{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=North+American+19th+century+theatre+broadside+collection%2C+1850%2F1867\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=4","prev":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=North+American+19th+century+theatre+broadside+collection%2C+1850%2F1867\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=3","next":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=North+American+19th+century+theatre+broadside+collection%2C+1850%2F1867\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=5","last":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=North+American+19th+century+theatre+broadside+collection%2C+1850%2F1867\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=20"},"meta":{"pages":{"current_page":4,"next_page":5,"prev_page":3,"total_pages":20,"limit_value":10,"offset_value":30,"total_count":194,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_repositories_2_resources_37_c02_c05","type":"File","attributes":{"title":"Boston Museum Broadside, 1856","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37_c02_c05#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eLast week of Chinese Pagent, \"Aladdin\"-or-\"The Wonderful Lamp\", \"My Husband's Mirror\".\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37_c02_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_37_c02_c05","ref_ssm":["vifgm_repositories_2_resources_37_c02_c05"],"id":"vifgm_repositories_2_resources_37_c02_c05","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37_c02","parent_ssi":"vifgm_repositories_2_resources_37_c02","parent_ssim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_ids_ssim":["vifgm_repositories_2_resources_37","vifgm_repositories_2_resources_37_c02"],"title_filing_ssi":"Boston Museum Broadside","title_ssm":["Boston Museum Broadside"],"title_tesim":["Boston Museum Broadside"],"normalized_title_ssm":["Boston Museum Broadside, 1856"],"text":["Boston Museum Broadside, 1856","North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858","box 1","folder 2","Last week of Chinese Pagent, \"Aladdin\"-or-\"The Wonderful Lamp\", \"My Husband's Mirror\"."],"parent_unittitles_ssm":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_unittitles_tesim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"normalized_date_ssm":["1856"],"unitdate_other_ssim":["December 24, 1856"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":13,"repository_ssim":["George Mason University"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"containers_ssim":["box 1","folder 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["No known copyright. 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Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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However, this struggle between religious and artistic ideas lasted into the 20th century. \u003c/p\u003e","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. \u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. 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EAD markup completed by Kate Norman in April 2010.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research CEnter also holds many other \u003cextptr show=\"new\" title=\"theatre collections\" href=\"https://aspace.gmu.edu/subjects/sh85134522\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research CEnter also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e\n    "],"physloc_tesim":["R29, C4, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. 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Henry Wallack, \"Werner\"-or-\"The Inheritance\", \"Country Squire\"-or-\"Two Days at the Hall\", \"The Fairy Star\", Miss Agnes Robertson.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37_c02_c08#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_37_c02_c08","ref_ssm":["vifgm_repositories_2_resources_37_c02_c08"],"id":"vifgm_repositories_2_resources_37_c02_c08","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37_c02","parent_ssi":"vifgm_repositories_2_resources_37_c02","parent_ssim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_ids_ssim":["vifgm_repositories_2_resources_37","vifgm_repositories_2_resources_37_c02"],"title_filing_ssi":"Boston Museum Broadside","title_ssm":["Boston Museum Broadside"],"title_tesim":["Boston Museum Broadside"],"normalized_title_ssm":["Boston Museum Broadside, 1856"],"text":["Boston Museum Broadside, 1856","North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858","box 1","folder 2","Farewell Benefit of Mr. J.W. 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The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"date_range_isim":[1856],"scopecontent_html_tesm":["\u003cp\u003eFarewell Benefit of Mr. J.W. Wallack Jr., Me. Henry Wallack, \"Werner\"-or-\"The Inheritance\", \"Country Squire\"-or-\"Two Days at the Hall\", \"The Fairy Star\", Miss Agnes Robertson.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Farewell Benefit of Mr. J.W. Wallack Jr., Me. 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Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum","English"],"collection_title_tesim":["North American 19th century theatre broadside collection, 1850/1867"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0081","/repositories/2/resources/37"],"unitid_tesim":["C0081","/repositories/2/resources/37"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Boston (Mass.)","New York (N.Y.)","Canada"],"geogname_ssim":["Boston (Mass.)","New York (N.Y.)","Canada"],"places_ssim":["Boston (Mass.)","New York (N.Y.)","Canada"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. 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(See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased in 2008."],"access_subjects_ssim":["Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters"],"access_subjects_ssm":["Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 1 box"],"extent_tesim":["2 Linear Feet 1 box"],"genreform_ssim":["Broadsides -- 1850-1870","Theatrical posters"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into seven series predominantly by venue. 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However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e\n    "],"physloc_tesim":["R29, C4, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. 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The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"date_range_isim":[1856],"scopecontent_html_tesm":["\u003cp\u003eBenefit of Mr. J. Proctor, Mrs. J. Proctor, \"Nick of the Woods\"-or-\"The Jibbenainosay\", \"Dumb Belle\", \"Loan of a Lover\", Mr. James Bennett.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Benefit of Mr. J. Proctor, Mrs. J. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e\n    "],"physloc_tesim":["R29, C4, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. 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Ring, Jefferson S. Batkins, \"The Silver Spoon, Mrs. H. Eckhardt, Miss A. Raymond, Mr. S. Lake.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37_c02_c20#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_37_c02_c20","ref_ssm":["vifgm_repositories_2_resources_37_c02_c20"],"id":"vifgm_repositories_2_resources_37_c02_c20","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37_c02","parent_ssi":"vifgm_repositories_2_resources_37_c02","parent_ssim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_ids_ssim":["vifgm_repositories_2_resources_37","vifgm_repositories_2_resources_37_c02"],"title_filing_ssi":"Boston Museum Broadside","title_ssm":["Boston Museum Broadside"],"title_tesim":["Boston Museum Broadside"],"normalized_title_ssm":["Boston Museum Broadside, 1856"],"text":["Boston Museum Broadside, 1856","North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858","box 1","folder 2","Farewell benefit of Miss Fanny Vining and E.L. Davenport, \"Charity's Love\"-or-\"The Trials of a Heart\", \"Morning Call\", \"Faint Heart Never Won Fair Lady\", Benefit of Mr. J.H. Ring, Jefferson S. Batkins, \"The Silver Spoon, Mrs. H. Eckhardt, Miss A. Raymond, Mr. S. 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Lake."],"_nest_path_":"/components#1/components#19","timestamp":"2026-08-14T22:34:42.576Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_37","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_37.xml","title_filing_ssi":"North American 19th century theatre broadside collection","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"normalized_date_ssm":["1850/1867"],"normalized_title_ssm":["North American 19th century theatre broadside collection, 1850/1867"],"text":["North American 19th century theatre broadside collection, 1850/1867","C0081","/repositories/2/resources/37","Boston (Mass.)","New York (N.Y.)","Canada","Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters","There are no access restrictions.","Arranged into seven series predominantly by venue. 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Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. 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Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. 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Warren."],"_nest_path_":"/components#1/components#0","timestamp":"2026-08-14T22:34:11.369Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_northamerbroadside","ead_ssi":"vifgm_northamerbroadside","_root_":"vifgm_northamerbroadside","_nest_parent_":"vifgm_northamerbroadside","ead_source_url_ssi":"data/gmu/northamerbroadside.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"normalized_date_ssm":["1850/1867"],"normalized_title_ssm":["North American 19th century theatre broadside collection, 1850/1867"],"text":["North American 19th century theatre broadside collection, 1850/1867","C0081","Theatre--Massachusetts--Boston.","Theatre--New York--New York.","Theatre--Canada--New Brunswick.","Broadsides--1850-1870.","There are no access restrictions.","Organized mainly by venue. Some single broadsides grouped together.","Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n\n        Series 2: Boston Museum, 1852-1858 (Box 1)\n\n        Series 3: Boston Theatre, 1854-1858 (Box 1)\n\n        Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n\n        Series 5: Boston Academy of Music, 1860 (Box 1)\n\n        Series 6: Canada and New York City, 1855-1867 (Box 1)\n\n        Series 7: Boston and New York City, 1850s-1860s (Box 1)","Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","Special Collections and Archives also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum.","English"],"collection_title_tesim":["North American 19th century theatre broadside collection, 1850/1867"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0081"],"unitid_tesim":["C0081"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. \nLibraries.\nSpecial Collections and Archives."],"creator_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives."],"creator_corpname_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"creators_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"access_terms_ssm":["There are no restrictions on personal use. 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Some single broadsides grouped together.","Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n\n        Series 2: Boston Museum, 1852-1858 (Box 1)\n\n        Series 3: Boston Theatre, 1854-1858 (Box 1)\n\n        Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n\n        Series 5: Boston Academy of Music, 1860 (Box 1)\n\n        Series 6: Canada and New York City, 1855-1867 (Box 1)\n\n        Series 7: Boston and New York City, 1850s-1860s (Box 1)"],"bioghist_html_tesm":["\u003cp\u003e Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.\n\u003c/p\u003e\n      ","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections and Archives, George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \u003cextptr type=\"simple\" title=\"theatre collections\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \n\u003c/p\u003e\n      ","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"corpname_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"names_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"language_ssim":["English"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:11.369Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_northamerbroadside_c02_c01"}},{"id":"vifgm_northamerbroadside_c02_c02","type":"File","attributes":{"title":"Boston Museum Broadside, 1857","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_northamerbroadside_c02_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e Mrs. Farren, \"Second Love\", Mrs. H. Eckhardt, \"Tit for Tat\"-or-\"The Double Strategem\", J. 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Eckhardt, \"Tit for Tat\"-or-\"The Double Strategem\", J. Palgrave Simpson."],"parent_unittitles_ssm":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_unittitles_tesim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"normalized_date_ssm":["1857"],"unitdate_other_ssim":["January 28, 1857"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":10,"repository_ssim":["George Mason University"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"containers_ssim":["Box 1","Folder 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"date_range_isim":[1857],"scopecontent_html_tesm":["\u003cp\u003e Mrs. Farren, \"Second Love\", Mrs. H. Eckhardt, \"Tit for Tat\"-or-\"The Double Strategem\", J. Palgrave Simpson.\n\t\u003c/p\u003e\n          "],"scopecontent_tesim":["Mrs. Farren, \"Second Love\", Mrs. H. Eckhardt, \"Tit for Tat\"-or-\"The Double Strategem\", J. 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Some single broadsides grouped together.","Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n\n        Series 2: Boston Museum, 1852-1858 (Box 1)\n\n        Series 3: Boston Theatre, 1854-1858 (Box 1)\n\n        Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n\n        Series 5: Boston Academy of Music, 1860 (Box 1)\n\n        Series 6: Canada and New York City, 1855-1867 (Box 1)\n\n        Series 7: Boston and New York City, 1850s-1860s (Box 1)","Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","Special Collections and Archives also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum.","English"],"collection_title_tesim":["North American 19th century theatre broadside collection, 1850/1867"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0081"],"unitid_tesim":["C0081"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. \nLibraries.\nSpecial Collections and Archives."],"creator_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives."],"creator_corpname_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"creators_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"access_terms_ssm":["There are no restrictions on personal use. 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Some single broadsides grouped together.","Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n\n        Series 2: Boston Museum, 1852-1858 (Box 1)\n\n        Series 3: Boston Theatre, 1854-1858 (Box 1)\n\n        Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n\n        Series 5: Boston Academy of Music, 1860 (Box 1)\n\n        Series 6: Canada and New York City, 1855-1867 (Box 1)\n\n        Series 7: Boston and New York City, 1850s-1860s (Box 1)"],"bioghist_html_tesm":["\u003cp\u003e Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.\n\u003c/p\u003e\n      ","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections and Archives, George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \u003cextptr type=\"simple\" title=\"theatre collections\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \n\u003c/p\u003e\n      ","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"corpname_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"names_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"language_ssim":["English"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:11.369Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_northamerbroadside_c02_c02"}},{"id":"vifgm_northamerbroadside_c02_c04","type":"File","attributes":{"title":"Boston Museum Broadside, 1857","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_northamerbroadside_c02_c04#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e Benefit of W.H. 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Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\""],"parent_unittitles_ssm":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_unittitles_tesim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"normalized_date_ssm":["1857"],"unitdate_other_ssim":["October 23, 1857"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":12,"repository_ssim":["George Mason University"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"containers_ssim":["Box 1","Folder 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"date_range_isim":[1857],"scopecontent_html_tesm":["\u003cp\u003e Benefit of W.H. Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\"\n\t\u003c/p\u003e\n          "],"scopecontent_tesim":["Benefit of W.H. Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\""],"_nest_path_":"/components#1/components#3","timestamp":"2026-08-14T22:34:11.369Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_northamerbroadside","ead_ssi":"vifgm_northamerbroadside","_root_":"vifgm_northamerbroadside","_nest_parent_":"vifgm_northamerbroadside","ead_source_url_ssi":"data/gmu/northamerbroadside.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"normalized_date_ssm":["1850/1867"],"normalized_title_ssm":["North American 19th century theatre broadside collection, 1850/1867"],"text":["North American 19th century theatre broadside collection, 1850/1867","C0081","Theatre--Massachusetts--Boston.","Theatre--New York--New York.","Theatre--Canada--New Brunswick.","Broadsides--1850-1870.","There are no access restrictions.","Organized mainly by venue. 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However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","Special Collections and Archives also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum.","English"],"collection_title_tesim":["North American 19th century theatre broadside collection, 1850/1867"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0081"],"unitid_tesim":["C0081"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. \nLibraries.\nSpecial Collections and Archives."],"creator_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives."],"creator_corpname_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"creators_ssim":["George Mason University. \nLibraries.\nSpecial Collections and Archives.","Boston Museum (1847-1903)","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Purchased in 2008."],"access_subjects_ssim":["Theatre--Massachusetts--Boston.","Theatre--New York--New York.","Theatre--Canada--New Brunswick.","Broadsides--1850-1870."],"access_subjects_ssm":["Theatre--Massachusetts--Boston.","Theatre--New York--New York.","Theatre--Canada--New Brunswick.","Broadsides--1850-1870."],"has_online_content_ssim":["false"],"extent_ssm":["2 linear ft.; 1 box"],"extent_tesim":["2 linear ft.; 1 box"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized mainly by venue. 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Some single broadsides grouped together.","Series 1: National Theatre of Boston, 1850-1857 (Box 1)\n\n        Series 2: Boston Museum, 1852-1858 (Box 1)\n\n        Series 3: Boston Theatre, 1854-1858 (Box 1)\n\n        Series 4: Howard Anthenaeum, 1851-1857 (Box 1)\n\n        Series 5: Boston Academy of Music, 1860 (Box 1)\n\n        Series 6: Canada and New York City, 1855-1867 (Box 1)\n\n        Series 7: Boston and New York City, 1850s-1860s (Box 1)"],"bioghist_html_tesm":["\u003cp\u003e Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.\n\u003c/p\u003e\n      ","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections and Archives, George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \u003cextptr type=\"simple\" title=\"theatre collections\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \n\u003c/p\u003e\n      ","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the North American 19th century theatre broadside collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. 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Warren."],"parent_unittitles_ssm":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_unittitles_tesim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"normalized_date_ssm":["1857"],"unitdate_other_ssim":["January 24, 1857"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":9,"repository_ssim":["George Mason University"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"containers_ssim":["box 1","folder 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"date_range_isim":[1857],"scopecontent_html_tesm":["\u003cp\u003eMrs. Farren, \"Griselda, The Forest Child\", \"The Milliners' Holiday\", \"Second Love\", Mr. W. Warren.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Mrs. Farren, \"Griselda, The Forest Child\", \"The Milliners' Holiday\", \"Second Love\", Mr. W. Warren."],"_nest_path_":"/components#1/components#0","timestamp":"2026-08-14T22:34:42.576Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_37","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_37.xml","title_filing_ssi":"North American 19th century theatre broadside collection","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"normalized_date_ssm":["1850/1867"],"normalized_title_ssm":["North American 19th century theatre broadside collection, 1850/1867"],"text":["North American 19th century theatre broadside collection, 1850/1867","C0081","/repositories/2/resources/37","Boston (Mass.)","New York (N.Y.)","Canada","Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters","There are no access restrictions.","Arranged into seven series predominantly by venue. 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Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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However, this struggle between religious and artistic ideas lasted into the 20th century. \u003c/p\u003e","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. \u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research CEnter also holds many other \u003cextptr show=\"new\" title=\"theatre collections\" href=\"https://aspace.gmu.edu/subjects/sh85134522\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research CEnter also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e\n    "],"physloc_tesim":["R29, C4, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. 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However, this struggle between religious and artistic ideas lasted into the 20th century. \u003c/p\u003e","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. \u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research CEnter also holds many other \u003cextptr show=\"new\" title=\"theatre collections\" href=\"https://aspace.gmu.edu/subjects/sh85134522\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research CEnter also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e\n    "],"physloc_tesim":["R29, C4, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. 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Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\"\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37_c02_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_37_c02_c04","ref_ssm":["vifgm_repositories_2_resources_37_c02_c04"],"id":"vifgm_repositories_2_resources_37_c02_c04","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37_c02","parent_ssi":"vifgm_repositories_2_resources_37_c02","parent_ssim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_ids_ssim":["vifgm_repositories_2_resources_37","vifgm_repositories_2_resources_37_c02"],"title_filing_ssi":"Boston Museum Broadside","title_ssm":["Boston Museum Broadside"],"title_tesim":["Boston Museum Broadside"],"normalized_title_ssm":["Boston Museum Broadside, 1857"],"text":["Boston Museum Broadside, 1857","North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858","box 1","folder 2","Benefit of W.H. Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\""],"parent_unittitles_ssm":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"parent_unittitles_tesim":["North American 19th century theatre broadside collection, 1850/1867","Series 2: Boston Museum Broadsides, 1852/1858"],"normalized_date_ssm":["1857"],"unitdate_other_ssim":["October 23, 1857"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":12,"repository_ssim":["George Mason University"],"collection_ssim":["North American 19th century theatre broadside collection, 1850/1867"],"containers_ssim":["box 1","folder 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"date_range_isim":[1857],"scopecontent_html_tesm":["\u003cp\u003eBenefit of W.H. Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Benefit of W.H. Smith, \"The Cure for the Heart Ache\", \"Therese\"-or-\"The Orphan of Geneva\""],"_nest_path_":"/components#1/components#3","timestamp":"2026-08-14T22:34:42.576Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_37","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_37.xml","title_filing_ssi":"North American 19th century theatre broadside collection","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"normalized_date_ssm":["1850/1867"],"normalized_title_ssm":["North American 19th century theatre broadside collection, 1850/1867"],"text":["North American 19th century theatre broadside collection, 1850/1867","C0081","/repositories/2/resources/37","Boston (Mass.)","New York (N.Y.)","Canada","Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters","There are no access restrictions.","Arranged into seven series predominantly by venue. 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Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees.","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. 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Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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However, this struggle between religious and artistic ideas lasted into the 20th century.","Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees."],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. 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The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall.","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. 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