sir Walter Greg in the Review of English Studies (I[1924]:452-454), John Payne Collier in his History of English Dramatic Poetry (I:276), Alexander Dyce in The Works of George Peele (III:161-169), and John Nichols in his account of The Progress and Public Processions of Queen Elizabeth (III:74)., and Purchased 1985.
Holograph diary of a stay in Brussels and France after the Battle of Waterloo. Many of the author's observations reflect the recent battle; she reports, for example, on the celebrations in Brussels when its inhabitants receive news of Napoleon's surrender; provides news about various acquaintances in the military as well as other military news after the Battle of Waterloo; and describes Paris as "a military camp for all the nations of Europe." She also makes numerous comparisons between French and English culture, as when she views a play at the Theatre Francaise and comments on the lighting techniques in French playhouses as compared to those in England. Elsewhere, she views as statue of King Henri IV and comments on his reign; vists the porcelain manufactory at Sevres; and describes acquaintances she makes in Brussels. The diary concludes with her road journey from Boulogne to Calais, where she meets several friends, and then to Dover, At the end of the volume is a table of inns in which the author stayed, and The work is the second volume of a set; see Osborn d186 for the first volume in the set. The author's diary was published in 1817
Description:
In English., Title from title page., Autograph on flyleaf: Jane Waldie., Written inside front cover: No. 118., and Binding: quarter red morocco.
Subject (Geographic):
France, Great Britain, and Belgium
Subject (Name):
Eaton, Charlotte Ann (Waldie), 1788-1859., Henry IV, King of France, 1553-1610., Napoleon I, Emperor of the French, 1769-1821., Waldie, John, 1781-1862., and Watts, Jane (Waldie), 1793-1826.
Subject (Topic):
Theater, Travelers' writings, English, Waterloo, Battle of, Waterloo, Belgium, 1815, Women authors, Description and travel, and Social life and customs
Manuscript, in a single hand, of a daily journal recording the events of Waldie's daily life. He goes on daily excursions with his family and describes the landscapes and estates they visit; mentions teas, dinners, dances, and singing with acquaintances; plays card games; records and reviews books he has read, including Aaron Hill's Zara and Maria Edgeworth's Belinda; and frequents the theater. In describing the plays he attends, he provides the names of the actors, including those of Sarah Siddons and Priscilla Kemble, and reviews their performances
Description:
John Waldie (1781-1862) was the administrator of Hendersyde Park at Kelso, Roxburghshire, Scotland. While a student at the University of Edinburgh, he began to keep daily journals recording his extensive travels and his observations of theaters, museums, and concert halls. An accomplished tenor, Waldie performed at private entertainments with Angelica Catalani, Michael Kelly, and John Braham; met with the composer Gioachino Rossini; and socialized with such well-known actors as John Philip Kemble and Sarah Siddons. Waldie also served on the committee of the Theatre Royal, Newcastle, as one of its proprietors. He was the brother of Jane (Waldie) Watts (1793-1826) and Charlotte (Waldie) Eaton (1788-1859), whose diaries are cataloged as Osborn d182, Osborn d186, and Osborn d187., In English., Pasted at beginning of manuscript: floor plans "made by J. Waldie in 1802 for Hendersyde Park House the uppermost nearly as adopted in 1803.", Pasted inside front cover: bookplate of John Waldie, Hendersyde., Title from title page., and Binding: half calf over marbled boards.
Subject (Geographic):
Great Britain and Scotland
Subject (Name):
Eaton, Charlotte Ann (Waldie), 1788-1859., Edgeworth, Maria, 1767-1849., Hill, Aaron, 1685-1750., Kemble, Priscilla, 1756-1845., Siddons, Sarah, 1755-1831., Waldie, John, 1781-1862., Watts, Jane (Waldie), 1793-1826., and Waldie family.
Subject (Topic):
Theater, Social life and customs, and Description and travel
Manuscript, in a single hand, of a letter from Mason to Horace Walpole, in which Mason writes that he has read Walpole's tragedic play, The Mysterious Mother, several times and has provided a sketch of alterations he believes necessary to improve the denouement. The list of alterations accompanies the letter, which consist of dialogic emendations at specific page and line numbers. At the end of the letter, a note signed by Walpole states his reasons against adopting Mason's suggestions, "because they woud totally have destroyed my Object."
Description:
William Mason (1724-1797) was a poet, editor, and gardener. In 1747, his poem "Musaeus, a Monody on the Death of Mr. Pope" was published to acclaim and quickly went through several editions. In 1775, he published the Poems of Mr Gray, a friend who was a great influence on his own work. Ten years later, William Pitt nominated him for the post of Poet Laureate, but he turned it down. Among Mason's other works are the historical tragedies Elfrida (1752) and Caractacus (1759), as well as a long poem on gardening, The English Garden (1772-1782). Indeed, Mason was an influential garden designer, designing several flower gardens for his friends and patrons, especially for Richard Hurd, Lord Jersey, and Lord Harcourt. In 1797 he fell and injured his leg while entering his carriage, and died several days later at his rectory in Aston., In English., Typed transcript available in object file., and For further information, consult library staff.
Subject (Geographic):
Great Britain
Subject (Name):
Mason, William, 1725-1797. and Walpole, Horace, 1717-1797.
Subject (Topic):
English drama (Tragedy), Family, Incest, Religion, and Theater