English musical theatre.

comprising: 12 playbills, including one for a perfomance on 21 May 1821 at the Theatre Royal, Covent Garden, of Mozart's Don Giovanni (in English, adapted by Henry Bishop); 8 autograph letters signed by Stephens, one signed as Countess of Essex, to the composer Henry Bishop, R.W. Elliston, and others, most being acceptances or refusals ("...In the first place I dislike the Music...") of invitations to perform in Paris, London and elsewhere, together with a contract signed by Stephens and Elliston for her to appear for fifty nights at Drury Lane, beginning 1 December 1823, altogether 18 pages, various sizes, various locations, most undated but chiefly 1820s, nicks and tears, some playbills laid down



with: 14 autograph letters signed by Edward Stephens, Catherine's brother and agent, mostly to Elliston, proposing forthcoming productions ("...I proposed to him to get up 'The Maid of the Mill' very strongly..."), discussing Catherine's roles, excusing her from rehearsals and performances, and discussing contractual obligations at the Theatre Royal, Drury Lane and elsewhere, together with two signed receipts, 30 pages, various sizes, London and elsewhere, most undated but chiefly 1820s, seal tears, dust staining; 13 autograph letters signed by George Capel-Coningsby, 5th Earl of Essex, to Elliston, congratulating him on his appointment as manager at Drury Lane and complaining about the previous administration, in one letter mentioning byron ("...I understand from Lord Byron that it is your wish to see Mr Douglas Kinnaird and myself..."), referring several times to a key providing access to private areas at Drury Lane ("...my residence here will seldom allow me the pleasure of using it; certainly never abusing it..."), discussing theatrical and musical performances, antiquarian books, and other subjects, 20 pages, 8vo, Cassiobury and elsewhere, 16 June 1815 to 13 May 1823, nicks and tears, dust stains; and numerous press cuttings relating to Stephens's theatrical career, 1810s-30s, mostly mounted, some items and related material loose

Condition is described in the main body of the catalogue, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catherine Stephens (1794-1882) was one of the most popular English sopranos and actresses of the 1810s to 1830s. For much of the 1820s, following disagreements with the management at Covent Garden, she was based at Drury Lane, which was then under the management of the celebrated theatrical manager, singer and actor Robert William Elliston (1774-1831), 'one of the most diversified talents and one of the most perplexing personalities of his time' (ABD). In 1838 she married the octogenarian Earl of Essex, who died in 1839.

An important collection of papers relating to Elliston is preserved in the Harvard Theatre Collection, Houghton Library, Harvard University. See also previous lot.