ACT6.
Karoly, Royal Leamington Spa. Cabinet Card of a fellow all dressed up in medieval garb with his bow and horn. Probably an actor. VG. $20


ACT7.
Window & Grove, London. Miss Ellen Terry (1847-1928) as “Margaret.” Cabinet Card. VG. $55


ACT20.
H. Rocher & Co, Chicago. Cabinet Card of Mrs. Lilly Langtry. G+ $85


ACT30.
Gurney, NY. Mrs. Scott Siddons. CDV. VG. $45


ACT31.
No ID. Lizzie Harrold. CDV. VG. $25


ACT32.
Charles D. Fredricks & Co., NY. John Lester Wallack (1820-1888), actor and manager. Managed the second Wallack’s Theater in NY and opened the third. Trimmed. CDV. VG. $85


ACT35.
Photographic negative from Brady’s National Portrait Gallery, published by E&HT Anthony, NY. Edwin Forrest (1806-1872). Well-known American actor. Corners clipped. CDV. VG. $85


ACT37.
J. Gurney & Son, NY. Mrs. John Wood, born Matilda Charlotte Vining (1831-1915); English actress and theatre manager. CDV trimmed at bottom. VG. $75


ACT38.
E. Anthony, NY. Mrs. John Wood, born Matilda Charlotte Vining (1831-1915); English actress and theatre manager. CDV trimmed at bottom. VG. $75


ACT40.
Charles D. Fredricks & Co., NY. Agnes Kelly Robertson (1833-1916). Actress, adopted daughter of Charles Keen. CDV. VG. $40


ACT43.
J. Gurney & Son, NY. George Holland (1791-1870), English-American stage actor. CDV trimmed at bottom. VG. $50


ACT44.
J. Gurney & Son, NY. Daniel Webster Bryant (1833-1875). Famous negro minstrel, member of “Sable Hamonists,” “Bryant’s Minstrels.” Manager as well. CDV. G. $85


ACT50.
J. Gurney & Son, NY. Paul Juignet, actor. CDV trimmed at bottom. VG. $45


ACT55.
J. Gurney & Son, NY. William Randolph Floyd (b. 1832); actor and manager. CDV. VG. $35


ACT56.
Photographic negative from Brady’s National Portrait Gallery, published by E. Anthony, NY. Mrs. J.H. Allen, actress. CDV trimmed at bottom. VG. $35


ACT58.
J. Gurney & Son, NY. John Nunan (1832-1870); Irish actor and comedian at Niblo’s Gardens, NY. CDV trimmed at bottom. VG. $35


ACT60.
J. Gurney & Son, NY. Livingston R. Shewell (1833-1873), actor. CDV trimmed at bottom. VG. $35


ACT74.
J. Gurney & Son, NY. Ione Burke, singer and actress. CDV trimmed at bottom. VG. $20


ACT80.
T.R. Burnham, Boston. Edwin Forrest (1806-1872). Well-known American actor. CDV. VG. $50


ACT85.
Dana, New York. Large hard card-mounted photo (13″ x 7.25″). Charles Walter Couldock (1815-98), actor. One of the leading character actors of the 19th century, he was born in London and decided on a stage career after watching Macready perform. His professional debut occurred in 1836, then thirteen years later he came to America where playgoers first saw him in the title role of The Stranger. After four seasons at Philadelphia’s Walnut Street Theatre, he embarked on a long tour as the old farmer Luke Fielding in The Willow Copse, a role he returned to as late as 1885. Couldock joined Laura Keene’s company in 1858 and later successfully played such roles as Iago and Hamlet. However, his most celebrated part was that of Dunstan Kirke, who unjustly banishes his daughter, in Hazel Kirke (1880). Clara Morris described the heavyset, curly-haired actor as looking like “the beau-ideal wealthy farmer” and noted, “The strong point of his acting was in the expression of intense emotion-particularly grief or frenzied rage. He was utterly lacking in dignity, courtliness, or subtlety. He was best as a rustic.” VG. $125


ACT86.
Falk, NY. Georgia Cayvan (1858-1906), actress. Born in Bath, Maine, this beautiful leading lady spent several years playing in Boston before succeeding Effie Ellsler as Hazel Kirke in New York in 1881. She immediately became a prominent actress, portraying the heroine in such famous comedies or dramas as The Professor (1881); The White Slave (1882), in which she spoke the once famous lines, “Rags are royal raiment when worn for virtue’s sake”; Siberia (1883); May Blossom (1884); The Wife (1887); The Charity Ball (1889); and Squire Kate (1892). An illness forced a premature retirement and led to her early death. VG. $125


ACT99.
Brady’s National Portrait Gallery, published by E&HT Anthony. Charles John Kean (18 January 1811 – 22 January 1868), actor, was born at Waterford, Ireland, the son of the actor Edmund Kean. CDV. VG. $75

Edwin Booth Edwin Booth
ACT107. J. O’Kane, NY. CDV of Edwin Booth, Tragedian. G. $150

Verona Jarbeau, Actress by Sarony
ACT109. Sarony, NY. Verona Jarbeau, actress. Cabinet Card. E. $45

Isabel Evesson, actress by Sarony
ACT111. Sarony, NY. Isabel Evesson (1863-1914), American actress. Cabinet Card. VG. $25

Gracie Sharpe
ACT113. Howell, New York. Cabinet Card of Gracie Sharpe, actress. VG. $20

Wallack's Theatre Souvenir act123b
ACT123. J. Gurney & Son, NY. Wallack’s Theatre Souvenir. CDV. G. $125


ACT131. Cabinet Card by Warren, Boston of renowned actress Charlotte Cushman. With inscribed and signed slip “Best Wishes Miss Bours, Charlotte Cushman.” Cushman had many love affairs with well-known women of her day. She was also close friends with Secretary Seward. She led a most interesting and colorful life passing away at age 59. G. $125


ACT132. C.D. Fredricks & Co., NY. Charlotte Saunders Cushman (July 23, 1816 – February 18, 1876) was an American stage actress. Her voice was noted for its full contralto register, and she was able to play both male and female parts. She lived intermittently in Rome, in an expatriate colony of prominent artists and sculptors, some of whom became part of her tempestuous private life. CDV. G. $75


ACT133. Mora, NY. William Henry Crane (30 April 1845 – 7 March 1928) was an American actor. He was born in Leicester, Massachusetts on 30 April 1845. He made his first appearance at Utica, New York, in Donizetti’s The Daughter of the Regiment in 1863. Later he had a great success as Le Blanc the Notary, in the burlesque Evangeline (1873). He made his first hit in the legitimate drama with Stuart Robson (1836–1903), in The Comedy of Errors and other Shakespearian plays, and in The Henrietta (1881) by Bronson Howard (1842–1908). This partnership lasted for twelve years, and subsequently Crane appeared in various eccentric character parts in such plays as The Senator and David Harum. In 1904 he turned to more serious work and played Isidore Izard in Business is Business, an adaptation from Octave Mirbeau’s Les Affaires sont les Affaires. In his 70s, Crane appeared in a number of films, notably in a reprise of his role in David Harum (1915). He also appeared in MGM’s Three Wise Fools, a film recently revived on Turner Classic Movies and is available on home video/DVD. Crane died on 7 March 1928 at the age of eighty-two in the Hollywood Hotel. In this cabinet card he is seen in “Our Bachelors.” VG. $75


ACT138. Sarony, NY. Fanny Lily Gipsey Davenport (April 10, 1850 – September 26, 1898) was an Anglo-American stage actress. CDV. VG. $25


ACT148. Sarony, NY. Lilian Adelaide Neilson (3 March 1847 – 15 August 1880), born Elizabeth Ann Brown, was a British stage actress. VG. $20


ACT149. Mora, NY. Maude Branscombe’s scant resume on the stage performing “Ixion” and “H.M.S. Pinafore” hardly explains her significance in the history of celebrity. She was the first of the performing artists of the 19th century for whom good looks trumped every other ability; indeed, she was an inadequate dancer, inconsistent elocutionist, and insecure singer. But the camera loved her no end. She became in 1877 an international star on the strength of her photogenic face and figure, celebrated in gallery windows and in the cabinet card displays in city newsstands. The popularity of her image ushered in the era of the buffo artist–the woman of minor talent whose looks made them bankable. Though Jose Maria Mora discovered Branscombe and popularized her face, every metropolitan photographer paid to have her pose. Her income from sittings far exceeded her wages as featured attraction on the stage. While Lily Langtry and Lillian Russell may have generated more cabinet cards by the end of the 19th century, Branscombe for a five year period between 1877 and 1882 was the most ubiquitous of the professional beauties represented by photography. English by birth, she became an artist’s model in her teens, sitting for the Scottish painter McClean and Elliot & Fry’s photographic studio. Lord Alfred Paget secured for her a stage role as Ophelia, but the performance was not a success. Figuring she could find a place in an American extravaganza, she crossed the Atlantic where she experienced the sudden notoriety of being the “most beautiful woman in the world.” Her American engagements were never artistically significant–the burlesque, “Orpheus and Eurydice,” the burlesque, “Cinderella,” “Hamlet,” “The Sorcerer,” “H.M.S. Pinafore.” Branscombe’s photographic popularity began to wane in late 1881, as Mary Anderson’s image supplanted hers in the gallery cases. In 1882 she returned to England, played several months in “Manteaux Noire” at the Avenue Theater, before sinking into the stage netherworld of provincial pantomimes. In 1886 she married pianist Victor Lonuen. She surfaced briefly into public notice in 1895 when she took her employer, A.H. Gunn, to court for assault. She was working as a stenographer at the time. Born Clara Amelia Branscombe in Exeter in 1854, her father was the ‘Vicar Choral’ of Exeter Cathedral.  The place and year of her death are unknown. Her fame lives on, however. James Joyce immortalised her in ‘Ulysses,’ where she is described as an ‘actress and professional beauty.’ Trimmed at right side. CDV. G. $15


ACT159. Gurney, NY. Unidentified actress. CDV. G. $10


ACT160. C.D. Fredricks & Co., NY. Kate Newton. Written on back “d. May 13, 1940 age 94.” 2-cent cancelled tax stamp on verso. CDV. VG. $20


ACT170. Sarony, NY. Ada Dyas (1843-1908) was an Irish actress. She made her London debut in 1861 in Henry IV, and became famous in the 1871 play based on Wilkie Collins’s novel The Woman in White. CDV. VG. $25


ACT172. Mora, NY. Harry Hunter as the Lone Fisherman in Evangeline. CDV. G. $20


ACT174. Allen, Boston. 19th century actor H.W. Johnson. I have not found anything on this gentleman but he came with a collection of images of 19th century celebrities. CDV. G. $10


ACT175. Sarony, NY. CDV of Minnie Palmer (3/31/57-5/21/36), American actress. VG. $20


ACT176. Sarony, NY. CDV of unidentified actress. VG. $15


ACT177. Houseworth, San Francisco. CDV of unidentified actress. VG. $15


ACT178. Houseworth, San Francisco. CDV of unidentified actress. VG. $15


ACT179. Houseworth, San Francisco. CDV of unidentified actress. VG. $15


ACT180. Bayley & Cramer’s Fine-Art Gallery, San Francisco. Next to Maguire’s Opera House. CDV identified on verso as “Leslie Sweet.” I cannot find anything on this actress. 2-cent cancelled tax stamp on verso. VG. $10


ACT181. Houseworth, San Francisco. CDV of unidentified actress. VG. $15


ACT182. Houseworth, San Francisco. CDV of unidentified actress. VG. $15


ACT184. Mora, NY. Lilian Adelaide Neilson (3 March 1847 – 15 August 1880), born Elizabeth Ann Brown, was a British stage actress. VG. $20


ACT185. Mora, NY. Maud Granger was born on December 25, 1849 in Middletown, Connecticut, USA as Anna E. Brainard. She was an actress, known for The White Pearl (1915), Zaza (1915) and The Runaway Wife (1915). She was married to Alfred Cecil Calmour (1857-1912) playwright and W.R. Baxter. She died on August 17, 1928 in New York City. G. $20


ACT186. Howell, NY. Pauline Markham (May 1847 – March 20, 1919) was an Anglo-American dancer and contralto singer active on burlesque and vaudeville stages during the latter decades of the 19th century. She began by performing juvenile rôles in Manchester, made her debut on the London stage at 20 and a year later New York as a member of the British Blondes which introduced Victorian burlesque to America, where for a few years she would find phenomenal success before her career settled into a long steady decline. The critic Richard Grant White once described Markham’s singing as vocal velvet and her arms as the lost arms of the Venus de Milo. Markham had studied singing with Manuel García at the Royal Academy of Music in London. G. $20


ACT189. Sarony, NY. Agnes Ethel (May 1, 1846 – May 26, 1903) was a Broadway actress of the late 19th century. She performed in New York City, the city of her birth, from 1868 to 1871. Her married name was Agnes Ethel Tracy. She was especially talented in acting emotional roles. VG. $20


ACT191. Warren’s Photographic Studio, Boston. Mrs. Thomas Barry, actress. VG. $20


ACT192. Mora, NY. Henry James Montague was the stage name of Henry John Mann, (January 20, 1843 – August 13, 1878), an American actor born in England. VG. $20


ACT194. Sarony, NY.John T. Raymond (1836-1887), whose original name was John O’Brien, was an American stage actor, born in Buffalo, New York, on August 5, 1836; he died in Evansville, Indiana on April 10, 1887. His first appearance was made on June 27, 1853, at a theatre in Rochester, New York, under the management of Messrs., Carr and Henry Warren, as Lopez, in “The Honeymoon.” Afterwards, he went to Philadelphia, Baltimore, Charleston, Savannah, Mobile and New Orleans. In 1858 he had his early success with Sothern in Tom Taylor’s Our American Cousin, in which he later appeared in London and in Paris. Raymond first became known in New York in 1861, when he appeared at Laura Keene’s Theatre, succeeding Joseph Jefferson in low comedy parts, and at that time he acted Asa Trenchard in “Our American Cousin.” His greatest popular hit was as Col. Mulberry Sellers in a dramatization of Mark Twain’s Gilded Age’ (1873), a character that became completely identified with his own breezy optimism. Raymond’s professional career extended over a period of thirty-two years, in the course of which he acted in all the parts that usually fall to the lot of a low comedian. Raymond was twice married, first to actress Marie E. Gordon, known on the stage after 1864. Their marriage was unhappy and they were legally separated. His second wife was a daughter of Rose Eytinge. At the time of his second marriage he obtained legal authority for the change of his name from John O’Brien to John T. Raymond. In 1887 his body was brought to New York, and buried in the Actors’ Plot, in Evergreen Cemetery, Long Island. His grave is marked by a stone bearing an inscription and an epitaph written by William Winter. VG. $25


ACT196. C.D. Fredricks & Co., NY. CDV of Elisabeth Félix, better known only as Mademoiselle Rachel (21 February 1821 – 3 January 1858), was a French actress.  She became a prominent figure in French society, and was the mistress of, among others, Napoleon III and Napoléon Joseph Charles Paul Bonaparte. Efforts by newspapers to publish pictures of her on her deathbed led to the introduction of privacy rights into French law. Rachel Félix was born as Elisabeth Félix on 28 February 1821, in Mumpf, Rheinfelden, Aargau, to a family of Jewish background. Her father, Jacob Félix, was a peddler and her mother, Esther Hayer, was a Bohemian dealer in second-hand clothes. She had four sisters (Sarah, Rebecca, Dinah, and Leah) and one brother, Raphael. As a child, Félix earned money singing and reciting in the streets. She arrived in Paris in 1830 intending to become an actress. She took elocution and singing lessons, eventually studying under the instruction of the musician Alexandre-Étienne Choron and Saint-Aulaire. She took dramatic arts classes and debuted in La Vendéenne in January 1837, at the Théâtre du Gymnase. Delestre-Poirson, the director, gave her the stage name Rachel, which she chose to retain in her private life as well. Rachel was described as a very serious and committed student. She was admired for her intelligence, work ethic, diction, and ability to act. Auditioning in March 1838, she starred in Pierre Corneille’s Horace at the Théâtre-Français at the age of 17. During this time she began a liaison with Louis Véron, the former director of the Paris Opera, which became the subject of much gossip. During this time, from 1838–42, she lived in a third-floor apartment in Paris’s Galerie Véro-Dodat. Her fame spread throughout Europe after success in London in 1841, and she was often associated with the works of Racine, Voltaire, and Corneille. She toured Brussels, Berlin, and St. Petersburg. Although French classical tragedy was no longer popular at the time Rachel entered the stage of Comédie-Française, she remained true to her classical roots, arousing audiences with a craving for the tragic style of writers like Corneille, Racine and Molière. She created the title role in Eugène Scribe’s Adrienne Lecouvreur. Her acting style was characterized by clear diction and economy of gesture; she evoked a high demand for classical tragedy to remain on the stage. This represented a major change from the exaggerated style of those days, as society was beginning to demand the highly emotional, realistic, instinctual acting styles of the Romantics. Félix completely rejected the Romantic Drama movement happening in nineteenth-century France. She was best known for her portrayal of the title role in Phèdre. Félix’s health declined after a long tour of Russia. She died early in 1858, aged 36, from tuberculosis in Le Cannet, Alpes-Maritimes, France. Upon her deathbed, she wrote many farewell letters to her sons, family members, lovers, colleagues and theatre connections at Comédie-Française. She is buried in a mausoleum in the Jewish part of Père Lachaise Cemetery and fr:Avenue Rachel in Paris was named after her. The English theatre critic James Agate published a biography of her in 1928, which echoes the anti-Semitism of his day. A modern account of her life and legacy by Rachel Brownstein was published in 1995. The character “Vashti” in Charlotte Brontë’s novel Villette was reportedly based on Félix, whom Brontë had seen perform in London. Rachel, a light tannish colour, primarily for face-powder used in artificial light, is named after her. The raschel knitting-machine is according to the OED also named after her. VG. $35


Act198. Sarony, New York. British actress Maude Branscombe. Cabinet Card. VG. $25

Act199. Sarony, New York. Actor Will Danforth. Cabinet Card. VG. $35

Act200. Sarony, New York. Mr. B. Curtis. Cabinet Card. G. $15
 
Act201. Falk, N.Y. William M. Crane (4/30/45-3/7/28), American actor. “A Virginia Courtship.” Cabinet Card. VG. $35

Act202. No ID. Constantine, Clown. Cabinet Card. VG. $35

Act203. Max Platz, Chicago. Carrie Daniels. Cabinet Card. G. $20

Act204. Sarony, New York. Edwin Forrest (March 9, 1806 – December 12, 1872) was a prominent nineteenth-century American Shakespearean actor. His feud with the British actor William Macready was the cause of the deadly Astor Place Riot of 1849. Cabinet Card. VG. $35


Act205. Nadar, Paris. Sarah Bernhardt as Theodora. Sarah Bernhardt (Henriette-Rosine Bernard, 22 or 23 October 1844 – 26 March 1923) was a French stage actress who starred in some of the most popular French plays of the late 19th and early 20th centuries, including La Dame Aux Camelias by Alexandre Dumas, filsRuy Blas by Victor Hugo, Fédora and La Tosca by Victorien Sardou, and L’Aiglon by Edmond Rostand. She also played male roles, including Shakespeare’s Hamlet. Rostand called her “the queen of the pose and the princess of the gesture”, while Hugo praised her “golden voice”. She made several theatrical tours around the world, and was one of the first prominent actresses to make sound recordings and to act in motion pictures. Several early American film stars were fawningly described as “the Bernhardt of the screen” during the silent film era. Cabinet Card. G. $50


Act206. Ye Rose Studio, Providence, R.I. Edna Wallace Hopper (January 17, 1872 – December 14, 1959) was an American actress on stage and in silent films. She was known as the “eternal flapper.” Cabinet Card. G. $45


Act207. Elmer Chickering, Boston. William Henry Crane (April 30, 1845 – March 7, 1928) was an American actor. Cabinet Card. VG. $35


Act208. Sarony, New York. Charles Albert Fechter (23 October 1824 – 5 August 1879) was an Anglo-French actor. Cabinet Card. VG. $35


Act209. C.F. Hunger & Co., Cleveland. George H. Primrose (November 12, 1852 – July 23, 1919) was a minstrel performer. He was one half of the comedy duo of Primrose and West with William H. West. Cabinet Card. VG. $35


Act210. C.F. Hunger & Co., Cleveland. George H. Primrose (November 12, 1852 – July 23, 1919) and Lew Dockstader (August 7, 1856 – October 26, 1924). Primrose was a minstrel performer. He was one half of the comedy duo of Primrose and West with William H. West. Lew Dockstader was an American singer, comedian, and vaudeville star, best known as a blackface minstrel show performer. Dockstader performed as a solo act and in his own popular minstrel troupe. Cabinet Card. G. $50


Act211. Newsboy, New York. Augustus Cook as Napoleon Bonaparte. Cabinet Card. G. $15


Act213. Sarony, NY. Henry E. Dixey (born Henry E. Dixon, January 6, 1859 – February 25, 1943) was an American actor and theatre producer. Dixey was born on January 6, 1859, in Boston, Massachusetts. He made his stage debut in Boston in 1868, joining the variety stock actors at the Howard Athenaeum, where in 1869 he played the character Peanuts in the Augustin Daly play Under the Gaslight. Dixey starred in many plays and musicals, including his best-known role as the lead character in the popular burlesque musical Adonis, which he played from 1883 to 1885, occasionally joining tours afterwards. He performed on stage and in a handful of films until 1926. In addition to burlesques, comedies, and operettas, Dixey had a magic act as “Dixey, the Magnificent.” He ventured into silent films in 1908, acting the title role in David Garrick. He also appeared in the films Chelsea 7750 (1913) and Father and Son (1916). Dixey was one of a party of gentlemen entertained by Robert Emmet Odlum, brother of women’s rights activist Charlotte Odlum Smith, on the morning of May 19, 1885, the day he jumped from the Brooklyn Bridge and was killed. Dixey used his gold stopwatch to time Odlum’s fatal jump at three and a half seconds. His wife was Marie Nordstrom, who had performed in various plays written by her sister Frances Nordstrom. Dixey died February 25, 1943, in Atlantic City, New Jersey following a traffic accident. Cabinet Card. VG. $45


Act214. H. Rocher, Chicago. John Edward McCullough (November 2, 1832 – November 8, 1885) was an American actor. John McCullough was born in Coleraine, Ireland. He went to America at the age of 16, and made his first appearance on the stage at the Arch Street Theatre, Philadelphia, in 1857. In support of Edwin Forrest and Edwin Booth he played second roles in Shakespearean and other tragedies, and Forrest left him by will all his prompt books. Virginius was his greatest success, although even in this part and as Othello he was coldly received in England (1881). On the night of September 29, 1884, he broke down on stage at McVicker’s Theater in Chicago and was unable to recite his lines. The audience, thinking he was drunk, hissed and booed. In fact, McCullough was suffering from the early stages of general paresis. He was later committed to the Bloomingdale Insane Asylum but continued to decline and finally died in an asylum in Philadelphia. His “insane ravings” became popular and were imitated in one of the first audio recordings. He died on November 8, 1885 in Philadelphia, Pennsylvania and is interred at Mount Moriah Cemetery. On March 18, 1865, less than a month before he assassinated President Abraham Lincoln, John Wilkes Booth appeared at Ford’s Theatre, Washington, in the play The Apostate which was performed as a benefit for John McCullough. In 1889, after his death, McCullough was memorialized with a statue in Philadelphia – to which Edwin Booth reportedly refused to contribute. An apocryphal version of his death which arose as theatre lore is reported by the National Theatre in Washington, DC where he appeared a number of times in various roles between 1875 and 1885. According to this version of events, McCullough was murdered backstage by a fellow actor, was buried by members of the acting company in a cellar beneath the stage, and is a resident ghost. According to an episode of Celebrity Ghost Stories (“D.B. Sweeney, Adrien Zmed, Eddie Money, DJ Nicole Leone”), John Edward McCullough’s ghost is responsible for breaking the ankle of Adrian Zmed during a Broadway production of Grease. Cabinet Card. VG. $45


Act215. Sarony, NY. Cabinet Card of unidentified actress. E. $35


Act216. Sarony, NY. Rose Massey (c.1845 – 23 July 1883) was a 19th-century English stage actress. Massey first appeared at the Haymarket Theatre in London in July 1867, playing the role of Mary Meredith in Our American Cousin, but later gained attention in her 1871 performance as Fatima in Blue Beard at the Covent Garden Theatre. Her New York debut was in February 1869, in The Field of the Cloth of Gold at Wood’s Museum. Massey played a number of roles opposite actor Henry James Montague, whom she followed to the United States and later sued in 1875 for breach of promise to marry. She claimed to have a son fathered by Montague, and it made a stir when Massey also released “sappy” letters to her from Montague. That case ended, however, when Montague died in 1878. In addition to her liaison with Montague, Massey also had a relationship with Alex Henderson (1828-1886) (spouse of burlesque producer Lydia Thompson). That relationship produced a daughter, Helen Massey. Massey was also the mother of actress Blanche Massey (born circa 1878). Massey died of consumption in New York on July 23, 1883 and is buried at Green-Wood Cemetery in Brooklyn. E. $45


Act217. Gehrig, Chicago. Cabinet Card of unidentified actress. VG. $35


Act218. Falk, NY. Charles Walter Couldock (26 April 1815 – 27 November 1898) was a popular 19th century actor. Born in Long Acre, England, he made his stage debut in Shakespeare’s Othello at London’s Sadler’s Wells Theatre in 1835. He was a part of traveling and stock companies in England before obtaining more stable positions in Birmingham and Liverpool in 1845. Actress Charlotte Cushman enticed Couldock to travel to the United States in 1849, where he made a successful American debut on 8 October 1849 in The Stranger. He played in the stock company of Philadelphia’s Walnut Street Theatre from 1850-55. Among roles he first played during this period was that of Luke Fielding in The Willow Copse, a role he later reprised many times. In 1858 he joined the company of Laura Keene, where he appeared in the first American production of Our American Cousin. His best known role was as Dunstan Kirke in Hazel Kirke, a huge success of its time, which debuted in New York in February 1880 and ran for 486 consecutive performances, and also traveled broadly. Couldock may have acted the role over 1,500 times. American National Biography (1999) describes Couldock as being of “the old-school sentimental style of acting which required great emotive power and a command of the sweeping gesture” and at his best “in maudlin domestic pieces” where “he gave convincing life to a gallery of uniquely American stage characters.” ANB also notes that while “recognized as an important theatrical figure both in his own time and in ours, Couldock has not received sustained scholarly attention from historians ….” Harper’s Weekly noted Couldock’s broad popularity in 1895: “If there is any adult American who does not know Charles Couldock, it must be a resident of some very remote place, or a person reared with more than ordinary success in the belief that play-going is a sinful pastime.” Couldock acted well into the 1890s, and died at his home in New York City in November 1898. He was buried in the Actors Fund plot at the Cemetery of the Evergreens. Cabinet Card. VG. $45


Act219. Sarony, NY. Benoît-Constant Coquelin (23 January 1841 – 27 January 1909), known as Coquelin aîné (“Coquelin the Elder”), was a French actor, “one of the greatest theatrical figures of the age.” Coquelin was born in Boulogne-sur-Mer, Pas-de-Calais. He was originally intended to follow his father’s trade of baker (he was once called “un boulanger manqué” – “a failed baker” – by a hostile critic), but his love of acting led him to the Conservatoire, where he entered Régnier’s class in 1859. He won the first prize for comedy within a year, and made his début on 7 December 1860 at the Comédie-Française as the comic valet, Gros-René, in Molière’s Le Dépit amoureux, but his first great success was as Figaro in The Barber of Seville, in the following year. It was an honour for Coquelin to be a part of the Comédie-Française at such a young age. This company had already been in existence for around 150 years. He was made sociétaire in 1864. There were 21 ​34 shares and they were divided among the lead actors, known as sociétaires. The sociétaires co-manage, choose plays, and share profits. When there was an opening caused by retirement, resignation, or death, it was filled by a member of the pensionnaires. And just four years after joining the Comédie-Française, Coquelin became one of the elite sociétaires. During the next twenty-two years he created at the Comédie Française the leading parts in forty-four new plays, including Théodore de Banville’s Gringoire (1867), Paul Ferrier’s Tabarin (1871), Émile Augier’s Paul Forestier (1871), L’Étrangère (1876) by the younger Dumas, Charles Lomon’s Jean Dacier (1877), Édouard Pailleron’s Le Monde où l’on s’ennuie (1881), Erckmann’s and Chatrian’s Les Rantzau (1884). In consequence of a dispute with the authorities over the question of his right to make provincial tours in France he resigned in 1886. Three years later, however, the breach was healed; and after a successful series of tours in Europe and the United States he rejoined the Comédie-Française as pensionnaire in 1890. During his time away from the Comédie he wrote his book Art and the Actor. It was during this period that he took the part of Labussière, in the production of Victorien Sardou’s Thermidor, which was banned by the government after three performances. In 1892 he broke definitely with the Comédie-Française, and toured for some time through the capitals of Europe with a company of his own; in New York, for instance, he performed at Abbey’s Theatre in 1894, playing the lead in Tartuffe (his son Jean played Orgon) and Mascarille in Les Précieuses ridicules. In 1895 he joined the Renaissance theatre in Paris, and played there until he became director of the Théâtre de la Porte Saint-Martin in 1897. Here he won successes in Edmond Rostand’s Cyrano de Bergerac (1897), which he repeated in the summer of 1898 at the Lyceum Theatre, London, Émile Bergerat’s Plus que reine (1899), Catulle Mendès’s Scarron (1905), and Alfred Capus and Lucien Descaves’ L’Attentat (1906). In 1900 Coquelin toured in America with Sarah Bernhardt, appeared at Broadway’s Garden Theatre in a production of Cyrano de Bergerac (Bernhardt played Roxane). He made his only film, the duel scene from Cyrano de Bergerac with sound recording on phonograph cylinder. The film is thought to be the first ever made with both color and sound. On their return to France he continued with his old colleague to appear in L’Aiglon, at the Théâtre Sarah Bernhardt. He was rehearsing for the creation of the leading part in Rostand’s Chantecler, which he was to produce, when he died suddenly in Paris in 1909. The New York Times printed an obituary, in which it described many tributes to the dead actor, including a visit by the personal secretary of the President of the Republic, Armand Fallières. Coquelin was an Officier de l’Instruction Publique and of the Legion of Honour. He published:

  • L’Art et le comédien (1880)
  • Molière et le misanthrope (1881)
  • essay on Eugène Manuel (1881)
  • essay on Sully Prudhomme (1882)
  • L’Arnolphe de Molière (1882)
  • Les Comédiens (1882)
  • L’Art de dire le monologue (with his brother, 1884)
  • Tartuffe (1884)
  • L’Art du comédien (1894)

His brother, Ernest, and his son, Jean, were also actors. Cabinet Card. VG. $45


Act220. Elmer Chickering, the Royal Studio, Boston. Julia Marlowe (born Sarah Frances Frost; August 17, 1865– November 12, 1950) was an English-born American actress and suffragist, known for her interpretations of William Shakespeare’s plays.  Marlowe was born as Sarah Frances Frost at Caldbeck, Cumberland, England, to clogger and shoemaker John Frost and Sarah (Strong) Hodgson. When she was four her family emigrated to the United States. Her father, who was an avid fan of local sports, “fled to America in 1870 under the erroneous impression that he had destroyed a neighbor’s eye by flicking a whip at him during a race.” He changed his name to Brough and after first settling in Kansas he moved his family east to Portsmouth, Ohio and then Cincinnati. Marlowe obtained the nickname of “Fanny” and in her early teens began her career in the chorus of a juvenile opera company. While touring with the company for nearly a year performing Gilbert and Sullivan’s H.M.S. Pinafore (1879), under the direction of Colonel Robert E.J. Miles (manager of the Cincinnati Opera House) she was given the part of Sir Joseph Porter. She later played in W. S. Gilbert’s Pygmalion and Galatea. Her training and initial success was due primarily to Miles’s sister-in-law Ada Dow. Still in Cincinnati, Fanny played her first Shakespearean roles as Balthazar in Romeo and Juliet and as Maria in Twelfth Night she was billed as Fanny Brough. Soon after Ada Dow took Fanny to New York where for several years she received voice training by Parsons Price. Finished with the voice training she changed her name to Julia Marlowe. As an unknown, Marlowe was, at first, unable to get a Shakesperean role, but she was determined. Colonel Miles, the new manager of the New York Bijou Opera House, gave her the opportunity to play for two weeks on tour in New England, starting in New London, Connecticut. This gave Marlowe the repertoire she needed. On 20 October 1887, her mother hired the Bijou for a matinee of Ingomar, the Barbarian (Maria Lovell’s adaptation of Friedrich Halm’s Der Sohn der Wildnis), in which Marlowe received acclaim which served as a stepping stone to Broadway. In early 1891, Marlowe came down with a severe case of typhoid fever while on tour in Philadelphia. The owner of the Philadelphia Times newspaper and his wife took Julia in and oversaw her return to health. At one point her face became so swollen that doctors considered lancing her face to release the toxins, but the good judgment of one doctor prevailed and a different treatment was arrived at which would fight the toxins and save her face for her acting career. Had this measure not been taken, she would never have been performing on Broadway by 1895 and would never have established herself as the leading American actress of Shakespeare in her day alongside actor E. H. Sothern, She made her Broadway debut in 1895 and went on to appear in more than seventy Broadway productions. With the money from her first Broadway success, she bought the townhouse known as River Mansion at 337 Riverside Drive. Her first husband was Broadway actor Robert Taber. Their marriage lasted from 1894 to 1900 and produced no children.  According to many who knew her, Marlowe sacrificed her own self-interests many times in order to promote Taber’s career. Despite this, however, professional jealousy ended their marriage in 1900. In 1904, Marlowe starred as Mary Tudor in Paul Kester’s adaptation of When Knighthood Was in Flower. This was an enormous success, and made Marlowe financially independent. Other hits for Marlowe followed including Charlotte Oliver in the adaptation by Kester and Middleton of George Washington Cable’s The Cavalier, and Ingomar, both in 1903. Of her performance in the latter, The New York Sun wrote, “There is not a woman player in America or in England that is – attractively considered – fit to unlace her shoe”. In 1904, she began an extremely successful partnership with actor E. H. Sothern, beginning with their appearances in the title roles in Romeo and Juliet, Beatrice and Benedick in Much Ado About Nothing, and the leads in Hamlet. They toured all over the U.S. in these plays, adding The Taming of the ShrewThe Merchant of Venice and Twelfth Night to their repertoire in 1905. Unhappy with their compensation from their manager, Charles Frohman, they continued under the management of the Shubert Brothers, from then on receiving a percentage of the profits. In 1906, together with Sothern, she played the title character in Percy MacKaye’s Jeanne d’Arc, Salome in Sudermann’s John the Baptist and Rautendelein in The Sunken Bell, receiving favorable reviews. After another season in New York and then on tour, Sothern, Marlowe and their company crossed the Atlantic to play in London. They were unable to attract audiences in England, however, and returned to America after a season. Back in the U.S., they presented Shakespeare at affordable prices at the Academy of Music in New York, allowing audiences who had not previously been able to afford their productions to see them. Marlowe and Sothern dissolved their company and formed separate companies for a time. She played in J. B. Fagan’s Gloria, in Romeo and Juliet and in As You Like It. In 1908, she played Yvette in Mary Johnston’s verse play The Goddess of Reason. At the end of 1909, Sothern and Marlowe reunited in Antony and Cleopatra. In 1910, they toured in Macbeth, receiving enthusiastic notices and bringing the production to New York where it was a hit. They continued to tour their Shakespearean repertoire, playing special performances of the plays for schoolchildren. Marlowe and Sothern married in 1911. The couple made eleven phonograph recordings for the Victor company in 1920–1921. These recordings are presumably the only recorded evidence of Marlowe’s voice today. After more touring with Sothern in Shakespeare, the two brought their production of The Merchant of Venice to New York in 1921. Soon afterwards, Marlowe’s health was failing, and she retired in 1924. After Sothern’s death in 1933, Marlowe became somewhat of a recluse. She occasionally visited close friends like ailing playwright Edward Sheldon. In 1923, she received an honorary doctorate from George Washington University, and another in 1943 from Columbia University. Marlowe was highly engaged as a feminist and fought for women’s right to vote. She died in 1950 in NYC at the age of 85. She had no children. In this cabinet card I believe she is in the role of Rosalind in As You Like It. VG. $65


Act221. Sarony, NY. Cabinet card of unidentified performer. VG. $20


Act222. Mora, NY. Cabinet card of unidentified performer. Trimmed and clipped corners at top. G. $20


Act224. No ID. Cabinet card of unidentified performer. VG. $20


Act225. Leeson, NY. Cabinet card of unidentified performers. VG. $25


Act226. Sands & Brady, Providence, R.I. Cabinet card of unidentified celebrity. VG. $25


Act227. Robinson and Roe, Chicago. Cabinet card of unidentified celebrity. VG. $20


Act228. M.B. Brady, Washington, DC. Cabinet card of unidentified celebrity. VG. $35


Act229. Warren, Boston. Cabinet card of unidentified celebrity. VG. $25


Act230. Sarony, NY. Cabinet card of unidentified performer. G. $20


Act231. Reutlinger, Paris. Cabinet card of unidentified celebrity. VG. $25


Act233. Warren, Boston. Cabinet card of unidentified celebrity. VG. $25


Act234. Frank E. Pearsall, Brooklyn, NY. Cabinet card of unidentified celebrity. VG. $25


Act236. Gehrig, Chicago. On back is written “With kind remembrance of “Jim.” Cabinet card. VG. $20


Act238. Alfred Ellis & Walery, London. “To Old Willtooth from Keittles Oct 1904.” Unidentified performer although “Henry J. Montague(?)” is written at bottom which appears to be someone’s guess as to the person’s identity. Cabinet card. VG. $25


Act239. H. Rocher, Chicago. “Aimee” written on verso. Cabinet card. VG. $20


Act241. Donovan, NY. Chauncey Olcott, “The Irish Tenor.” Chauncey Olcott, born John Chancellor Olcott and often spelled Chauncey Alcott, (July 21, 1858 – March 18, 1932) was an American stage actor, songwriter and singer of Irish descent. VG. $25