fanny kemble actress (5 risultati)

One page, 11 x 14cms, trimmed but apparently complete, residue of tipping in a reverse (four corner glue dabs), good condition. Text: "My dear Sir - I intend leaving London by the 9-55 Express train on Monday - I think it reaches Brighton about half past eleven[.]".

Manby's entry in the Oxford DNB states that 'His interests ranged beyond the engineering world, and for many years he was involved in the management of the Adelphi and Haymarket theatres.' Manuscript copy letter. 2pp, 4to. Thirty-three lines of neat text. Addressed to 'Frederick Hodgson Esqre. M.P.' Ends: 'I am Dear Sir / Your very faithfully / Charles Manby'.On first leaf of bifolium. Reverse of second leaf docketted: 'Copy C Manby to F Hodgson Esqr / Scarbro - Novr 8. 1841' (the letter does not contain any reference to Scarborough). In fair condition, creased and lightly aged. Folded once. He has had Hodgson's 'Kind Letter to Yates' in his possession for five days, and has 'gone through all the proposed arrangement [sic] with Yates [i.e. the actor Frederick Henry Yates (1797-1842), manager of the Adelphi] and he clearly understand [sic] it'. He discusses the arrangement with regard to the paying of insurance, asking Hodgson to 'point out to me the mode which will give you the least trouble' and asking if a 'formal instrument expressive of your kind intentions' is necessary. He continues (with regard to the Adelphi and Haymarket theatres), 'You will be pleased to hear that the Houses are vey good in spite of the bad weather, and that the "Maid of Honour" [by Massinger, performing at the Adelphi with Yates and his wife in the leading roles] appears to increase in its power of attraction'. The letter ends: 'We are all fervently hoping that Miss Kemble may prove as attractive as the Press asserts, because the overflow (when there is any) comes to the Adelphi, but there is reason to fear that, she is not so really great as we hoped - Her Voice is not naturally a fine one, but is more the result of very good tuition -'.

laid down.

1st printing. Single leaf of evidently a bifolium, 13-1/4" x 3/4". "2" printed at top of leaf, with the entertainment beginning with "Scene 16. A Rural Farm, near London", and continues through Scene 21, then announcing "Hop o' my Thumb and His Brothers! or, Harlequin and the Ogre." 5+ forthcoming performances then listed, including Catherine of Cleves. With a synopsis of the scenery for "Hop o' my thumb and his brothers", including The local cosmorama, painted by the Messrs. Grieves, representing the opening of the new London bridge on 1 August, 1831. Here offered a scarce playbill from Theatre Royal, Covent Garden [1831] which advertises "The Local Cosmorama," a popular form of entertainment in the 19th century that often showcased panoramic views of various cities, landscapes, and historical events. Charles Dickens, renowned for his keen observations of society and his interest in entertainment and visual arts, was likely familiar with cosmoramas and may have attended such exhibitions himself. The playbill features the grand opening of the New London Bridge as it appeared on the 31st of August 1831. Herr Cline, featured in Scene 20, is also known as Herr Klein or Herr Cline of Vienna, was a popular performer renowned for his feats on the elastic cord during the early 19th century. His agility, strength, and skill in performing acrobatic stunts and tricks while suspended on a stretched elastic cord earned him widespread acclaim. "Hop o' my Thumb and his Brothers; or, Harlequin and the Ogre" is referenced in "David Copperfield." In Dickens' narrative, David Copperfield, the protagonist, is depicted as a child actor who performs in a production of "Hop o' my Thumb" at the Theatre Royal. Fanny Kemble, here in an early role, played Catherine of Cleves. In 1829, Kemble debuted on the stage as Juliet in Romeo and Juliet at Covent Garden Theatre. Her attractive personality immediately made her a great audience favourite. In 1832, Kemble accompanied her father on a theatrical tour of the United States, so this 1831 appearance one of her latter performances in the UK, not returning to England until the mid-1840s, after a failed marriage with the prominent Philadelphian, Pierce Mease Butler, which, in 1849, ended in divorce. Edge rash, with chipping to lower edge [3 lines of text affected]. Faint horizontal fold-line. Evidently the second page of a 2 page playbill [inferred from an OCLC listing, and the 2 printed at top of the leaf]. A VG copy of this fragile survivor. Now housed in a clear archival mylar protector.

8vo. ¾ p. on bifolium. To a journalist who had solicited a piece for his newspaper: "Sir - I shall be happy to receive you at any time that it may suit your convenience to call at no 9 Trinita dei Monti where I lodge. I regret that it is not in my power to offer any contribution to your paper []". - Fanny Kemble had in 1834 married the American planter and slave owner Pierce Mease Butler (1806-67). When Butler inherited his father's property, the family temporarily moved to the Georgia plantations in the winter of 1838/39. Kemble was deeply affected by the inhumane treatment of the slaves and brought her observations and criticism to paper. A publication was prevented by her husband, who threatened Kemble with taking custody of their daughters. Kemble left Butler in 1846, and the marriage was divorced in 1849. Only in 1863, after the start of the American Civil War and when her daughters had reached their majority, did Fanny Kemble publish her "Journal of a Residence on a Georgian Plantation in 1838-1839", which aligned her with the abolitionist cause. - Annotation "Mrs. Butler" at the top of the page, probably by the recipient. The lower part of the leaf with the signature has been cut out. Notes by a former collector.