1913, Arizona. Stock certificate for 2,500 shares. Black/Gold with a raised gold company seal. Top left vignette of a eagle with spread wings. Bottom center underprinted bust vignette of an allegorical male. Small split at folds. Uncancelled and fine.

Printed Document, “Boughton’s Monthly Planet Reader and Astrological Journal.” Four pages, 5 5/8” x 9”. Philadelphia. July, Aug. & Sep. 1863. Vol. 4 No. 3. Articles include: The Nativity of Hon. William H. Seward,” (with an engraving of Seward) Nativities of Grant and N.P. Banks and “The Fate of the Nation for the Summer Quarter of 1863.” Boughton notes: “… The South is determined to push on the war, and I look for some important battle being fought in which they will gain some advantage; I am afraid that they will make a number of raids into the Northern or Western States ...” In addition, Boughton makes a prediction that Vicksburg may be taken around the 21st of August. Minor discoloration at edges. Holes from prior binding. Overall Very Fine.

Printed Document, “Boughton’s Monthly Planet Reader and Astrological Journal.” Four pages, 5 5/8” x 9”. Philadelphia. January 1, 1861. Vol. 2. No 1. This issue provides an astrological examination of the “Declaration of Independence of South Carolina, December 20th, 1860, 1h. 15m. P.M.” and “The Fate of the Nation for the Winter Quarter of 1861.” In this latter article, the author writes that astrological indicators are “ … evil significations, and they foreshadow much distress, trouble and turmoil for the United States, if not civil war. The government is a very unsettled condition, and the President and those in office are at their wit’s end, and the public shows marked disapprobation at their wavering and delay of action with regard to the Southern States. Traces of previous inclusion in a bound volume. Some light toning. Pin holes at left edge from previous binding. Overall Very Fine.

Printed Document. One page, 6 1/4” x 9 3/4”. No place. No date. The document is an advertising broadside for L. W. F. Mark, “Late of Boston,” The document reads, in part: “ … L.W.F. Mark, Late of Boston, has now the pleasure of informing the inhabitants of this town and vicinity, that he has taken room at _________ for a few days only, for the purpose of taking Photographs, Ambrotypes & Lettertypes With Superior German instruments, and the best of Stock, he is prepared to take Groups or single Miniatures at the Lowest Prices, and trusts he can please even the most fastidious … Parents wishing Miniatures of their Children, will please come in the fore part of the day, as the light is stronger and better. Come One, Come All, Give the Lame Man a Call! …” Attractive woodcut of a studio at top center Very light toning at left edge. Overall Very Fine.

[WWII] Unusual War correspondence lot of 19 pieces between an Italian Prisoner of War, Cesario Espisito, who is being held at Camp Wheeler in Georgia, and his brother, Lorenzo Espisito, who is trying to contact him. The group consists of eight “PRISONER OF WAR” marked correspondence, with the U.S. Censored stamp. Written in Italian and untranscribed, Cesario relates his sad story to his sibling, who is an American citizen. Lorenzo’s attempts to visit him consist of Western Union telegrams from the Red Cross as well as “Headquarters Army Service Forces” letterhead signed by Colonel Breese from the POW Division and Captain Boudreaux, the Intelligence Officer at the Headquarters of the Camp. Among the details noted in this correspondence are that “a number of our prisoners were transferred temporarily to Fort Benning” and that in the near future Cesario may be transferred from Camp Wheeler to an “unknown destination.” Fascinating lot that highlights the poignant struggle of two brothers who find themselves on opposite sides of World War II.

FRANCIS FRANK” CHANFRAU (1824-1884) American actor and theater manager. Printed Broadside for Chanfrau’s New National Theatre [Formerly Chatham]” 5 7/8” x 21 3/4”. New York. November 24, 1848. This evening includes the second to last performance of “New York As It Is,” a hugely popular play that gave birth to the celebrated character of Mose. In 1848, Frank Chanfrau assumed management of the struggling Chatham Theater, renaming the venue Chanfrau’s New National Theatre. Though the theater only operated under Chanfrau’s management for two years, it proved to be a highly successful time in the theater’s history. Prominently featured throughout this time was Chanfrau’s character of Mose, a caricature of the working-class masses of Lower Manhattan that had originally appeared to rave reviews in “New York as it is.” In addition to this popular character, the theater also drew large crowds because Chanfrau allowed working-class patrons to sit anywhere in the playhouse, a break from the custom of seating these patrons only in the pit. This open seating policy and the popularity of the Mose character led to frequent sell-out performances, and, in one instance, and over-sale that required the city police’s presence to remove a crowd of theatergoers that had rushed the New National Theatre’s stage! Very Fine.

FRANCIS FRANK” CHANFRAU (1824-1884) American actor and theater manager. Printed Broadside for Chanfrau’s New National Theatre [Formerly Chatham]” 5 7/8” x 21 1/2”. New York. August 25, 1848. Nice image of an eagle with olive branch and “American Flag” shield at top. This evening’s performance features JOHN R. SCOTT as the eponymous protagonist of “Virginius.” JOHN R. SCOTT (1808-1856) American actor who was among the favorite performers in the Old Bowery performing the title role in Shakespeare’s Macbeth. In 1848, Frank Chanfrau assumed management of the struggling Chatham Theater, renaming the venue Chanfrau’s New National Theatre. Though the theater only operated under Chanfrau’s management for two years, it proved to be a highly successful time in the theater’s history. Prominently featured throughout this time was Chanfrau’s character of Mose, a caricature of the working-class masses of Lower Manhattan that had originally appeared to rave reviews in “New York as it is.” In addition to this popular character, the theater also drew large crowds because Chanfrau allowed working-class patrons to sit anywhere in the playhouse, a break from the custom of seating these patrons only in the pit. This open seating policy and the popularity of the Mose character led to frequent sell-out performances, and, in one instance, and over-sale that required the city police’s presence to remove a crowd of theatergoers that had rushed the New National Theatre’s stage! Very Fine.

FRANCIS FRANK” CHANFRAU (1824-1884) American actor and theater manager. Printed Broadside for Chanfrau’s New National Theatre [Formerly Chatham]” 6” x 21 3/4”. New York. August 17, 1848. Nice image of an eagle with olive branch and “American Flag” shield at top. This evening’s performance features JOHN R. SCOTT as Michael in the “Adopted Child.” JOHN R. SCOTT (1808-1856) American actor who was among the favorite performers in the Old Bowery performing the title role in Shakespeare’s Macbeth. In 1848, Frank Chanfrau assumed management of the struggling Chatham Theater, renaming the venue Chanfrau’s New National Theatre. Though the theater only operated under Chanfrau’s management for two years, it proved to be a highly successful time in the theater’s history. Prominently featured throughout this time was Chanfrau’s character of Mose, a caricature of the working-class masses of Lower Manhattan that had originally appeared to rave reviews in “New York as it is.” In addition to this popular character, the theater also drew large crowds because Chanfrau allowed working-class patrons to sit anywhere in the playhouse, a break from the custom of seating these patrons only in the pit. This open seating policy and the popularity of the Mose character led to frequent sell-out performances, and, in one instance, and over-sale that required the city police’s presence to remove a crowd of theatergoers that had rushed the New National Theatre’s stage! Very Fine.

FRANCIS “FRANK” CHANFRAU (1824-1884) American actor and theater manager. Printed Broaside for "Chanfrau's New National Theatre" 5 3/4" x 21 1/4". New York. July 13, 1849. This evening's performance features ""Mose in California," which featured the hugely popular Mose, a character originated by Chanfrau. In 1848, Frank Chanfrau assumed management of the struggling Chatham Theater, renaming the venue Chanfrau’s New National Theatre. Though the theater only operated under Chanfrau’s management for two years, it proved to be a highly successful time in the theater’s history. Prominently featured throughout this time was Chanfrau’s character of Mose, a caricature of the working-class masses of Lower Manhattan that had originally appeared to rave reviews in “New York as it is.” In addition to this popular character, the theater also drew large crowds because Chanfrau allowed working-class patrons to sit anywhere in the playhouse, a break from the custom of seating these patrons only in the pit. This open seating policy and the popularity of the Mose character led to frequent sell-out performances, and, in one instance, and over-sale that required the city police’s presence to remove a crowd of theatergoers that had rushed the New National Theatre’s stage! Very Fine.