105 174 résultats
1902214563Japan. Meiji 35 1902. Striking black and white woodblock theatre poster depicting 18 dramatic scenes accompanied by a list of actors. Folded a few closed tears repaired on the reverse with archival washi red chop on reverse causing a little show-through at lower right. Overall very good. 45.5 x 71cm. Attractive black and white 1902 theatre poster advertising two performances on the 1 January 1902 of the Yamaguchi Theatre Group . The matinee performance starting at 9am was a patriotic play of five acts titled "Flag Fluttering Wind of Japan". The evening performance comprising six acts began at 5pm and appears to feature various kabuki plays under the title "Actors' Temperaments". <br> <br>The Yamaguchi Theatre Group was a part of the Shinpa 新派Theatre movement which incorporated both modern and traditional theatrical themes during Meiji period. This style and theme remains popular up till present day. Interestingly in this theatre group actors were all male playing both male and female roles. . unknown
1892218409東京. Tokyo.: 福田熊治良. Fukuda Kumajiro. Meiji 25 1892. Three colour woodblock prints a triptych panels loose each 24 x 35.4cm Japanese text in red identifying the actors and in yellow identifying the roles in the upper left of two panels and program title in the top right of the third panel further text within in a red fish-shape in the lower right of the third panel some offsetting of red ink on the first panel but not affecting the main image slivers of affixing tape to the verso of each print some surface wear and abrasion mainly to the verso but the three images in very good bright condition. Dramatic depiction of the famous Kabuki actors Onoe Kikugorō V 1844-1903 as Yosaburô and Onoe Matsusuke IV 1843-1928 playing the role of Kômori Yasu in the 1892 staging of "Yowa Nasake Ukina no Yokogushi" commonly called "Kirare Yosa". <br> <br>Images such as these were collected by Kabuki fans of the day who bought woodblocks of their favourite actors and then had the prints made up into albums so that they could be enjoyed much in the way poster books and other fan memorabilia of famous movie stars is enjoyed today. <br> <br>The artist Toyohara Kunichika 1835-1900 was acclaimed as one of "The Three Greats of Meiji Ukiyo-e". Many stories surround him including his boast that he had moved 100 times which appears unlikely but this claim combined with his hard drinking womanising lifestyle and overall "live for the day" attitude all contributed to his colourful reputation. His work was very popular during his lifetime with his use of bright imported chemical dyes and his technique of focussing the image on the actors face combining to make up his individual style. see 'Time Present and Time Past: Images of a Forgotten Master' by Amy Reigle Newland. <br> <br>From the collection of the late John Caiger lecturer in Asian studies ANU. . 福田熊治良. [Fukuda Kumajiro]. unknown
Reggio Emilia, 1983, 8vo estratto con copertina originale, pp. 187 con tavole fotografiche nel testo. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo, completo in se, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perché ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “extract” or “excerpt” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
Lungo scritto nel quale l'autore esamina in modo approfondito le ragioni che rendono difficile l'istituzione di una compagnia drammatica stabile. Fra le motivazioni si legge: “[...] in primo luogo nel nostro Regno non abbiamo una città abbastanza popolosa né un passaggio di forestieri tanto numeroso e frequente da alimentare per un corso di 200 rappresentazioni, almeno, un Teatro di prosa. Tanto a Torino che a Napoli vi furono, è vero, delle Compagnie stabili che durarono molti anni, ma quelle erano sovvenzionate dai rispettivi governi e godevano una privativa: le componevano eccellenti artisti che venivano pagati la metà di quanto costano ora [...]”. L'analisi prosegue in maniera meticolosa.
1972104401972 Moscou, 1972; in-8° carré , pleine toile éditeur illustrée du portrait de l'auteur, titre en rouge au dos, jaquette de papier rouge au dos et 1er plat illustré d'un dessin en noir et blanc, titre en noir, 2ème plat de papier noir; 174pp. (1)f. Nombreuses illustrations en brun, brun et noir et noir de Matvey Borisovich Mazrukho (1911-200) . La pièce “ Mystery-bouffe“ fut publiée pour la 1ère fois en 1918, puis revue en 1921.
(Teatro). DI MAJO Gaspare. “Marechiaro”. Un atto. Napoli, Tommaso Pironti, 1912. 16°, pp. 24.
In-8 pp.(1) 99-249. salto di una carta (pp. 232-35) ma comuque l’opera è da ritenersi completa. Legatura in cartonato. Timbro ad inchiostro H.Garriod sul frontespizio.
Bologna, Pàtron, 1981, 8vo brossura con copertina illustrata, pp. 163 con alcune tavole fotografiche in nero e a colori fuori testo
Milano, 1914, stralcio con copertina posticcia muta, pp. 387/394 con 4 illustrazioni (di Giorgio Mannini) . - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
Napoli-Pironti, 1917 in 16° pp. 16. Intonso. Testo in dialetto napoletano. Brossura edit. Collana “Teatro napoletano”, n. 76.
200321986Maisonneuve & Larose 2003 In-12 broché, 108 pp. Très bon état. Poids : 700 gr avec emballage d’expédition
cROU-1925Toulouse,Privat,1951 ; grand in-8°,broché;couverture de papier gris imprimé en noir;462pp.; piqûres à la couverture et à quelques feuillets.(Gr)
2413723 February 1961. On letterhead of Highfield Lodge Wise Lane London NW7. The obituary of the recipient Andrew Block 1892-1987 in ‘The Private Library’ was subtitled ‘the doyen of booksellers’; his business was established in 1911. 2pp 12mo. In fair condition lightly aged and worn. Folded twice. Signed ‘Frank’. He is sending his list: ‘you’ll note how catholic my wants are’. He has been sent ‘5 guineas worth of book tokens. Do you accept these They were issued by Collets Hampstead.’ His ‘great wants’ are ‘the Comic Home Journals - the novel with ghost on the cover - the certain Ludgate and Boys Own Xmas Number’. He asks for the list to be returned once perused and ends by stating that he will ‘be in to see’ the recipient ‘If I finish midday one day’. 23 February 1961. On letterhead of Highfield Lodge, Wise Lane, London, NW7. unknown
26344‘Ivy Cottage Kentish Town / Novr 25 - /28 1828’. See his entry and that of his son in the Oxford DNB. The topic of this letter is referred to in the second volume of Dickens's edition of the son's life 1879. 3pp 12mo. Bifolium. In good condition lightly aged with strip of tape from mount adhering at edge of blank second leaf and two folds for postage. Addressed to ‘Dear Harley’ and signed ‘C Mathews.’ He begins by thanking him for his ‘kind enquiries’ and with regard to his son the actor Charles James Mathews writes that ‘Our dear good Charles thank God! is recovered and writes in excellent spirits from Florence. His disorder has been small pox! So much for vaccination! for of all the victims I have ever witnessed to that system he was the greatest - as his face was covered with frightful blotches for two years after inoculation.’ He claims that the ‘English Physician’ who attended the boy ‘hand no hesitation from the first in pronouncing it to be Small Pox’ but that ‘this was concealed from us’. ‘He accounts rationally for 3 weeks of silence - namely that he was blind. “The first reason will do.â€â€™ He has had ‘irksome work to play comforter to an almost broken hearted mother - and six nights per week to mimic gladness when the heart was sad’. He ends with renewed thanks for the ‘kind note which my wife equally appreciates’. ‘Ivy Cottage [Kentish Town] / Novr 25 - /28 [1828]’. unknown
2404512 June 1956. No place London. For information on Macqueen-Pope see his entry in the Oxford DNB. The present item is from his papers. Unsigned carbon copy of typed letter with ‘W. Macqueen-Pope’ typed below space for signature. 2pp 4to. Sixty-one lines of text. Text clear and complete on lightly aged and creased paper with slight water stain to one edge and damage to top left-hand corner from paperclip. The letter begins: ‘My Dear John / Re the toys which made Xmas long ago. One would want a picture of the men standing shoulder to shoulder down Ludgate Hill in the gutter selling the penny toys. These they carried on trays with a support round their necks. The toys were of all sorts - a list -’. A list of thirty-two lines follows beginning: ‘Little men taking off their tall hats when a string was pulled. / Little tortoises in boxes with glass tops which waggled their legs when moved.’ Ends with: ‘Little bits of metal like aeroplane propellors sic which rose in the air when pushed up a screwed rod. / Watchmen’s rattles - yellow and red. / Bulls eye lanterns.’ The recipient has followed each entry on the list with a tiny tick in ink. Macqueen-Pope continues with twenty-three lines listing ‘toys which have almost if not quite vanished - but which cost more than a penny - some as much as sixpence’. These include: ‘Tin palm tress sic bearing cocoanuts and a nigger smwarmed sic up it caught a cocoa nut in a try on his head and came down.’ and ‘The Wheel of Life - a circular tin affair looking like a round saucepan with no handle. It had slots in the side. Into the bottom went a spike. You put rolls of paper - with illustrations inside facing inwards you twirled it round looked through the slots and the pictures moved. This was the origin of the cinema.’ Also ‘Slap bangs which went off with a satisfying bang when dropped. Scared old men and made cyclists think they had a puncture.’ Postscript: ‘White mice and pigs made of sugar. Tiger nuts - locusts. Everlasting stick’. 12 June 1956. No place [London]. unknown
(Teatro). PANDALONE S. ‘O vuluntario. Episodio della guerra turco-italiana in XXVII sonetti dialettali. Napoli, Tommaso Pironti, 1912. 16°, pp. 32.
Commedia in tre atti rappresentata per la prima volta nel 1881. Copione manoscritto di proprietà dell’attore Umberto Esposito. Manoscritto a penna su quaderno a quadretti (cm. 22x28) databile anni ’50 in pp. 64. Sono indicati: i personaggi; le posizioni degli attori in scena; le espressioni e i gesti. Testo in dialetto napoletano. Piccola macchia di ruggine alle ultime pagine. Ottime condizioni.
Napoli, Guida 1983. 16°:pp.92n. bross.origin.
S.l., s.d. [anni ‘10] in 16° pp. 4. Testo in dialetto napoletano.
Napoli-Pironti, s.d. [anni ‘10] in 16° pp. 32 con 1 ritratto all’antip. Intonso. Testo in dialetto napoletano. Brossura edit. Collana “Teatro napoletano”, n. 61.
(Teatro). DI MAJO O. ‘O Passero. Un atto. Napoli, 1919. 16°, pp. 14.
(Teatro). MUROLO E. ‘O mpuosto. Dramma. Napoli, (1910 ca.). 8°, bross. originale; pp. 20.
Scene drammatiche in un atto. Napoli-Bideri, 1947 in 16° pp. 23. Intonso. Brossura edit.
Napoli, Guida, 1983, 8vo stretto, brossura con copertina illustrata a colori, pp. 88
(Napoli), Tip. Nuova Unione, s.d., in-16, copertina fittizia, con applicata una parte della copertina originale, pp. 28 + 1 di catalogo editoriale. Annotati in matita i nomi degli interpreti.
