Playbill Collectibles : Playbill+denis Value Guide - Price List

Sold on eBay February 26th, 2024

HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill

HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill Click images to enlarge Description This is a wonderful find from the limited Off-Broadway world premier of Stephen Sondheim's final musical Here We Are. The cover of the Playbill has been signed by 11 members of the cast including: Amber Gray Jin Ha Rachel Bay Jones Denis O’Hare David Hyde Pierce Understudies: Bradley Dean, Adante Carter The Playbill photographed is the Playbill up for auction so please feel free to use the full size images to check signature placement & condition, and for additional signature identification. The Playbill does have flaws that I have tried to highlight in detail images. PLEASE CHECK FULL SIZE IMAGES BEFORE BIDDING. Thank you & happy bidding! Payment PayPal only. Shipping Unless explicitly stated otherwise, all windowcards will be shipped flat. Combined shipping offered for multiple items won during a 7 day period. If you are bidding on additional items please message us so we can arrange delayed payment & combined shipping. Domestic shipping via UPS or USPS Priority (for PO Box addresses). All international shipping via USPS Priority International. International Buyers Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. Note: It's illegal to falsify customs declarations or mark an item as a "gift" in order to avoid customs fees. Due to the limited (or even one of a kind) nature of our items, we only ship using methods that include tracking information. Terms of Sale Although Broadway Cares has endeavored to catalog and describe all items as accurately as possible, all items are sold "As Is." About Us Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources, and generosity of the American theatre community, since 1988 Broadway Cares/Equity Fights AIDS has raised more than $285 million for essential services for people with AIDS and other critical illnesses across the United States. Broadway Cares/Equity Fights AIDS is the major supporter of the social service programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Samuel J. Friedman Health Center for the Performing Arts. Broadway Cares also awards annual grants to more than 450 AIDS and family service organizations in all 50 states, providing lifesaving medication, healthy meals, counseling and emergency assistance. Contact Us BC/EFA's office hours are Monday through Thursday 10 AM to 6 PM EST and Friday 10 AM to 3 PM EST. All eBay.com auction related inquiries that are received while our office is closed will be handled the next business day. Get images thatmake Supersized seem small.Showcase your items with Auctiva sListing Templates!THE simple solution for eBay sellers. Track Page Views WithAuctiva's Counter

Sold on eBay Mar 30, 2021

Ruth St Denis & Ted Shawn Program April 17 1923 Denishawn Dancers

Sold on eBay April 9th, 2025

HERE WE ARE - Off Broadway / Final Stephen Sondheim production SIGNED by Cast 9X

Sold on eBay December 1st, 2023

Here We Are Cast Signed Playbill

Sold on eBay January 6th, 2025

Eleanor Drew "SALAD DAYS" John Warner / Julian Slade '54 London Souvenir Program

Sold on eBay January 25th, 2024

Elling Autographed Playbill Signed by Cast BRENDAN FRASER, JENNIFER COOLIDGE +3

Sold on eBay January 3rd, 2024

Tommy Tune "BUSKERS" Brent Barrett / Marcia Lewis 1995 FLOP Souvenir Program

Sold on eBay February 5th, 2024

Ballet Legend ANNA PAVLOVA (Pavlowa) Laurent Novikoff 1923 Montreal Program

eBay This is a rare October 25th, 1923 program (playbill) from the one-week engagement of the Incomparable ANNA PAVLOVA and her Corps de Ballet at the Theatre Saint-Denis in Montreal, Quebec, Canada ..... The engagement included the Ballets "A POLISH WEDDING", "CHOPINIANA", "MAGIC FLUTE", "AUTUMN LEAVES", "AMARILLA", "ORIENTAL IMPRESSIONS" and several Divertissements and included performances by ANNA PAVLOWA, LAURENT NOVIKOFF, HILDA BUTSOVA, M. PIANOWSKI, J. ZALEWSKI, ANDRE OLIVEROFF, FR. VAGINSKI and the Corps de Ballet, with IVAN CLUSTINE, the eminent Ballet Director and THEODORE STIER conducting the Symphony Orchestra ..... Biographical Note: Mlle. ANNA PAVLOVA (1881-1931) is widely regarded as one of the finest classical ballet dancers in history and was most noted as a Principal artist of the Imperial Russian Ballet and the Ballets Russes of Serge Diaghilev. Pavlova is most recognized for the creation of the rôle "The Dying Swan" and with her own company, would become the first ballerina to tour ballet around the world. Pavlova's passion for the art of ballet was realized when her mother took her to a performance of Marius Petipa's original production of The Sleeping Beauty at the Imperial Mariinsky Theatre. The lavish spectacle made an impression on the young Pavlova, and at the age of eight her mother took her to audition for the renowned Imperial Ballet School where she was finally accepted at age ten. Upon graduating, she began to perform at the Mariinsky Theatre, debuting on September 19th, 1899. In 1907, Anna Pavlova began her first tour, to Moscow, and by 1910 was appearing at the Metropolitan Opera House in America. In 1914, she was traveling through Germany on her way to England when Germany declared war on Russia. At that time, her connection to Russia was for all intents broken. For the rest of her life, Anna Pavlova toured the world with her own company and kept a home in London, where her exotic pets were constant company when she was there. While her contemporary, Isadora Duncan, introduced revolutionary innovations to dance, Anna Pavlova remained largely committed to the classic style. She was known for her daintiness, frailness, lightness and both wittiness and pathos. Her last world tour was in 1928-29 and her last performance in England in 1930. Anna Pavlova appeared in a few silent films: one, The Immortal Swan, she shot in 1924 but it was not shown until after her death. Anna Pavlova died of pleurisy in the Netherlands in 1931. (Reprinted in part from the website About.com.) ..... PROGRAM DETAILS: The sixteen page program measures 6 7/8" X 10 1/4" inches and includes production credits, names of the dancers, a list of the ballets and divertissements in the repertoire and wonderful vintage advertising, but no photos or bios ..... CONDITION: (Please Note!) There is a heavy diagonal fold, a clipped corner to the back cover, the start of splits at both the top and bottom seam, creasing at the corners and moderate edge wear. Despite these flaws, this rare program will make a wonderful addition to the collection of any classical music aficionado or dance historian. This item will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.

Sold on eBay May 5th, 2024

LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM

A rare large original 1916 dance program for the legendary Isadora Duncan. Four pages. Dimensions ten and three quarters by five and a half inches. Light wear otherwise good. See Isadora Duncan's extraordinary biography below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early ballet and dance memorabilia, early theatre, opera, film, magic, and historical autographs, photographs, programs and broadsides, and great actor and actress cabinet photos and CDV's.From Isadora Duncan (May 26, 1877 or May 27, 1878[a] – September 14, 1927) was an American and French dancer who performed to acclaim throughout Europe. Born in California, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50, when her scarf became entangled in the wheels and axle of the car in which she was riding.Isadora Duncan was born in San Francisco, the youngest of the four children of Joseph Charles Duncan (1819–1898), a banker, mining engineer and connoisseur of the arts, and Mary Isadora Gray (1849–1922). Her brothers were Augustin Duncan and Raymond Duncan;[2] her sister, Elizabeth Duncan, was also a dancer.[3][4] Soon after Isadora's birth, her father was exposed to illegal bank dealings, and the family became extremely poor.[2]Her parents divorced when she was an infant,[5] and her mother moved with her family to Oakland, California, where she worked as a seamstress and piano teacher. From ages six to ten, Isadora attended school, but she dropped out, finding it constricting. As her family was very poor, she and her three siblings earned money by teaching dance to local children.[2]In 1896, Duncan became part of Augustin Daly's theater company in New York, but she soon became disillusioned with the form and craved a different environment with less of a hierarchy.[6] Her father, along with his third wife and their daughter, died in 1898 when the British passenger steamer SS Mohegan ran aground off the coast of Cornwall [7]WorkPhoto by Arnold Genthe of Duncan performing barefoot during her 1915–1918 American tourAbraham Walkowitz's Isadora Duncan #29, one of many works of art she inspired.Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years.[8] Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head".[9] A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.[10] In New York, Duncan took some classes with Marie Bonfanti but was quickly disappointed in ballet routine.Feeling unhappy and unappreciated in America, Duncan moved to London in 1898. She performed in the drawing rooms of the wealthy, taking inspiration from the Greek vases and bas-reliefs in the British Museum.[11][12] The earnings from these engagements enabled her to rent a studio, allowing her to develop her work and create larger performances for the stage.[13] From London, she traveled to Paris, where she was inspired by the Louvre and the Exposition Universelle of 1900.[14]In 1902, Loie Fuller invited Duncan to tour with her. This took Duncan all over Europe as she created new works using her innovative technique,[15] which emphasized natural movement in contrast to the rigidity of tradition ballet.[16] She spent most of the rest of her life touring Europe and the Americas in this fashion.[17] Despite mixed reaction from critics, Duncan became quite popular for her distinctive style and inspired many visual artists, such as Antoine Bourdelle, Auguste Rodin, Arnold Rönnebeck, and Abraham Walkowitz, to create works based on her.[18]Duncan disliked the commercial aspects of public performance, such as touring and contracts, because she felt they distracted her from her real mission, namely the creation of beauty and the education of the young.[citation needed] To achieve her mission, she opened schools to teach young women her philosophy of dance. The first was established in 1904 in Berlin Grunewald Germany. This institution was the birthplace of the "Isadorables" (Anna, Maria-Theresa, Irma, Liesel, Gretel, and Erika[19]), Duncan's protégées who would continue her legacy.[20] Duncan legally adopted all six girls in 1919, and they took her last name.[21] After about a decade in Berlin, Duncan established a school in Paris that was shortly closed because of the outbreak of World War I.[22]In 1910, Duncan met the occultist Aleister Crowley at a party, an episode recounted by Crowley in his Confessions [23] He refers to Duncan as "Lavinia King", and used the same invented name for her in his novel Moonchild. Crowley wrote of Duncan that she "has this gift of gesture in a very high degree. Let the reader study her dancing, if possible in private than in public, and learn the superb unconsciousness — which is magical consciousness — with which she suits the action to the melody."[24] Crowley was, in fact, more attracted to Duncan's bohemian companion Mary Dempsey (a.k.a. Mary D'Este or Desti), with whom he had an affair. Desti had come to Paris in 1901 where she soon met Duncan, and the two became inseparable. Desti, who also appeared in Moonchild (as "Lisa la Giuffria") and became a member of Crowley's occult order,[b] later wrote a memoir of her experiences with Duncan.[25]In 1911, the French fashion designer Paul Poiret rented a mansion — Pavillon du Butard in La Celle Saint Cloud — and threw lavish parties, including one of the more famous grandes fêtes, La fête de Bacchus on June 20, 1912, re-creating the Bacchanalia hosted by Louis XIV at Versailles. Isadora Duncan, wearing a Greek evening gown designed by Poiret,[26] danced on tables among 300 guests; 900 bottles of champagne were consumed until the first light of day.[26]Duncan c. 1916–1918Duncan said to have posed for the photographer Eadweard Muybridge,[27] placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession. Her dancing defined the force of progress, change, abstraction and liberation. In France, as elsewhere, Duncan delighted her audience.[28]In 1914, Duncan moved to the United States and transferred her school there. A townhouse on Gramercy Park was provided for its use, and its studio was nearby, on the northeast corner of 23rd Street and Fourth Avenue (now Park Avenue South).[29] Otto Kahn, the head of Kuhn, Loeb & Co., gave Duncan use of the very modern Century Theatre at West 60th Street and Central Park West for her performances and productions, which included a staging of Oedipus Rex that involved almost all of Duncan's extended entourage and friends.[30] During her time in New York, Duncan posed for a number of studies by the photographer Arnold Genthe.Duncan had been due to leave the United States in 1915 aboard the RMS Lusitania on its ill-fated voyage, but historians believe her financial situation at the time drove her to choose a more modest crossing.[31] In 1921, Duncan's leftist sympathies took her to the Soviet Union, where she founded a school in Moscow. However, the Soviet government's failure to follow through on promises to support her work caused her to return to the West and leave the school to her protégée Irma.[32] In 1924, Duncan composed a dance routine called Varshavianka to the tune of the Polish revolutionary song known in English as Whirlwinds of Danger [33]Philosophy and techniqueDuncan in a Greek-inspired pose and wearing her signature Greek tunic. She took inspiration from the classical Greek arts and combined them with an American athleticism to form a new philosophy of dance, in opposition to the rigidity of traditional ballet.Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art.[34] She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing [citation needed]Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement."[35] She believed dance was meant to encircle all that life had to offer—joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not.[36] Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image) [37]Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance."[38] Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement.[39] Also, she believed movement originated from the solar plexus, which she thought was the source of all movement.[35] It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.Photo studies of Isadora Duncan made in New York by Arnold Genthe during her visits to America in 1915–1918 Personal lifeDuncan with her children Deirdre and Patrick, in 1913In both professional and private life, Duncan flouted traditional mores and morality. She was bisexual[40] and an atheist,[41] and alluded to her communism during her last United States tour, in 1922–23: she waved a red scarf and bared her breast on stage in Boston, proclaiming, "This is red! So am I!"[42]Duncan bore two children, both out of wedlock. The first, Deirdre Beatrice (born September 24, 1906), by theatre designer Gordon Craig, and the second, Patrick Augustus (born May 1, 1910),[43] by Paris Singer, one of the many sons of sewing machine magnate Isaac Singer. Both children drowned in the care of their nanny in 1913 when their runaway car went into the Seine [43]Following the accident, Duncan spent several months recuperating in Corfu with her brother and sister. She then spent several weeks at the Viareggio seaside resort with the actress Eleonora Duse. The fact that Duse had just left a relationship with the rebellious and epicene young feminist Lina Poletti fueled speculation as to the nature of Duncan and Duse's relationship, but there has never been any indication that the two were involved romantically [44]Duncan and Sergei YeseninIn her autobiography, Duncan relates that she begged a young Italian stranger, the sculptor Romano Romanelli,[45] to sleep with her because she was desperate for another baby. She became pregnant by him, and gave birth to a son on August 13, 1914; the infant died shortly after birth [46][47]In 1921, after the end of the Russian Revolution, Duncan moved to Moscow where she met the acclaimed poet Sergei Yesenin, who was 18 years her junior. On May 2, 1922, they married, and Yesenin accompanied her on a tour of Europe and the United States. However, the marriage was brief, and in May 1923 he left Duncan and returned to Moscow. Two years later, on December 28, 1925, Yesenin was found dead in his room in the Hotel Angleterre in St Petersburg in an apparent suicide [48]Duncan had a relationship with the poet and playwright Mercedes de Acosta, as documented in numerous revealing letters they wrote to each other.[49] In one, Duncan wrote, "Mercedes, lead me with your little strong hands and I will follow you – to the top of a mountain. To the end of the world. Wherever you wish."[50]Later lifeBy the late 1920s, Duncan's performing career had dwindled, and she became as notorious for her financial woes, scandalous love life and all too frequent public drunkenness as for her contributions to the arts. She spent her final years moving between Paris and the Mediterranean, running up debts at hotels. She spent short periods in apartments rented on her behalf by a decreasing number of friends and supporters, many of whom attempted to assist her in writing an autobiography. They hoped it might be successful enough to support her.[citation needed] In a reminiscent sketch, Zelda Fitzgerald wrote how she and F. Scott Fitzgerald, her husband, sat in a Paris cafe watching a somewhat drunk Duncan. He would speak of how memorable it was, but what Zelda recalled was that while all eyes were watching Duncan, Zelda was able to steal the salt and pepper shakers from the table.[51]In his book Isadora, an Intimate Portrait, Sewell Stokes, who met Duncan in the last years of her life, describes her extravagant waywardness. Duncan's autobiography My Life was published in 1927. The Australian composer Percy Grainger called Isadora's autobiography a "life-enriching masterpiece [52]DeathDuncan s tomb at Père Lachaise CemeteryOn the night of September 14, 1927, in Nice, France, Duncan was a passenger in an Amilcar CGSS automobile owned by Benoît Falchetto, a French-Italian mechanic. She wore a long, flowing, hand-painted silk scarf, created by the Russian-born artist Roman Chatov, a gift from her friend Mary Desti, the mother of American film director Preston Sturges. Desti, who saw Duncan off, had asked her to wear a cape in the open-air vehicle because of the cold weather, but she would only agree to wear the scarf.[53] As they departed, she reportedly said to Desti and some companions, "Adieu, mes amis. Je vais à la gloire !" ("Farewell, my friends. I go to glory!"); but according to the American novelist Glenway Wescott, Desti later told him that Duncan's actual parting words were, "Je vais à l'amour" ("I am off to love"). Desti considered this embarrassing, as it suggested that she and Falchetto were going to her hotel for a tryst.Her silk scarf, draped around her neck, became entangled around the open-spoked wheels and rear axle, pulling her from the open car and breaking her neck.[1] Desti said she called out to warn Duncan about the scarf almost immediately after the car left. Desti brought Duncan to the hospital, where she was pronounced dead.[53]As The New York Times noted in its obituary, Duncan "met a tragic death at Nice on the Riviera." "According to dispatches from Nice, Duncan was hurled in an extraordinary manner from an open automobile in which she was riding and instantly killed by the force of her fall to the stone pavement."[57] Other sources noted that she was almost decapitated by the sudden tightening of the scarf around her neck.[58] The accident gave rise to Gertrude Stein's mordant remark that "affectations can be dangerous".[59] At the time of her death, Duncan was a Soviet citizen. Her will was the first of a Soviet citizen's to be probated in the U.S.[60]Duncan was cremated, and her ashes were placed next to those of her children[61] in the columbarium at Père Lachaise Cemetery in Paris.[62] On the headstone of her grave is inscribed École du Ballet de l'Opéra de Paris ("Ballet School of the Opera of Paris ) LegacyDuncan is known as "The Mother of Dance". While her schools in Europe did not last long, Duncan's work had impact in the art and her style is still danced based upon the instruction of Maria-Theresa Duncan,[63] Anna Duncan,[64] and Irma Duncan,[65] three of her six adopted daughters. The adoption process was never verified, but all six of Isadora's dancers did change their last name to Duncan. Through her sister, Elizabeth, Duncan's approach was adopted by Jarmila Je?ábková from Prague where her legacy persists.[66] By 1913 she was already being celebrated. When the Théâtre des Champs Élysées was built, Duncan's likeness was carved in its bas-relief over the entrance by sculptor Antoine Bourdelle and included in painted murals of the nine muses by Maurice Denis in the auditorium. In 1987, she was inducted into the National Museum of Dance and Hall of Fame.Anna, Lisa,[67] Theresa and Irma, pupils of Isadora Duncan's first school, carried on the aesthetic and pedagogical principles of Isadora's work in New York and Paris. Choreographer and dancer Julia Levien was also instrumental in furthering Duncan's work through the formation of the Duncan Dance Guild in the 1950s and the establishment of the Duncan Centenary Company in 1977 [68]Another means by which Duncan's dance techniques were carried forth was in the formation of the Isadora Duncan Heritage Society, by Mignon Garland, who had been taught dance by two of Duncan's key students. Garland was such a fan that she later lived in a building erected at the same site and address as Duncan, attached a commemorative plaque near the entrance, which is still there as of 2016. Garland also succeeded in having San Francisco rename an alley on the same block from Adelaide Place to Isadora Duncan Lane.[69][70]In medicine, the Isadora Duncan Syndrome refers to injury or death consequent to entanglement of neckwear with a wheel or other machinery [71]In popular cultureDuncan has attracted literary and artistic attention from the 1920s to the present, in novels, film, ballet, theatre, music, and poetry.Duncan has been portrayed in novels including Aleister Crowley's Moonchild (as 'Lavinia King'), published in 1923,[72] and Upton Sinclair's World's End (1940) and Between Two Worlds (1941), the first two novels in his Pulitzer Prize winning Lanny Budd series.[73] She is also the subject of Amelia Gray's novel Isadora (2017).[74] Two characters in the A Series of Unfortunate Events series of novels are named after her, Isadora Quagmire and Duncan Quagmire [75]Among the films featuring Duncan are:The 1966 BBC biopic by Kenneth Russell, Isadora Duncan, the Biggest Dancer in the World, which was introduced by Duncan's biographer, Sewell Stokes, Duncan was played by Vivian Pickles.[76]The 1968 film Isadora, nominated for the Palme d'Or at Cannes, stars Vanessa Redgrave as Duncan. The film was based in part of Duncan's autobiography. Redgrave was nominated for the Academy Award for Best Actress for her performance as Duncan [76][77]Archival footage of Duncan was used in the 1985 popular documentary That's Dancing [78][79]A 1989 documentary, Isadora Duncan: Movement from the Soul, was nominated for the Grand Jury Prize at the 1989 Sundance Film Festival [80]Ballets based on Duncan include:In 1976 Frederick Ashton created a short ballet entitled Five Brahms Waltzes in the Manner of Isadora Duncan for Lynn Seymour of the Royal Ballet, in which "Ashton fused Duncan's style with an imprint of his own"; Marie Rambert claimed after seeing it that it was exactly as she remembered Duncan dancing.[81]In 1981, she was the subject of a ballet, Isadora, written and choreographed by the Royal Ballet's Kenneth MacMillan, and performed at Covent Garden.[82]On the theatre stage, Duncan is portrayed in:A 1991 stage play When She Danced by Martin Sherman about Duncan's later years, won the Evening Standard Award for Vanessa Redgrave as Best Actress.[83]In 2016, Lily-Rose Depp portrayed Duncan in The Dancer, a French biographical musical drama of dancer Loie Fuller [84]Duncan is featured in music in:The popular 1970s TV sitcom Maude mentions her in its theme song: "Isadora was the first bra burner Ain t ya glad she showed up?"Celia Cruz recorded a track titled Isadora Duncan with the Fania All-Stars for the album Cross Over released in 1979.[85]Rock musician Vic Chesnutt included a song about Duncan on his debut album Little.[86]Rock band Burden of a day included a song about Duncan on their album the poem Fever 103 by Sylvia Plath, the speaker alludes to Isadora's scarves.

Sold on eBay September 17th, 2023

LEGENDARY DANCER LOIE FULLER & HER MUSES RARE 1910 DANCE PROGRAM

A rare large original 1910 dance program for the legendary Loie Fuller and Her Muses at the Boston Opera House. Isadora Duncan. Ten pages. Dimensions nine and a quarter by three and three quarters inches. Light wear otherwise good. See Loie Fuller's extraordinary biography below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early ballet and dance memorabilia, early theatre, opera, film, magic, and historical autographs, photographs, programs and broadsides, and great actor and actress cabinet photos and CDV's.From Wikipedia:Loie Fuller (/?lo?i/;[1] born Marie Louise Fuller; January 15, 1862 – January 1, 1928), also known as Louie Fuller and Loïe Fuller, was an American dancer and a pioneer modern dance and theatrical lighting techniques Early life and debutMarie Louise Fuller was born on January 15, 1862 in Fullersburg, Illinois, on a remote farm conveniently linked to Chicago by a newly constructed plank road. When Fuller was two, her parents Reuben Fuller and Delilah Eaton moved to Chicago and opened a boarding house. Fuller's parents took her to the Progressive Lyceum, a hub of Freethought, on Sunday mornings [2]Fuller debuted on the stage as a toddler, performing a variety of dramatic and dance roles in Chicago. Her dramatic debut at the age of four was at the Chicago Academy of Music, playing a young boy in Was He Right?.[3] Fuller's career as a child perfomer progressed with little formal training and much variety, as she experimented with dramatic reading, singing, and dance.[4] As a child, Fuller's family moved in and out of Chicago, with Fuller eventually securing a part in Buffalo Bill's touring act at the age of nineteen [2]Marie Louise Fuller changed her name to the more glamorous "Loïe" at the age of sixteen. An early free dance practitioner, Fuller developed her own natural movement and improvisation techniques. In multiple shows she experimented with a long skirt, choreographing its movements and playing with the ways it could reflect light.By 1891, Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design, and created the Serpentine Dance.[5] After much difficulty finding someone willing to produce her work when she was primarily known as an actress, she was finally hired to perform her piece between acts of a comedy entitled Uncle Celestine, and received rave reviews [6]CareerPortrait of Fuller by Frederick Glasier, 1902Almost immediately, she was replaced by imitators (originally Minnie "Renwood" Bemis). In the hope of receiving serious artistic recognition that she was not getting in America, Fuller left for Europe in June 1892. She became one of the first of many American modern dancers who traveled to Europe to seek recognition. Her warm reception in Paris persuaded Fuller to remain in France, where she became one of the leading revolutionaries in the arts.[4]A regular performer at the Folies Bergère with works such as Fire Dance, Fuller became the embodiment of the Art Nouveau movement and was often identified with symbolism, as her work was seen as the perfect reciprocity between idea and symbol.[2] Fuller began adapting and expanding her costume and lighting, so that they became the principal element in her even more important than the actual choreography, especially as the length of the skirt was increased and became the central focus, while the body became mostly hidden within the depths of the fabric.[7] The choreography of the Serpentine Dance was filmed by multiple early filmmakers, including Auguste and Louis Lumière, but it is unclear whether the recordings depict Fuller herself [8][9]Table lamp: Dance of the Lily (Loie Fuller) - around 1901-Gilt bronze-Museum Wiesbaden-Raoul Larche (1860 1912)Fuller at the Folies Bergère, poster by PAL (Jean de Paléologue)Fuller s pioneering work attracted the attention, respect, and friendship of many French artists and scientists, including Jules Chéret, Henri de Toulouse Lautrec François-Raoul Larche, Henri-Pierre Roché, Auguste Rodin, Jean-Léon Gérôme, Franz von Stuck, Maurice Denis, Thomas Theodor Heine, Paul-Léon Jazet, Koloman Moser, Demétre Chiparus, Stéphane Mallarmé, and Marie Curie. Fuller was also a member of the Société astronomique de France (French Astronomical Society) [citation needed]Fuller patented many of her innovations in stage lighting, including the use of chemical compounds for creating color gel, and the application of chemical salts to luminescent lighting and garments [8]Fuller also sought legal protection for her choreography, but was less successful. Her lawsuit against imitator Minnie Renwood Bemis was decided in Bemis' favor, allowing Bemis' performances at Madison Square Garden to continue. The judge in the case ruled that Fuller's original choreography told no story and therefore could not be copyrighted [10][11] The precedent set by Fuller's case remained in place until the passage of the Copyright Act of 1976, which explicitly extended protection to nondramatic choreographic works.[12][13] Another notorious imitator was Lord Yarmouth, later 7th Marquess of Hertford, who performed the Serpentine Dance under the stage name of ‘Mademoiselle Roze’ [14][15]Fuller supported other pioneering performers, such as fellow United States-born dancer Isadora Duncan. Fuller helped Duncan ignite her European career in 1902 by sponsoring independent concerts in Vienna and Budapest [16]Loie Fuller's original stage name was "Louie". In modern French "L'ouïe" is the word for a sense of hearing. When Fuller reached Paris she gained a nickname which was a pun on Louie L ou e She was renamed "Loïe" - this nickname is a corruption of the early or Medieval French "L'oïe", a precursor to "L'ouïe", which means "receptiveness" or understanding She was also referred to by the nickname "Lo Lo Fuller [citation needed]A dancer (not Fuller) performing Fuller's serpentine dance in a 1902 film directed by Segundo de ChomónPersonal lifeFuller met her romantic partner of over 30 years, Gab Sorère, in the mid-1890s. Sorère was born Gabrielle Bloch, the daughter of wealthy French bankers, in 1870, and eventually took the name Gab Sorère in 1920. Bloch first saw Fuller perform at the age of 14, and by 1898 Fuller and Bloch were living together [17]Fuller and Bloch's relationship initially yattracted some attention in the press, as Bloch dressed exclusively in menswear, and was 8 years Fuller's junior. The press coverage of their relationship declined over time, focusing more on Fuller's mother, and allowing Bloch and Fuller to live a relatively unbothered life.[18]Fuller met Crown Princess Marie of Romania, later to become Queen Marie, in 1902, at a performance in Bucharest. Marie and Fuller became close, and maintained an extensive correspondence as close friends. Their relationship was the subject of scandalous rumors,[19] alleging that Fuller and Queen Marie were lovers.[20] Fuller, through a connection at the United States embassy in Paris, played a role in arranging a United States loan for Romania during World War I.[citation needed]Later, during the period when the future Carol II of Romania was alienated from the Romanian royal family and living in Paris with his mistress Magda Lupescu, she befriended them; they were unaware of her connection to Carol's mother Marie. Fuller initially advocated to Marie on behalf of the couple, but later schemed unsuccessfully with Marie to separate Carol from Lupescu.[21] With Queen Marie and American businessman Samuel Hill, Fuller helped found the Maryhill Museum of Art in rural Washington state, which has permanent exhibits about her career [22]Later life and deathFuller occasionally returned to America to stage performances by her students, the "Fullerets" or Muses, but spent the end of her life in Paris. She died of pneumonia at the age of 65 on January 1, 1928, in Paris, two weeks shy of her 66th birthday. She was cremated and buried in the columbarium of the Père-Lachaise cemetery (site No. 5382) in Paris [23]LegacyFuller depicted by Koloman Moser (1901)Fuller painted by Toulouse LautrecPoster featuring Fuller at the Folies Bergères by Jules ChéretAfter Fuller's death, her romantic partner of thirty years, Gab Sorère inherited the dance troupe as well as the laboratory Fuller had operated [24][17] Sorère took legal action against dancers who wrongfully used Fuller's fame to enhance their own careers[25] and produced both films and theatrical productions to honor Fuller's legacy as a visual effects artist [26]Fuller s work has been experiencing a resurgence of professional and public interest. Rhonda K. Garelick's 2009 study entitled Electric Salome demonstrates her centrality not only to dance, but also modernist performance [27] Sally R. Sommer has written extensively about Fuller's life and times[28] Marcia and Richard Current published a biography entitled Loie Fuller, Goddess of Light in 1997.[29] The philosopher Jacques Rancière devoted a chapter of Aisthesis, his history of modern aesthetics, to Fuller's 1893 performances in Paris, which he considers emblematic of Art Nouveau in their attempt to link artistic and technological invention.[30] Giovanni Lista compiled a 680-page book of Fuller-inspired art work and texts in Loïe Fuller, Danseuse de la Belle Epoque in 1994.[31] In the 1980s, Munich dancer Brygida Ochaim[32] revived Fuller's dances and techniques, also appearing in the Claude Chabrol film The Swindler.In 2016, Stéphanie Di Giusto directed the movie The Dancer about the life of Loïe Fuller, with actresses Soko as Loïe and Lily-Rose Depp as Isadora Duncan. Jody Sperling choreographed Soko's dances for the movie, served as creative consultant and was Soko's dance coach, training her in Fuller technique.[33] The movie premiered at the 2016 Cannes Film Festival [34]Fuller continues to be an influence on contemporary choreographers. Sperling, who re-imagines Fuller's genre from a contemporary perspective, has choreographed dozens of works inspired by Fuller and expanded Fuller's vocabulary and technique into the 21st century. Sperling's company Time Lapse Dance consists of six dancers all versed in Fuller-style technique and performance. Another is Ann Cooper Albright, who collaborated with a lighting designer on a series of works that drew inspiration from Fuller’s original lighting design patents.[35] Shela Xoregos choreographed a tribute, La Lo?e, a solo which shows several of Fuller's special effects [citation needed]Taylor Swift's 2018 Reputation Tour featured a segment dedicated to Fuller. During her performance of "Dress" each night on the tour, several dancers recreated the "Serpentine Dance."[36][37] In the reputation Stadium Tour concert film on Netflix, after “Dress” there is a message showing Taylor’s dedication to Fuller.[38]Into the 2019 film Radioactive Loie Fuller (Drew Jacoby) is a friend of the main character Marie Curie. The scientist envisions Fuller dancing in the green light of radium.[39] The dancer also introduces the Curies to a medium.Written worksFuller's memoir Quinze ans de ma vie was written in English, translated into French by Bojidar Karageorgevitch and published by F. Juven (Paris) in 1908 with an introduction by Anatole France.[40] She drafted her memoirs again in English a few years later, which were published under the title Fifteen Years of a Dancer's Life by H. Jenkins (London) in 1913.[41] The New York Public Library Jerome Robbins Dance Collection holds the nearly complete manuscript to the English edition and materials related to the French edition Fuller s autobiography is a first hand account, and she was known for being very adaptive in her story telling. There are seven highly dramatized versions of how she got her first silk skirt; however, the real story is unknown. As well as writing about inventing the Serpentine Dance, she also wrote extensively about her own theories of modern dance and motion.

Sold on eBay October 21st, 2024

HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill

HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill Click images to enlarge Description This is a wonderful find from the limited Off-Broadway world premier of Stephen Sondheim's final musical Here We Are. The cover of the Playbill has been signed by 11 members of the cast including: Amber Gray Jin Ha Rachel Bay Jones Denis O’Hare David Hyde Pierce Understudies: Bradley Dean, Adante Carter The Playbill photographed is the Playbill up for auction so please feel free to use the full size images to check signature placement & condition, and for additional signature identification. The Playbill does have flaws that I have tried to highlight in detail images. PLEASE CHECK FULL SIZE IMAGES BEFORE BIDDING. Thank you & happy bidding! Payment PayPal only. Shipping Unless explicitly stated otherwise, all windowcards will be shipped flat. Combined shipping offered for multiple items won during a 7 day period. If you are bidding on additional items please message us so we can arrange delayed payment & combined shipping. Domestic shipping via UPS or USPS Priority (for PO Box addresses). All international shipping via USPS Priority International. International Buyers Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. Note: It's illegal to falsify customs declarations or mark an item as a "gift" in order to avoid customs fees. Due to the limited (or even one of a kind) nature of our items, we only ship using methods that include tracking information. Terms of Sale Although Broadway Cares has endeavored to catalog and describe all items as accurately as possible, all items are sold "As Is." About Us Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources, and generosity of the American theatre community, since 1988 Broadway Cares/Equity Fights AIDS has raised more than $285 million for essential services for people with AIDS and other critical illnesses across the United States. Broadway Cares/Equity Fights AIDS is the major supporter of the social service programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Samuel J. Friedman Health Center for the Performing Arts. Broadway Cares also awards annual grants to more than 450 AIDS and family service organizations in all 50 states, providing lifesaving medication, healthy meals, counseling and emergency assistance. Contact Us BC/EFA's office hours are Monday through Thursday 10 AM to 6 PM EST and Friday 10 AM to 3 PM EST. All eBay.com auction related inquiries that are received while our office is closed will be handled the next business day. Pictures sell!Auctiva offers Free Image Hosting and Editing.300+ Listing Templates Auctiva gets you noticed!THE simple solution for eBay sellers. Track Page Views WithAuctiva's Counter

Sold on eBay January 11th, 2025

Leonard Bernstein "CANDIDE" Ron Moody / Victor Spinetti 1959 London Playbill

Sold on eBay January 18th, 2025

SHERLOCK HOLMES: ARTHUR CONAN DOYLE RARE 1895 WATERLOO SECOND NIGHT PROGRAM

A rare original Lyceum Theatre second night program for Sherlock Holmes author A. Conan Doyle's A Story of Waterloo starring Sir Henry Irving. Also featured on the bill are Arthur Wing Pinero's Bygones and Don Quixote, with Irving in the title role and Ellen Terry's daughter Ailsa Craig. Future Dracula author Bram Stoker is listed as Acting Manager. Four pages. Dimensions eight and a quarter by six and three quarters inches. Light wear, archival reinforcement at corners and general dusting and staining else good. See A. Conan Doyle and Henry Irving's extraordinary biographies below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early theatre, opera, film and historical autographs, photographs and programs and great actor and actress cabinet photos and CDV's. From Wikipedia: Sir Arthur Ignatius Conan Doyle KStJ DL (22 May 1859 – 7 July 1930) was a British writer and medical doctor. He created the character Sherlock Holmes in 1887 when he published A Study in Scarlet, the first of four novels and more than fifty short stories about Holmes and Dr. Watson. The Sherlock Holmes stories are generally considered milestones in the field of crime fiction.Doyle was a prolific writer; other than Holmes stories, his works include fantasy and science fiction stories about Professor Challenger and humorous stories about the Napoleonic soldier Brigadier Gerard, as well as plays, romances, poetry, non-fiction and historical novels. One of Doyle's early short stories, "J. Habakuk Jephson's Statement" (1884), helped to popularise the mystery of the Mary Celeste.Doyle was born on 22 May 1859 at 11 Picardy Place, Edinburgh, Scotland.[5][6] His father, Charles Altamont Doyle, was English, of Irish Catholic descent, and his mother, Mary (née Foley), was Irish Catholic. His parents married in 1855.[7] In 1864 the family scattered because of Charles's growing alcoholism, and the children were temporarily housed across Edinburgh. Arthur lodged with Mary Burton, the aunt of a friend, at Liberton Bank House on Gilmerton Road, while studying at Newington Academy.[8]In 1867, the family came together again and lived in squalid tenement flats at 3 Sciennes Place.[9] Doyle's father died in 1893, in the Crichton Royal, Dumfries, after many years of psychiatric illness [10][11] Beginning at an early age, throughout his life, Doyle wrote letters to his mother, and many of them were preserved [12]Supported by wealthy uncles, Doyle was sent to England, at the Jesuit preparatory school Hodder Place, Stonyhurst in Lancashire at the age of nine (1868–70). He then went on to Stonyhurst College, which he attended until 1875. While Doyle was not unhappy at Stonyhurst, he said he did not have any fond memories of it because the school was run on medieval principles: the only subjects covered were rudiments, rhetoric, Euclidean geometry, algebra and the classics.[13] Doyle commented later in his life that this academic system could only be excused "on the plea that any exercise, however stupid in itself, forms a sort of mental dumbbell by which one can improve one's mind."[13] He also found the school harsh, noting that, instead of compassion and warmth, it favoured the threat of corporal punishment and ritual humiliation [14]From 1875 to 1876, he was educated at the Jesuit school Stella Matutina in Feldkirch, Austria.[9] His family decided that he would spend a year there in order to perfect his German and broaden his academic horizons.[15] He later rejected the Catholic faith and became an agnostic.[16] One source attributed his drift away from religion to the time he spent in the less strict Austrian school.[14] He also later became a spiritualist mystic [17]Medical careerFrom 1876 to 1881, Doyle studied medicine at the University of Edinburgh Medical School; during this period he spent time working in Aston (then a town in Warwickshire, now part of Birmingham), Sheffield and Ruyton XI Towns Shropshire.[18] Also during this period, he studied practical botany at the Royal Botanic Garden in Edinburgh.[19] While studying, Doyle began writing short stories. His earliest extant fiction, "The Haunted Grange of Goresthorpe", was unsuccessfully submitted to Blackwood's Magazine.[9] His first published piece, "The Mystery of Sasassa Valley", a story set in South Africa, was printed in Chambers's Edinburgh Journal on 6 September 1879.[9][20] On 20 September 1879, he published his first academic article, "Gelsemium as a Poison" in the British Medical Journal [9][21][22] a study which The Daily Telegraph regarded as potentially useful in a 21st-century murder investigation [23]Professor Challenger by Harry Rountree in the novella The Poison Belt published in The Strand MagazineDoyle was the doctor on the Greenland whaler Hope of Peterhead in 1880.[24] On 11 July 1880 John Gray's Hope and David Gray's Eclipse met up with the Eira and Leigh Smith. The photographer W.J.A. Grant took a photograph aboard the Eira of Doyle along with Smith, the Gray brothers, and ship's surgeon William Neale, who were members of the Smith expedition. That expedition explored Franz Josef Land, and led to the naming, on 18 August, of Cape Flora, Bell Island, Nightingale Sound, Gratton ("Uncle Joe") Island, and Mabel Island [25]After graduating with Bachelor of Medicine and Master of Surgery (M.B. C.M.) degrees from the University of Edinburgh in 1881, he was ship's surgeon on the SS Mayumba during a voyage to the West African coast.[9] He completed his Doctor of Medicine (M.D.) degree (an advanced degree beyond the basic medical qualification in the UK) with a dissertation on tabes dorsalis in 1885.[26]In 1882, Doyle partnered with his former classmate George Turnavine Budd in a medical practice in Plymouth, but their relationship proved difficult, and Doyle soon left to set up an independent practice [9][27] Arriving in Portsmouth in June 1882, with less than £10 (£1000 today[28]) to his name, he set up a medical practice at 1 Bush Villas in Elm Grove, Southsea.[29] The practice was not successful. While waiting for patients, Doyle returned to writing fiction.Doyle was a staunch supporter of compulsory vaccination and wrote several articles advocating the practice and denouncing the views of anti vaccinators [30][31]In early 1891, Doyle embarked on the study of ophthalmology in Vienna. He had previously studied at the Portsmouth Eye Hospital in order to qualify to perform eye tests and prescribe glasses. Vienna has been suggested by his friend Vernon Morris as a place to spend six months and train to be an eye surgeon. But Doyle found it too difficult to understand the German medical terms being used in his classes in Vienna, and soon quit his studies there. For the rest of his two-month stay in Vienna, he pursued other activities, such as ice skating with his wife Louisa and drinking with Brinsley Richards of the London Times. He also wrote The Doings of Raffles Haw.After visiting Venice and Milan, he spent a few days in Paris observing Edmund Landolt, an expert on diseases of the eye. Within three months of his departure for Vienna, Doyle returned to London. He opened a small office and consulting room at 2 Upper Wimpole Street, or 2 Devonshire Place as it was then. (There is today a Westminster City Council commemorative plaque over the front door.) He had no patients, according to his autobiography, and his efforts as an ophthalmologist were a failure [32][33][34]Sherlock HolmesPortrait of Sherlock Holmes by Sidney Paget, 1904Doyle struggled to find a publisher for his work. His first work featuring Sherlock Holmes and Dr. Watson, A Study in Scarlet, was written in 3 weeks when he was 27 and was accepted for publication by Ward Lock & Co on 20 November 1886, which gave Doyle £25 (equivalent to £2,700 in 2019) in exchange for all rights to the story. The piece appeared a year later in the Beeton's Christmas Annual and received good reviews in The Scotsman and the Glasgow Herald [9]Holmes was partially modelled on his former university teacher Joseph Bell. In 1892, in a letter to Bell, Doyle wrote, "It is most certainly to you that I owe Sherlock Holmes ... round the centre of deduction and inference and observation which I have heard you inculcate I have tried to build up a man",[35] and in his 1924 autobiography he remarked, "It is no wonder that after the study of such a character [viz., Bell] I used and amplified his methods when in later life I tried to build up a scientific detective who solved cases on his own merits and not through the folly of the criminal."[36] Robert Louis Stevenson was able, even in faraway Samoa, to recognise the strong similarity between Joseph Bell and Sherlock Holmes: "My compliments on your very ingenious and very interesting adventures of Sherlock Holmes. ... can this be my old friend Joe Bell?"[37] Other authors sometimes suggest additional instance, the famous Edgar Allan Poe character C. Auguste Dupin.[38] Dr. (John) Watson owes his surname, but not any other obvious characteristic, to a Portsmouth medical colleague of Doyle's, Dr. James Watson [39]Sherlock Holmes statue in Edinburgh, erected opposite the birthplace of Doyle, which was demolished c. 1970A sequel to A Study in Scarlet was commissioned, and The Sign of the Four appeared in Lippincott's Magazine in February 1890, under agreement with the Ward Lock company. Doyle felt grievously exploited by Ward Lock as an author new to the publishing world, and so, after this, he left them.[9] Short stories featuring Sherlock Holmes were published in the Strand Magazine. Doyle wrote the first five Holmes short stories from his office at 2 Upper Wimpole Street (then known as Devonshire Place), which is now marked by a memorial plaque [40]Doyle s attitude towards his most famous creation was ambivalent.[39] In November 1891 he wrote to his mother: "I think of slaying Holmes, ... and winding him up for good and all. He takes my mind from better things." His mother responded, "You won't! You can't! You mustn't!"[41] In an attempt to deflect publishers' demands for more Holmes stories, he raised his price to a level intended to discourage them, but found they were willing to pay even the large sums he asked.[39] As a result, he became one of the best-paid authors of his time.Statue of Holmes and the English Church in MeiringenIn December 1893, to dedicate more of his time to his historical novels, Doyle had Holmes and Professor Moriarty plunge to their deaths together down the Reichenbach Falls in the story "The Final Problem". Public outcry, however, led him to feature Holmes in 1901 in the novel The Hound of the Baskervilles. Holmes' fictional connection with the Reichenbach Falls is celebrated in the nearby town of Meiringen.In 1903, Doyle published his first Holmes short story in ten years, "The Adventure of the Empty House", in which it was explained that only Moriarty had fallen, but since Holmes had other dangerous Colonel Sebastian Moran—he had arranged to make it look like he too was dead. Holmes was ultimately featured in a total of 56 short stories—the last published in 1927—and four novels by Doyle, and has since appeared in many novels and stories by other authors.Jane Stanford compares some of Moriarty's characteristics to those of the Fenian John O'Connor Power. "The Final Problem" was published the year the Second Home Rule Bill passed through the House of Commons. "The Valley of Fear" was serialised in 1914, the year Home Rule, the Government of Ireland Act (18 September) was placed on the Statute Book.[42]Other worksDoyle's house in South NorwoodDoyle's first novels were The Mystery of Cloomber, not published until 1888, and the unfinished Narrative of John Smith, published only posthumously, in 2011.[43] He amassed a portfolio of short stories, including "The Captain of the Pole-Star" and "J. Habakuk Jephson's Statement", both inspired by Doyle's time at sea. The latter popularised the mystery of the Mary Celeste[44] and added fictional details such as that the ship was found in perfect condition (it had actually taken on water by the time it was discovered), and that its boats remained on board (the single boat was in fact missing). These fictional details have come to dominate popular accounts of the incident, [9][44] and Doyle's alternate spelling of the ship's name as the Marie Celeste has become more commonly used than the original spelling [45]Between 1888 and 1906, Doyle wrote seven historical novels, which he and many critics regarded as his best work.[39] He also authored nine other novels, and—later in his career (1912–29)— five narratives (two of novel length) featuring the irascible scientist Professor Challenger. The Challenger stories include what is probably his best-known work after the Holmes oeuvre, The Lost World. His historical novels include The White Company and its prequel Sir Nigel, set in the Middle Ages. He was a prolific author of short stories, including two collections set in Napoleonic times and featuring the French character Brigadier Gerard.Doyle's works for the stage include: Waterloo, which centres on the reminiscences of an English veteran of the Napoleonic Wars, and features a character, Gregory Brewster, that was written for Henry Irving; The House of Temperley, the plot of which reflects his abiding interest in boxing; The Speckled Band, adapted from his earlier short story "The Adventure of the Speckled Band"; and an 1893 collaboration with J.M. Barrie on the libretto of Jane Annie [46]Sporting careerWhile living in Southsea, the seaside resort of Portsmouth, Doyle played football as a goalkeeper for Portsmouth Association Football Club, an amateur side, under the pseudonym A. C. Smith.[47]Doyle was a keen cricketer, and between 1899 and 1907 he played 10 first-class matches for the Marylebone Cricket Club (MCC).[48] He also played for the amateur cricket teams the Allahakbarries and the Authors XI alongside fellow writers J. M. Barrie, P. G. Wodehouse and A. A. Milne.[49][50] His highest score, in 1902 against London County, was 43. He was an occasional bowler who took just one first-class wicket, although one of the highest pedigree as it was W. G. Grace.[51]Doyle was an amateur boxer.[52] In 1909, he was invited to referee the James Jeffries–Jack Johnson heavyweight championship fight in Reno, Nevada. Doyle wrote, "I was much inclined to accept...though my friends pictured me as winding up with a revolver at one ear and a razor at the other. However, the distance and my engagements presented a final bar."[52]Also a keen golfer, Doyle was elected captain of the Crowborough Beacon Golf Club in Sussex for 1910. He had moved to Little Windlesham house in Crowborough with Jean Leckie, his second wife, and resided there with his family from 1907 until his death in July 1930.[53]He entered the English Amateur billiards championship in 1913.[54]Family lifeArthur Conan Doyle by George Wylie Hutchinson, 1894In 1885 Doyle married Louisa (sometimes called "Touie") Hawkins (1857–1906). She was the youngest daughter of J. Hawkins, of Minsterworth, Gloucestershire and the sister of one of Doyle's patients. Louisa suffered from tuberculosis [55] In 1907, the year after Louisa's death, he married Jean Elizabeth Leckie (1874–1940). He had met and fallen in love with Jean in 1897, but had maintained a platonic relationship with her while his first wife was still alive, out of loyalty to her.[56] Jean survived him by ten years, and died in London [57]Doyle fathered five children. He had two with his first wife: Mary Louise (1889–1976) and Arthur Alleyne Kingsley, known as Kingsley (1892–1918). He had an additional three with his second wife: Denis Percy Stewart (1909–1955), who became the second husband of Georgian Princess Nina Mdivani; Adrian Malcolm (1910–1970); and Jean Lena Annette (1912–1997) [58] All of Doyle's five children died without issue, so he has no direct descendants [59][60]Political served as a volunteer doctor in the Langman Field Hospital at Bloemfontein between March and June 1900,[61] during the Second Boer War in South Africa (1899–1902). Later that same year, he wrote a book on the war, The Great Boer War, as well as a short work titled The War in South Africa: Its Cause and Conduct, in which he responded to critics of the United Kingdom's role in that war, and argued that its role was justified. The latter work was widely translated, and Doyle believed it was the reason he was knighted (given the rank of Knight Bachelor) by King Edward VII in the 1902 Coronation Honours.[62] (He received the accolade from the King in person at Buckingham Palace on 24 October of that year.)[63]He stood for Parliament twice as a Liberal Unionist: in 1900 in Edinburgh Central; and in 1906 in the Hawick Burghs. He received a respectable share of the vote, but was not elected.[64] He served as a Deputy Lieutenant of Surrey beginning in 1902,[65] and was appointed a Knight of Grace of the Order of the Hospital of Saint John of Jerusalem in 1903.[66]Doyle was a supporter of the campaign for the reform of the Congo Free State that was led by the journalist E. D. Morel and diplomat Roger Casement. In 1909 he wrote The Crime of the Congo, a long pamphlet in which he denounced the horrors of that colony. He became acquainted with Morel and Casement, and it is possible that, together with Bertram Fletcher Robinson, they inspired several characters that appear in his 1912 novel The Lost World.[67] Later, after the Easter Rising, Casement was found guilty of treason against the Crown, and was sentenced to death. Doyle tried, unsuccessfully, to save him, arguing that Casement had been driven mad, and therefore should not be held responsible for his actions [68]Justice advocateDoyle statue in Crowborough, East SussexDoyle was also a fervent advocate of justice and personally investigated two closed cases, which led to two men being exonerated of the crimes of which they were accused. The first case, in 1906, involved a shy half-British, half-Indian lawyer named George Edalji who had allegedly penned threatening letters and mutilated animals in Great Wyrley. Police were set on Edalji's conviction, even though the mutilations continued after their suspect was jailed.[69] Apart from helping George Edalji, Doyle's work helped establish a way to correct other miscarriages of justice, as it was partially as a result of this case that the Court of Criminal Appeal was established in 1907.[70]The story of Doyle and Edalji was dramatised in an episode of the 1972 BBC television series, The Edwardians. In Nicholas Meyer's pastiche The West End Horror (1976), Holmes manages to help clear the name of a shy Parsi Indian character wronged by the English justice system. Edalji was of Parsi heritage on his father's side. The story was fictionalised in Julian Barnes's 2005 novel Arthur and George, which was adapted into a three-part drama by ITV in 2015.The second case, that of Oscar Slater—a Jew of German origin who operated a gambling den and was convicted of bludgeoning an 82-year-old woman in Glasgow in 1908–excited Doyle's curiosity because of inconsistencies in the prosecution's case and a general sense that Slater was not guilty. He ended up paying most of the costs for Slater's successful 1928 appeal [71]Spiritualism had a longstanding interest in mystical subjects, and remained fascinated by the idea of paranormal phenomena, even though the strength of his belief in their reality waxed and waned periodically over the years.In 1887, in Southsea, influenced by Major-General Alfred Wilks Drayson, a member of the Portsmouth Literary and Philosophical Society, Doyle began a series of investigations into the possibility of psychic phenomena, and attended about 20 seances, experiments in telepathy, and sittings with mediums. Writing to Spiritualist journal Light that year, he declared himself to be a Spiritualist, describing one particular event that had convinced him psychic phenomena were real.[72] Also in 1887 (on 26 January), he was initiated as a Freemason at the Phoenix Lodge No. 257 in Southsea. (He resigned from the Lodge in 1889, returned to it in 1902, and resigned again in 1911.)[73]In 1889, he became a founding member of the Hampshire Society for Psychical Research; in 1893, he joined the London-based Society for Psychical Research; and in 1894, he collaborated with Sir Sidney Scott and Frank Podmore in a search for poltergeists in Devon.[74]In 1916, during the height of World War I, Doyle's belief in psychic phenomena was strengthened by what he took to be the psychic abilities of his children's nanny, Lily Loder Symonds.[75] This and the constant drumbeat of wartime deaths inspired him with the idea that Spiritualism was what he called a "New Revelation"[76] sent by God to bring solace to the bereaved. He wrote a piece in Light magazine about his faith and began lecturing frequently on Spiritualism. In 1918, he published his first Spiritualist work, The New Revelation.Some have mistakenly assumed that Doyle's turn to Spiritualism was prompted by the death of his son Kingsley, but Doyle began presenting himself publicly as a Spiritualist in 1916, and Kingsley died on 28 October 1918 (of pneumonia contracted during his convalescence after being seriously wounded in the 1916 Battle of the Somme) [76]Nevertheless the war-related deaths of many people who were close to him appears to have even further strengthened his long-held belief in life after death and spirit communication. Doyle's brother Brigadier general Innes Doyle died, also from pneumonia, in February 1919. His two brothers-in-law (one of whom was E. W. Hornung, creator of the literary character Raffles), as well as his two nephews, also died shortly after the war. His second book on Spiritualism, The Vital Message, appeared in 1919.Doyle found solace in supporting Spiritualism's ideas and the attempts of Spiritualists to find proof of an existence beyond the grave. In particular, according to some,[77] he favoured Christian Spiritualism and encouraged the Spiritualists' National Union to accept an eighth precept – that of following the teachings and example of Jesus of Nazareth. He was a member of the renowned supernaturalist organisation The Ghost Club.[78]Doyle with his family in New York City, 1922In 1919, the magician P. T. Selbit staged a séance at his flat in Bloomsbury, which Doyle attended. Although some later claimed that Doyle had endorsed the apparent instances of clairvoyance at that séance as genuine [79][80] a contemporaneous report by the Sunday Express quoted Doyle as saying, "I should have to see it again before passing a definite opinion on it," and, "I have my doubts about the whole thing".[81] In 1920, Doyle and the noted sceptic Joseph McCabe held a public debate at Queen's Hall in London, with Doyle taking the position that the claims of Spiritualism were true. After the debate, McCabe published a booklet, entitled Is Spiritualism Based on Fraud?, in which he laid out evidence refuting Doyle's arguments and claimed that Doyle had been duped into believing in Spiritualism through deliberate mediumship trickery [82]Doyle also debated the psychiatrist Harold Dearden, who vehemently disagreed with Doyle's belief that many cases of diagnosed mental illness were the result of spirit possession [83]In 1920, Doyle travelled to Australia and New Zealand on Spiritualist missionary work, and over the next several years, until his death, he continued his mission, giving talks about his Spiritualist conviction in Britain, Europe, and the United States.[74]One of the five photographs of Frances Griffiths with the alleged fairies, taken by Elsie Wright in July 1917Doyle wrote a novel centered on Spiritualist themes, The Land of Mist, featuring the character Professor Challenger. He also wrote many non-fiction Spiritualist works. Perhaps his most famous of these was The Coming of the Fairies (1922),[84] in which Doyle described his beliefs about the nature and existence of fairies and spirits, reproduced the five Cottingley Fairies photographs, asserted that those who suspected they were faked were wrong, and expressed his conviction that they were authentic. Decades later, the photos were definitively shown to have been faked, and their creators admitted to the fakery.Doyle was friends for a time with the American magician Harry Houdini. Even though Houdini explained that his feats were based on illusion and trickery, Doyle was convinced that Houdini had supernatural powers, and said as much in his work, The Edge of the Unknown. Houdini's friend Bernard M. L. Ernst, recounted a time when Houdini had performed an impressive trick at his home in Doyle's presence. Houdini had assured Doyle that the trick was pure illusion, and had expressed the hope that this demonstration would persuade Doyle not to go around "endorsing phenomena" simply because he could think of no explanation for what he had seen other than supernatural power. But, according to Ernst, Doyle simply refused to believe it had been a trick [85]Houdini became a prominent opponent of the Spiritualist movement in the 1920s, after the death of his beloved mother. He insisted that Spiritualist mediums employed trickery, and consistently exposed them as frauds. These differences between Houdini and Doyle eventually led to a bitter, public falling-out between them.[86]In 1922, the psychical researcher Harry Price accused the "spirit photographer" William Hope of fraud. Doyle defended Hope, but further evidence of trickery was obtained from other researchers [87] Doyle threatened to have Price evicted from the National Laboratory of Psychical Research and predicted that, if he persisted in writing what he called "sewage" about Spiritualists, he would meet the same fate as Harry Houdini.[88] Price wrote "Arthur Conan Doyle and his friends abused me for years for exposing Hope."[89] In response to the exposure of frauds that had been perpetrated by Hope and other Spiritualists, Doyle led eighty-four members of the Society for Psychical Research to resign in protest from the society on the ground that they believed it was opposed to Spiritualism [90]In another instance, Doyle and the Spiritualist William Thomas Stead were led to believe that Julius and Agnes Zancig had genuine psychic powers, and they claimed publicly that the Zancigs used telepathy. However, in 1924, the Zancigs confessed that their mind reading act had been a trick; they published the secret code and all other details of the trick method they had used under the title "Our Secrets!!" in a London newspaper.[91] Doyle also praised the psychic phenomena and spirit that he believed had been produced by Eusapia Palladino and Mina Crandon, both of whom were also later exposed as frauds [92]Doyle s two-volume book, The History of Spiritualism was published in 1926. W. Leslie Curnow, a Spiritualist, contributed much research to the book.[93][94] Later that year, Robert John Tillyard wrote a predominantly supportive review of it in the journal Nature.[95] This review provoked controversy: Several other critics, notably A. A. Campbell Swinton, pointed out the evidence of fraud in mediumship as well as Doyle's non-scientific approach to the subject [96][97][98] In 1927, Doyle gave a filmed interview, in which he spoke about Sherlock Holmes and Spiritualism [99]Richard Milner, an American historian of science, has presented a case that Doyle may have been the perpetrator of the Piltdown Man hoax of 1912, creating the counterfeit hominid fossil that fooled the scientific world for over 40 years. Milner noted that Doyle had a plausible motive—namely revenge on the scientific establishment for debunking one of his favourite psychics—and said that The Lost World appeared to contain several clues referring cryptically to his having been involved in the hoax.[100][101] Samuel Rosenberg's 1974 book Naked is the Best Disguise purports to explain how, throughout his writings, Doyle had provided overt clues to otherwise hidden or suppressed aspects of his way of thinking that seemed to support the idea Doyle would be involved in such a hoax [102]However more recent research suggests that Doyle was not involved. In 2016, researchers at the Natural History Museum and Liverpool John Moores University analyzed DNA evidence showing that responsibility for the hoax lay with the amateur archaeologist Charles Dawson, who had originally "found" the remains. He had initially not been considered the likely perpetrator, because the hoax was seen as being too elaborate for him to have devised. However, the DNA evidence showed that a supposedly ancient tooth he had "discovered" in 1915 (at a different site) came from the same jaw as that of the Piltdown Man, suggesting he had planted them both. That tooth, too, was later proven to have been planted as part of a hoax.[103]Dr Chris Stringer, an anthropologist from the Natural History Museum, was quoted as saying: “Conan Doyle was known to play golf at the Piltdown site and had even given Dawson a lift in his car to the area, but he was a public man and very busy and it is very unlikely that he would have had the time [to create the hoax]. So there are some coincidences, but I think they are just coincidences. When you look at the fossil evidence you can only associate Dawson with all the finds, and Dawson was known to be personally ambitious. He wanted professional recognition. He wanted to be a member of the Royal Society and he was after an MBE. He wanted people to stop seeing him as an amateur ”[104]ArchitectureFaçade of Undershaw with Doyle's children, Mary and Kingsley, on the driveAnother of Doyle's longstanding interests was architectural design. In 1895, when he commissioned an architect friend of his, Joseph Henry Ball, to build him a home, he played an active part in the design process [105][106] The home in which he lived from October 1897 to September 1907, known as Undershaw (near Hindhead, in Surrey),[107] was used as a hotel and restaurant from 1924 until 2004, when it was bought by a developer and then stood empty while and Doyle fans fought to preserve it.[55] In 2012, the High Court in London ruled in favor of those seeking to preserve the historic building, ordering that the redevelopment permission be quashed on the ground that it had not been obtained through proper procedures [108] The building was later approved to become part of Stepping Stones, a school for children with disabilities and special needs.Doyle made his most ambitious foray into architecture in March 1912, while he was staying at the Lyndhurst Grand Hotel: He sketched the original designs for a third storey extension and for an alteration of the front facade of the building.[109] Work began later that year, and when it was finished, the building was a nearly exact manifestation of the plans Doyle had sketched. Superficial alterations have been subsequently made, but the essential structure is still clearly Doyle's.[110]In 1914, on a family trip to the Jasper National Park in Canada, he designed a golf course and ancillary buildings for a hotel. The plans were realised in full, but neither the golf course nor the buildings have survived [111]In 1926, Doyle laid the foundation stone for a Spiritualist temple in Camden, London. Of the building's total £600 construction costs, he provided £500.Sir Henry Irving (6 February 1838 – 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the West End’s Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society.Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.

Lot of 7 AUTOGRAPHED Broadway Playbills Hairspray, Cabaret, Sweet Charity, Drood

Sold on eBay Aug, 25th 2020

Playbill Collectibles : Playbill+denis Price List

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HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill

Ruth St Denis & Ted Shawn Program April 17 1923 Denishawn Dancers

HERE WE ARE - Off Broadway / Final Stephen Sondheim production SIGNED by Cast 9X

Here We Are Cast Signed Playbill

Eleanor Drew "SALAD DAYS" John Warner / Julian Slade '54 London Souvenir Program

Elling Autographed Playbill Signed by Cast BRENDAN FRASER, JENNIFER COOLIDGE +3

Tommy Tune "BUSKERS" Brent Barrett / Marcia Lewis 1995 FLOP Souvenir Program

Ballet Legend ANNA PAVLOVA (Pavlowa) Laurent Novikoff 1923 Montreal Program

LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM

LEGENDARY DANCER LOIE FULLER & HER MUSES RARE 1910 DANCE PROGRAM

HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill

Leonard Bernstein "CANDIDE" Ron Moody / Victor Spinetti 1959 London Playbill

SHERLOCK HOLMES: ARTHUR CONAN DOYLE RARE 1895 WATERLOO SECOND NIGHT PROGRAM

Lot of 7 AUTOGRAPHED Broadway Playbills Hairspray, Cabaret, Sweet Charity, Drood

SWEET CHARITY Christina Applegate, Denis O'Hare Cast Signed Opening Playbill

John Neville "OTHELLO" Richard Burton / John Wood 1956 London Old Vic Program

Bertolt Brecht "PUNTILA" Roy Dotrice / Patrick Magee '65 London Premiere Program

Lot of 7 AUTOGRAPHED Broadway Playbills Hairspray, Cabaret, Sweet Charity, Drood

Albert Finney "HAMLET" Angela Lansbury / Denis Quilley 1976 London Playbill

"TAKE ME OUT" Playbill AUTOGRAPHED SIGNED ORIGINAL CAST

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HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill

Ruth St Denis & Ted Shawn Program April 17 1923 Denishawn Dancers

HERE WE ARE - Off Broadway / Final Stephen Sondheim production SIGNED by Cast 9X

Here We Are Cast Signed Playbill

Eleanor Drew "SALAD DAYS" John Warner / Julian Slade '54 London Souvenir Program

Elling Autographed Playbill Signed by Cast BRENDAN FRASER, JENNIFER COOLIDGE +3

Tommy Tune "BUSKERS" Brent Barrett / Marcia Lewis 1995 FLOP Souvenir Program

Ballet Legend ANNA PAVLOVA (Pavlowa) Laurent Novikoff 1923 Montreal Program

*LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM*

*LEGENDARY DANCER LOIE FULLER & HER MUSES RARE 1910 DANCE PROGRAM*

HERE WE ARE Off-Broadway Partial Cast David Hyde Pierce Signed Playbill

Leonard Bernstein "CANDIDE" Ron Moody / Victor Spinetti 1959 London Playbill

*SHERLOCK HOLMES: ARTHUR CONAN DOYLE RARE 1895 WATERLOO SECOND NIGHT PROGRAM*

Lot of 7 AUTOGRAPHED Broadway Playbills Hairspray, Cabaret, Sweet Charity, Drood

SWEET CHARITY Christina Applegate, Denis O'Hare Cast Signed Opening Playbill

John Neville "OTHELLO" Richard Burton / John Wood 1956 London Old Vic Program

Bertolt Brecht "PUNTILA" Roy Dotrice / Patrick Magee '65 London Premiere Program

Lot of 7 AUTOGRAPHED Broadway Playbills Hairspray, Cabaret, Sweet Charity, Drood

Albert Finney "HAMLET" Angela Lansbury / Denis Quilley 1976 London Playbill

"TAKE ME OUT" Playbill AUTOGRAPHED SIGNED ORIGINAL CAST

LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM

LEGENDARY DANCER LOIE FULLER & HER MUSES RARE 1910 DANCE PROGRAM

SHERLOCK HOLMES: ARTHUR CONAN DOYLE RARE 1895 WATERLOO SECOND NIGHT PROGRAM