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FOSTER Jackson W. 1914 1966.ABAA

Group of 2 offprints. Includes: FOSTER Jacob L. STOKES & Carl R. WOODWARD Jr. "Synthesis of Pyridoxin by a "Pyridoxinless" X-Ray Mutant of Neurospora Sitophila."

Theatre Playbill. Mitchell Margaret Julie "Maggie" 1832 1918 Lead ActressABAA

FANCHON! The CRICKET. Boston Theatre. May 26 1864.; The PUBLIC DEMAND. This Thursday evening May 26th '64 Miss Maggie Mitchell The Renowned and Fascinating Comedienne will repeat her Unequalled Impersonation of the Merry Little Cricket! In the great original Domestic Drama of Fanchon! The Cricket

186441942Boston: F. A. Searle Printer 118 Washington Street 1864. Some age toning light crease here & there with the occasional spot or two. Horizontal fold-line. Still a VG example of this fragile item. One broadside sheet printed recto only. 18-1/8" x 6-1/4" Margaret Julia Mitchell popularly known as Maggie Mitchell was an American actress born in New York. She made her first regular appearance as Julia in The Soldier's Daughter at the Chambers Street Theatre in 1851. The parts in which she was best liked were Jane Eyre Mignon Little Barefoot and Fanchon the Cricket. Wiki In January 1861 At at De Bar’s St. Charles Theatre in New Orleans Mitchell first appeared in Fanchon the Cricket a new secondhand adaptation by August Waldauer from George Sand’s story “La Petite Fadette.” Her characterization of the sprite of a heroine which included a graceful and entrancing shadow dance was an immediate sensation. Her Southern tour was cut short by the Civil War and Mitchell took Fanchon to Boston and New York where it was equally successful. Fanchon remained her mainstay for 30 years. Audiences never tired of it—her admirers included the likes of Abraham Lincoln and Ralph Waldo Emerson—and even in her 50s Mitchell retained the winsome elfin appeal that made her so successful. She also early obtained the rights to Fanchon which enabled her to amass a considerable estate. EB. We find one institutional holding of this playbill at the MHS. A rare survivor of this play's northern run. F. A. Searle, Printer, 118 Washington Street unknown books

Tavistock Books, ABAA · États-Unis350,00 $US≈ 296,14 €

DE VINNE Theodore Low 1828 1914 printerABAA

Facsimile of the Laws and Acts of the General Assembly for their Majesties Province of New York. At New York printed and sold by William Bradford printer to their Majesties King William & Queen Mary 1694. Edited and annotated by Robert Ludlow Fowler

18943187New York: Theodore Low de Vinne for The Grolier Club 1894. Printed on vellum. Folio 285 x 185 mm. 6 leaves clxiii 1; 4 84 4 4 6 11 pp. 1 leaf. 2 blank leaves at front and 4 at back. Title with Grolier Club device three engraved vignettes by Max Rosenthal in the first part Fowler's introduction unsigned lithograph on a separate leaf at the end of the introduction included in the pagination showing William Bradford's tombstone woodcut or linocut ornamental initials final leaf with De Vinne press device. Bound in black morocco t.e.g. others untrimmed by Denis Gouey blind-stamped signature on lower pastedown. Provenance: personal copy of the printer Theodor Low De Vinne bookplate; Bernard Breslauer inserted collation notes on The Ritz London stationery and carbon copy of a letter sent by him to Decherd Turner July 19 1997 plus a clipping from the bookseller's catalogue from which he purchased the book; sale Christie's New York part 3 27-28 June 2005 lot 1134. A fine association copy: the exemplaire de tête printed on vellum retained by the printer for his private collection from a total edition of 315 copies of which 312 copies on hand-made paper and three copies on vellum of a facsimile of the founding laws of the colony of New York. The first part consists of a long historical introduction by Robert Ludlow Fowler. The Facsimile was made from the Lenox Library copy as explained in a two-page note from the Publication Committee pp. 172-173. The book was published by the Grolier Club on the occasion of its tenth anniversary and the other two vellum copies were auctioned off at the tenth annual members' meeting on 21 February 1894. A copy of the Grolier Club invitation to that meeting as well as the 4-page illustrated prospectus for the book both of which were printed by de Vinne are loosely inserted along with the aforementioned documents from Bernard Breslauer. Mr. Breslauer collected books on vellum and in the inserted 1997 letter to Decherd Turner he announced his acquisition of this his fifth Americanum on vellum.Theodore Low de Vinne was one of the nine founding members of the Grolier Club and he printed most of its publications until his death. "His encyclopedic understanding of the craft his advancement of its technology and design his appreciation of its history his business leadership and his many writings earned him among his contemporaries the designation `Dean of American Printers'" APHA website The De Vinne Centennial Feb. 16. 2014. (Theodore Low de Vinne for) The Grolier Club hardcover books

Musinsky Rare Books, Inc. · États-Unis7 500,00 $US≈ 6 345,75 €

DEBUSSY Claude 1862 1918ABAA

Estampes Pour le Piano

191633656Paris: A. Durand & Fils PN D. & F. 6326 1 - 3 1916. Folio. Original publisher's ivory wrappers with titling printed in blue and orange to upper and publisher's advertisment to verso of lower. Unbound as issued. 1f. recto title printed in dark orange verso blank 24 pp. With "Ch. Douin gr ." and "Paris Imp. A. Mounot." printed at foot of final page of music. With performance markings in pencil throughout. Wrappers worn and soiled; minor edge tears and creases; handstamp to lower corner of upper. Minor browning and soiling; publisher's handstamp to title. First Edition later issue. Lesure 100. Estampes premiered in Paris with Ricardo ViÃ±es at the piano at a concert of the SociÃ©tÃ© nationale in the Salle Erard on 9 January 1904 Debussy's creative connection to the visual arts was significant and many times throughout his career he attributed the inspiration for many of his compositions to specific artists or works of art. "Louis Laloy his first French biographer revealed in 1909 that 'He received his most profitable lessons from poets and painters not from musicians' while he himself told VarÃ¨se in 1911 'I love pictures almost as much as music'. .One of his rare piano pupils Mademoiselle Worms de Romilly went so far as to write that he 'always regretted not having worked at painting instead of music'. Ever since his years at the Conservatoire Debussy had felt that he had more to learn from artists than from career-obsessed musicians: 'You are getting nowhere M. Croche will tell them because you know nothing but music and obey barbaric laws'. Three of his works were dedicated to artists: one of the Images for piano to Alexandre Charpentier one of the Proses lyriques to Henri Lerolle and Estampes to Jacques-Emile Blanche." FranÃ§ois Lesure and Roy Howat in Grove Music Online. A. Durand & Fils [PN D. & F. 6326 (1) [-] (3)] unknown books

J & J Lubrano Music Antiquarians LLC · États-Unis39,00 $US≈ 33,00 €

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