Saint-Foix (Germain-François Poullain de) :Livre Rare Book
21 719 résultats
17788728Paris, Veuve Duchesne (Imprimerie Cl. Simon de Clousier), 1778 ; six tomes, in-8 ; plein veau fauve, dos à nerfs décorés et dorés, pièces de titre havane et de tomaison vert-sapin, triple filet doré d'encadrement des plats, filet sur les coupes, tranches rouges (reliure de l'époque) ; (4), XVI, 594, (4) ; (4), 600 ; (4), 479, (1 bl.) ; (4), 462 ; (4), 472 ; (4), 524 pp. ; portrait par Pougin de st Aubin pour l'effigie et Marillier pour le décor, gravé par N. Le Mire en frontispice du tome 1er ; 2 figures en second frontispice du tome 1er et en frontispice du tome 2, gravées par L. Halbon et Le Beau d'après Marillier et tirées des pièces "L'Oracle" et "Les Grâces".
1908GITe817paris Librairie Henri Floury 1908. Fort in-4 14 feuillets non chiffrés II-XIXpp 76 feuillets non chiffrés (notices biographiques) 20 feuillets non chiffrés (publicités pour le Vin Mariani et autres maisons de commerce) 2 feuillets non chiffrés. Demi maroquin bleu nuit à coins signés à froid, dos plat à 4 nerfs orné de larges cadres de filets mosaïqués acajou et doré, tête dorée, non rogné, couverture et dos conservés, reliure de l'époque (René Kieffer). Orné de beaux bandeaux, lettrines et culs de lampes typiques des années 1900 et de 76 beaux portraits de célébrités, gravés sur bois par Henri Brauer, Charles Clément, D. Quesnel et Ch. Maylander. Tiré à 200 exemplaires numérotés à la presse, celui-ci 1 des 25 sur Japon Impérial avec une suite des portraits tirées à la sanguine. Très bel exemplaire, frais, bien complet du texte, des portraits et des suites, dans une reliure sobre et élégante signée René Kieffer, accompagnée de sa petite étiquette commerciale. de la Bibliothèque d'Edouard Noël avec son bel et grand ex-libris allégorique, appliqué sur le contreplat.
1884383261884 In-12, demi-maroquin acajou à grands coins, dos à 5 nerfs, titre doré, couverture conservée (reliure de l'époque), (4), lxxiii, 317 p. Paris, Librairie Nouvelle et A. Bourdilliat et Cie, 1861.
In-12, demi-maroquin acajou à grands coins, dos à 5 nerfs, titre doré, couverture conservée (reliure de l'époque), (4), lxxiii, 317 p. Édition originale de la traduction française, par Paul Challemel-Lacour, des livrets du Vaisseau fantôme, de Tannhäuser, de Lohengrin et de Tristan et Isolde. Elle est précédée d'une importante "Lettre sur la musique" (73 pages), datée de Paris le 15 septembre 1860, adressée par Richard Wagner à l'historien d'art Frédéric Villot, préface qui fait figure à la fois de manifeste et d'autobiographie. C'est le premier ouvrage de Wagner traduit en français. (cf. Grove, XX, p. 139. Silège, 'Bibliographie wagnérienne française', 1902; p. 10.). Papier légèrement bruni. La couverture conservée comporte des réparations. Très bon exemplaire, entièrement non rogné, bien relié.
In-folio (cm. 41), piena pelle editoriale, titolo oro al dorso con sei nervi, disegno e titolo in altorilievo al piatto anteriore, cinque borchie al piatto posteriore, custodia in mezza pelle con illustrazioni applicate ai piatti, pp. 297, (1), con illustrazioni in bianco e nero ed a colori nel testo, alcune su doppia pagina. Segnalibro in pelle. Carta prodotta dalle Cartiere Miliani. Introduzione di Claudio Rovai. Esemplare numerato tratto da una tiratura di 1499 copie impresse. Macchia al taglio inferiore. Minime tracce d’uso alla custodia; peraltro, volume in ottimo stato (nice copy).
Pages 295-334 plus xvi pages of ads. Features: "Castlewood," the Villa of Louis Bruguierre, Esq., Newport, RI - a vast and stately building in the Georgian style; The Japanese Garden of "Yademos" - The Country Seat of Charles Phizer, Esq., Bernardsville, NJ; "Huck-Ween Lodge" - the Summer Camp of William Curtis demorest, Esq., Loon Lake, NY; Half a Dozen Great Home Trees; The Value of a Pleasant Sun Room; A Home Shrubbery; Economic Methods in Mushroom Growing; Glimpses of Old Annapolis; Sun-Dials; "White Lodge" - the residence of Charles H. Roberts, Esq., Wynnewood, PA; Well-Designed Applique - an effective means of decoration; Wonderful sepia-tone photo-illustrated back cover ad for the Victor-Victrola XX (Louis XV design) features photos of eleven opera stars; and more. Average wear. Unmarked. A sound copy of this wonderful vintage issue. Magazine
cm. 26,5 x 39,5, 2 tomi di 1172 pp. 8400 gr. 1172 p.
12692Used; Like New/Used; Like New. Impressive collection of AMQS and inscriptions addressed to the celebrated soprano Delphine Ugalde on both sides of a large album leaf measuring 31.5 x 23.5 cm 12.5 x 9.5 inches. Fine. <br><br />The recto with: eight measures written and signed by the French composer Charles Lecocq from his wildly successful "La fille de Madame Angot" which when premiered in Paris in 1873 was performed for more than 400 nights consecutively. Inscribed to Ugalde and dated 20 May 1873; an unidentified inscription; a heartfelt inscription from Rossini's friend and biographer Alexis Azevedo dated 17 July 1870. <br><br />The verso with: a three-measure 1869 quotation by Fauré celebrated French baritone and composer creator of important roles by Massé Thomas Meyerbeer Verdi and others who has penned a selection from his own Sacred Song for Voice and Piano "Les Rameaux" with a trimmed albumen photograph of him affixed beneath; a heartfelt 1869 inscription by Capoul the great French tenor creator of Offenbach's Vert-Vert and Masse's Paul et Virginie who writes that he is "so happy of your return to us that I embrace you as strongly as I admire you"; an 1870 inscription from Dejazet important French actress who writes that her "voice remains always charming even when it is speaking it is your great heart which sings" and with a trimmed albumen photograph of her affixed beneath; with one additional unidentifed inscription lower left dated 1873. <br><br />Ugalde "studied in Paris with Cinti-Damoreau and made her début in 1848 at the Opéra-Comique as Angèle in Auber's Le domino noir a role created by her teacher. In 1851 she sang at Her Majesty's Theatre London as Delilah in Auber's L'enfant prodigue. In 1858 she sang Leonora Il trovatore at the Paris Opéra and was then engaged at the Théâtre Lyrique. In 1863 she moved to the Bouffes-Parisiens where in 1867 she sang in her own operetta Halte au moulin. She retired in 1871." Elizabeth Forbes Grove Online unknown books
174123733Venedig, ex Typographia Balleoniana, 1741. 4°. Mit Holzschn.-Titelvignette. 620 S., Ldr. d. Zt. a. 5 Bünden m. reicher Rückenverg., goldgepr. Rückenschild u. dreiseitigem Rotschnitt.
192130ABBerlin, F. Gurlitt, 1921. Gr.-4°. 130, (3) S. Mit 20 Holzschnitten von Reinhold Hoberg nach Zeichnungen von Max Slevogt (davon 16 ganzseitige). Orig.-Halblederband mit Rückenvergoldung und Rückenschild.
11165[Lyon], Aimé Delaroche / De Laroche, aux dépens de l'Académie, 1739 à 1741. In-4 de [2]-52-[2]; VIII-12 (l'odorat)-16 (l'ouïe)-16 (la vue); [2]-16 (le goût)-14 (le toucher); [2]-55; VI-51; 59; 48; 75 pages, plein veau moucheté, dos à 5 nerfs orné du lion des armoiries de Lyon, de fleurons, d'étoiles de roulettes et du titre (Recueil d'opéra / Ballet) dorés, roulette dorée sur les coupes, tranches et gardes marbrées. Reliure frottée, coiffe supérieure manque, accroc à la coiffe inférieure, large épidermure au second plat. Tables de matières inscrite à la plume en début de volume.
116404Musica Spartiti - La Palestra Musicale - Anno I - 1866 - Dal fascicolo 1 al fascicolo 38/39 - Pag. 316 - Copertina rigida - Lingua italiana. - Buone condizioni generali. Piccoli segni del tempo. - RARITA' - unknown
198461448Portland & Gresham OR: Susan Higgins Ballet Instructor & Artistic Director Cascade Athletic Club; Oregon Concert Ballet Co. 1984. 4to. Approx. 250 pp sections separately paginated and unnumbered some numbered in ink several with duplicate numbering consisting of typescript musical score and illustrations many of the pages with extensive ink and/or pencil annotations some updates photocopies with additional revisions many pages with updates taped onto the musical score approx. 200 pp. preserved in archival mylar sleeves remainder 3-hole punched at gutter margin and inserted. Contemporary black vinyl 3-ring binder minor scuffing edgewear still VG exemplar. A wonderful original ballet director’s art direction notebook for the Peter Pan ballet staged in 1984 intended to offer young up-and-coming ballet students at the time to experience live performances and to unify Eastside/Westside Royal Academy of Dancing trained students. It would be 5 years before the Oregon Ballet and Pacific Ballet Theater would consolidate under the direction of James Canfield to form the Oregon Ballet Theatre. This ballet featured four acts divided into The Nursery Neverland Ship of the Pirates and Conclusion featuring solos by Wendy Tinker Bell Peter and Captain Hook over the length of the production. Dancers 4-5 years old were featured as the Neverland Fairies 5-7 years old with 2 years of training and pre-primary Royal Academy examinations behind them played Forest Fairies; Lost Children were 6-9 years old and had performed Barre and footwork; followed by the Pirates and soloists including Wendy Heather Miller Peter Pan Laura Spradlin Captain Hook Elizabeth Johnson and the mermaids drawn from the Lake Oswego School of Ballet under the directorship of Christine Donald. The original score by Anita Perry b. 1960 an up-and-coming Canadian composer out of British Columbia where she had studied piano with Lee Kum Sing and composition with Cortland Hultberg. In her early 20’s M. Perry had already won several composition awards was known for her original ballet works and wrote this score with orchestration for a variety of instruments “lending to the performance. . . a more closely approximated real environment experienced by professional dancers.†Peter Pan as a ballet required a fair amount of athleticism and as indicated here in Higgins’s artistic director’s notebook required extensive choreography changes scene adjustments and revisions by M. Perry. Higgins studied and danced at the British Royal Ballet later with Elvie DeMarko 1924-1989 of Ballet Russe and then with Robert Barnett of the Atlanta Ballet. No similar notebooks or programs survive for this 1984 ballet and there are no recordings or printed musical scores this cataloguer could uncover. Susan Higgins, Ballet Instructor & Artistic Director, Cascade Athletic Club; Oregon Concert Ballet Co., unknown
1957208291957. Press photograph archive of African American women opera singers 1957-1977 documents the emergence and international recognition of Black performers within mid twentieth century classical music and operatic institutions. The images center on four prominent singers whose careers developed during and after the era of segregation when access to major stages and audiences expanded unevenly for Black artists. Figures such as Marian Anderson who broke barriers at the Metropolitan Opera in 1955 established a precedent for subsequent generations; the performers represented here advanced that presence through sustained international careers providing visual evidence of African American participation in elite cultural institutions during a period of social and cultural change.<br /> <br /> Six black and white silver gelatin press photographs each approximately 8 x 10 inches with captions and markings on recto and verso. Subjects include Adele Addison in two studio portraits from the 1950s later known as the singing voice for Bess in Porgy and Bess 1959; Shirley Verrett in two images including an early news photograph prior to a performance at Ambassador College Auditorium and a later 1976 stage portrait in formal concert dress; Martina Arroyo in a 1977 portrait during the height of her international career; and Grace Bumbry depicted in costume as Princess Eboli in Verdi's Don Carlos at the Metropolitan Opera in 1965. The photographs capture both staged publicity portraits and performance contexts documenting professional presentation and artistic identity.<br /> <br /> Produced during decades of expanding civil rights advocacy and gradual institutional integration the archive situates African American women within a field historically shaped by exclusion and limited access. Their visibility in major opera houses and concert venues reflects broader shifts in cultural recognition and professional opportunity while also underscoring the continued significance of performance as a site of racial and gendered representation. Minor edge wear; captions remain legible; overall very good condition. unknown
Very Good French Original business card. 7x11 cm. Written 'Le Khedive'. Abbas Hilmi Pasha was the last Khedive (Ottoman viceroy) of Egypt and Sudan, ruling from 8 January 1892 to 19 December 1914. In 1914, after Turkey joined the Central Powers in World War I, the nationalist Khedive was removed by the British, then ruling Egypt, in favor of his more pro-British uncle, Hussein Kamel, marking the de jure end of Egypt's four-century era as a province of the Ottoman Empire, which had begun in 1517. Extremely rare. (See. 'Tamga, pençe, tugra, imza' by Kologlu, Orhan. p. 98).
390891915. Signed in full in pencil just outside platemark at lower right. Also signed and dated in the plate "E. Oppler 15" at lower left inscribed in pencil "9-50" just outside platemark at lower left and "VII.II" at lower left corner with titling in pencil to lower margin. On ivory laid Bosquet watermarked paper. Impression size 180 x 270 mm. 7 x 9-1/2" with wide margins. <br /> <br /> A pre-performance or intermission scene depicting three tiers of an elaborate performance space with people both sitting and standing some in animated conversation with players in the orchestra pit before a closed curtain. Number 9 of an edition limited to 50 copies this impression an apparent second state of seven. <br /> <br /> Oppler is considered the premiere chronicler of ballet in Germany. "He spent his student years in Munich London and Holland before settling in Berlin in 1905. As a member of the Berliner Secession he developed into a sought-after portraitist and from 1912 through his drawings and graphic works to one of the perhaps to the most significant German artistic chroniclers of ballet history. Especially the Ballets Russes and their soloists owe to Oppler's enthusiasm an appreciation known until today only among ballet afficionados. Oppler is recognized as the inventor of an illuminated drawing pencil which enabled him to sketch from the audience during rehearsals and performances." Deutsches Tanzarchiv Köln. unknown
067981308X-11-1Random House Books for Young Readers. Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible with all pages included. It may have slight markings and/or highlighting. Random House Books for Young Readers unknown
In Firenze, appresso Anton-Giuseppe Pagani librajo alle Scalere di Badia, 1778, in-8 piccolo, magnifica cartonatura coeva in carta dorata e goffrata con disegno a racemi floreali lilla su fondo oro, pp. 68. Con emblema xilografico dell'Accademia degli Infuocati (motto: A tempo infuocati) raffigurante una bomba che esplode sul frontespizio. Reca anche i nomi degli attori. Una sola copia censita in ICCU. Magnifico esemplare.
39138In-12 (150 x 87 mm), veau brun moucheté, dos à 5 nerfs orné de compartiments fleuronnés et cloisonnés, titre doré, roulette dorée sur les coupes, (reliure de l'époque), (8), 167 pages. Paris, Claude Barbin, 1680
In Siena, appreso Il Bonetti nella Stamperia del Pubblico per Francesco Rossi Stampatore, 1758, in-8, pregiata legatura coeva in cartone rivestito in seta (di color rosa, ma piuttosto sbiadita, due mancanze al rivestimento sul dorso), legacci in stoffa verde ai piatti, contropiatti ricoperti da carta settecentesca decorata con motivo floreale policromo, pp. 64. Il testo - di Metastasio - fu musicato da Adolf Hasse. Libretto dell'opera recante anche i nomi degli cantanti e dei ballerini. Edizione molto rara, non censita in ICCU (ultimo accesso: 2.03.2023).
Firenze, appresso Anton-Giuseppe Pagani librajo delle Scalere di Badia, 1778, in-8 piccolo, magnifica cartonatura coeva in carta dorata e goffrata con disegno a racemi floreali rosa su fondo oro, pp. 59, [1]. Con emblema xilografico dell'Accademia degli Infuocati (motto: A tempo infuocati) raffigurante una bomba che esplode sul frontespizio. Reca anche i nomi degli attori, ballerini, ecc. Una sola copia censita in ICCU. Magnifico esemplare.
In-8°, 31pp,(1), libretto d’opera di Marco Coltellini, con elenco degli interpreti e coreografi, direttore d’orchestra, costumista, etc. Frontespizio xilografico figurato con due putti. Iniziali e fregi xilografici. Cartonato coevo. Weaver, Robert Lamar; Wright Weaver, Norma, A chronology of music in the Florentine Theater, 1751-1800. Operas, prologues, farces, intermezzos, concerts and plays with incidental music, Warren : Harmonie Park Press, 1993
16510Aquarelle et mine de plomb rehaussée d'argent, signée et titrée, (1925), 23 x 23 cm, encadrée.
183019671830 Librairie Encyclopédique de Roret, Paris, 1830. In-12 demi-basane, plats percaline gaufrée. 412 pages, frontispice gravé (Terpichore), 4 planches dépliantes montrant 85 figures, 24 pages de musique gravée. Traduit de l'Anglais par Paul Vergnaud
190523470Paris Floury 1905 1 Paris, Floury, 1905, in-folio, broché, couverture rempliée illustré titrée.
