Cinema

Altogether 200 engraved scores of waltzes, polkas, quadrilles and other types of dance music. Vienna, Haslinger, Cranz, Spina and others, early to mid 19th century.

An outstanding collection covering the entire relevant ouevre of Johann Strauss Father and Son in original editions, as printed for the works' first perfomances at various balls, festivities and for other occasions in Vienna. Comprises 150 printings of compositions by Johann Strauss I and 50 by Johann Strauss II, including his famous waltz "Wiener Blut".

Inlibris · Wien, AT35 000,00 €

Albert, Heinrich.MareMagnum

Erster (-achter) Theil der Arien etlicher theils Geistlicher, theils Weltlicher, zur Andacht, guten Sitten, keuscher Liebe und Ehren-Lust dienender Lieder zum Singen und Spielen gesetzt [...]. Königsberg, Johann Reusner (1-7) und Paschen Mense (8), 1650-1654.

Folio (206 x 327 mm). 8 parts (all published; in various editions, dated I: 1652; II-V; 1651; VI: 1652; VII: 1654; VIII: 1650) in one volume. Engraved half-title; (28); (28); (28); (28); (28); (28); (28); (28) pp. Letterpress with numerous woodcuts in the text. Contemporary black morocco (spine rebacked), covers blindstamped with giltstamped initials "S. B." and year "1666". Extremely rare: "unquestionably the most representative of all German song collections published in the 17th century" (Osthoff); also an important source for the study of German Baroque literature due to the poems of Simon Dach. Heinrich Albert (1604-51) was the cousin and student of Heinrich Schütz. "With Simon Dach, Albert formed the nucleus of the Königsberg poetic circle, which was of especial importance for the Baroque song" (Riemann). The poems of Dach, the "Prussian Opitz", were never published in a complete collection during his lifetime. - The legendary rarity of these "Arias" has been remarked upon even by E. L. Gerber in 1812: "In spite of the number of editions which Albert's works enjoyed, they have now become so rare that I have never seen a single note of his, although I have dedicated more than three decades of my life to the pursuit of musical products" (Neues historisch-biographisches Lexikon der Tonkünstler II, 48). - The richly illustrated engraved half-title, which actually belongs to part 8, has been bound first of all (lower edge trimmed and rebacked with old paper; final two letters of the word "Achter" erased, so as to form a common title to the entire collection: "Acht Theil der Arien theils geistlicher zu christlichem Leben und Sterben anreitzender, theils weltlicher zu geziemender Lust dienender Lieder"). Modern spine and endpapers. Occasional annotations in an old hand; one interleaved sheet of handwritten music; a few slight flaws repaired. Save for two slightly stained pages a very clean copy. RISM A, 620, 623, 626, 629, 633, 635, 638, 639. Faber du Faur 357. Goedeke III, 129. Wolffheim II, 2091. Hirsch III, 599. BSB I, 45 ff.

Inlibris · Wien, AT25 000,00 €

Mozart, Wolfgang Amadeus.MareMagnum

Il Flauto Magico. Dramma per musica […] Die Zauberfloete. Grosse Oper in zwey Ackten. Bonn, N. Simrock, [1814].

Folio (264 x 325 mm). Engraved title page, 1 p. of engraved dramatis personae, pp. 3-363 engraved notes. Plate number 1092. Contemporary red half morocco with giltstamped spine and cover title. First edition of the full orchestral score, with the libretto by Emanuel Schikaneder. In the "Allgemeine musikalische Zeitung" of 13 September 1815, the publisher Simrock claimed that it was "in accordance with Mozart's own wishes". First shown on 30 September 1791 at Schikaneder's Freihaus-Theater, the opera today counts among the most popular and most frequently performed ever. - Slight browning; occasional pencil annotations; a contemporary stitch-hole throughout the upper left corner. The highly appealing binding is insignificantly rubbed in places. Provenance: first in the library of the Berlin composer and musical educator Carl Friedrich Rungenhagen (1778-1851), a close friend of Zelter's, with his autograph ownership on the title page: "Von Fr. H-d am 13. 9br 1822 an C. F. Rungenhagen". Later in the collection of the classicist and musical scholar Friedrich Spiro (1863-1940) with his autograph ownership on the reverse of the title page (dated Berlin 1886) and stamps. Latterly in the collection of Pierre Bergé (1930-2017) with his bookplate inside the front cover. KV 620. RISM M 4772. Clément 1172. Riemann 616. Sonneck 119. Towers 680. Hirsch II, 681.

Inlibris · Wien, AT18 500,00 €

Lasso, Orlando di.MareMagnum

Magnum opus musicum [...] complectens omnes cantiones quas motetas vulgo vocant [...]. Munich, Nicolaus Henricus, 1604 [but: 1603].

4to. 229 ff. With woodcut title border. Contemporary pigskin on 5 raised double bands, richly blindstamped. Wants clasps. Upper cover stamped "Bassus 1610". Of the utmost rarity. - The first attempt at a collected edition, put forth by the composer's sons Ferdinand and Rudolph Lasso, containing 516 motets and with a two-page dedication to the ruling duke of Bavaria, Maximilian (dated January 1, 1604). A total of six voices were published in separate volumes with the music printed in letterpress, together forming one of the most famous works in the history of music publishing. - Two small paper flaws in the title page have been repaired without loss to text or to the fine woodcut border. Very well preserved. RISM L/LL, 1019. Eitner I, 59. Wolffheim II, 1842. Hirsch III, 886. Leuchtmann I, p. 59. Title of the Cantus illustrated in: Leuchtmann/Schaefer, O. di Lasso. Prachthandschriften u. Quellenüberlieferung (exhibition catalogue, Munich 1994), p. 63.

Inlibris · Wien, AT18 000,00 €

(Schütz, Heinrich).MareMagnum

Geistreiches Gesang-Buch, an D. Cornelii Beckers Psalmen und Lutherischen Kirchen-Liedern, mit ihren Melodeyen unter Discant und Basso, sammt einem Kirchen-Gebeth-Buche. (Dresden, Paul August Hamann / Christoph Baumann, 1676).

3 Teile in einem Band. (10), 371, (3 w.) SS., Bl. 372, 373-738, (24) SS. 72, (4) SS. Mit einem Kupferstich und einer gest. Falttafel. Neuer Lederband mit Metallschließen. 4to. Schönes Exemplar des unter Kurfürst Johann Georg II. von Sachsen aufgelegten Gesangbuchs, darin als erster Teil die insgesamt vierte Auflage von Heinrich Schütz' Psalter. Die drei Teile mit eigenen Zwischentiteln (wo auch Druckort und Drucker genannt werden): "Der Psalter Davids, nach bekannten Kirchen-Melodeien. Durch D. Cornelium Beckern verfasset, aufs neue aber, mit Heinrich Schützens [...] eigenen Gesang-Weisen, aufgeleget", "Neu-eingerichtetes Gesang-Buch Herrn D. Martini Lutheri", und - mit selbständiger Paginierung - das "Kirchen-Gebeth-Buch". Die erste und zweite Auflage von Schützens Psalter (SWV 97a-256a) waren 1628 und 1640 erschienen, die dritte erweiterte Auflage (SWV 97-256) erschien 1661. Schütz, der bedeutendste deutsche Komponist des Frühbarock, führte den neuen konzertierenden Stil mit obligatem Generalbass aus Italien ein und vereinigte ihn höchst wirkungsvoll mit der deutschen Bibelprosa. - Der Gesamttitel hinter die Widmung gebunden. Der prachtvolle doppelblattgroße Kupferstich "Schütz in der alten Dresdner Schloßkirche im Kreise seiner Kantorei" (Abb. bei H. J. Moser, Heinrich Schütz, 2. Aufl. 1954, nach S. 496), den das erste Blatt in Versen erklärt, findet sich ausfaltbar am Schluss des Bandes. - Durchgehend gleichmäßig leicht gebräunt; kleine Fehlstellen am Unterrand des Faltkupfers fachmännisch hinterlegt. Von bemerkenswert guter Erhaltung. Bittinger S. 30 ff. RISM S 2285.

Inlibris · Wien, AT15 000,00 €

Spontini, Gaspare.MareMagnum

La Vestale. Tragédie lyrique en Trois Actes de Mr. Jouy [...] Dédiée à Sa Majesté l'Impératrice et Reine. Paris, Erard, [1807-1808].

Folio (274 x 350 mm). Title leaf, dedication leaf, 511 pp., engraved throughout. Original red morocco dedication binding with ornamental gilt spine and borders, giltstamped title and ornaments to covers. Gilt inner dentelle; leading egdes gilt. Blue silk endpapers. First edition of Spontini's most important and best-known opera. A superb copy, bound in sumptuous red morocco and decorated in the Empire Style, dedicated by the composer to Caroline Branchu, the famous black French opera soprano who played the title role of the young vestal at the première on 15 December 1807. The gilt title on the upper cover reads "Hommage d'Amitié / à Madame Branchu / par G. Spontini" and on the lower cover, below the monogram "CB": "De tout ce que je dois / Aux charmes de votre art / N'attendez pas que je convienne / Si vous acceptez votre part / Vous diminueriez trop la mienne". "La Vestale" was very well received and instantly achieved the status of a masterpiece. - Rose Timoléone Caroline Branchu, née Caroline Chevalier de Lavit (1780-1850) was born in Haiti, then the French colony of Saint-Domingue. Of mixed white and black ancestry, she was educated at the Paris Conservatory from the age of 16. As a singer attached to the royal court she is said to have been the mistress of Napoléon. - Some foxing and staining, imperceptible repairs to binding. Latterly in the collection of Pierre Bergé (his bookplate on the pastedown).

Inlibris · Wien, AT15 000,00 €

Sperontes [i. e., Johann Sigismund Scholze].MareMagnum

Singende Muse an der Pleisse in 2 mahl 50 Oden, der neuesten und besten musicalischen Stücke mit den darzu gehörigen Melodien zu beliebter Clavier-Übung und Gemüths-Ergötzung. Nebst einem Anhange aus J. C. Günthers Gedichten. Leipzig, [Breitkopf] auf Kosten der lustigen Gesellschafft, 1741.

8vo. Engraved title, double-page engraved additional title (a view of Leipzig), (102) pp. with engraved notes in the text. Contemporary half vellum in modern half cloth box. Includes the facsimile reprint of the first edition, bound in half vellum (Leipzig 1964). Third edition, largely agreeing with the 1737 first: an important source for the history of song writing in the first half of the 18th century, influential for Viennese classicism and one of the first music editions by Breitkopf & Härtel. "Its engraved titles, imprinted notes and numerous charming woodcut vignettes make this one of the age's most delightful creations of book art" (cf. Mannheimer cat. 5, 1398 - this edition). Includes the frequently lacking frontispiece showing the double-page view of Leipzig. Two sequel volumes appeared in 1742-45. The author, who published all his works under his pseudonym "Sperontes", could by identified as J. S. Scholze (1705-50) only in 1885 by the musicologist and biographer of Bach, Philipp Spitta. - Binding rubbed with tiny flaws to covers; corners bumped. Margins slightly browned. This is the voucher copy from the library of the publishers Breitkopf & Härtel (their stamp on the title page); front pastedown has bookplate of the Leipzig publisher Oskar von Hase, who was trained at Breitkopf & Härtel and served as chairman of the Society of German Music Sellers from 1875 to 1901; later stamp of the musicologist Dr. Werner Danckert. RISM, S. 372. MGG XII, 1037. Eitner IX, 225. Hirsch III, 1078. Faber du Fauer 1759. Wolffheim II, 2439. Cf. Hayn/G. IV, 128 ("Enormously rare!"). Not in the Sperontes collection of J. Voerster ("Undoubtedly the Sperontes editions must count among the rarest music prints of all").

Inlibris · Wien, AT12 500,00 €

Trouflaut, Gilbert, organist and musical scholar (1726-1820).MareMagnum

A volume of four works from his library, all with his autograph annotations and comments, bound with correspondence to him: 2 autograph letters signed by the fellow musical scholar Pierre-Joseph Roussier (1716-1792). Paris and no place, 1764-1770 (prints) and 1773-1776 (autographs).

Large 4to. Comprises I: Ballière [de Laisement, Charles Louis Denis]. Théorie de la musique. Paris, Didot 1764. (2), VIII, 177, (3) pp. With folding letterpress table and 5 folding engraved plates. - II: [Le Dran, Nicolas Louis]. Sur les signes do, di, ca. Pour l'indication des accords en musique. Paris, Alexandre Le Prieur 1765. (2), 32 pp. With engr. half title, folding letterpress table, and 9 engraved plates of music. - III: Roussier, [Pierre-Joseph]. Mémoire sur la musique des anciens [...]. Paris, Lacombe 1770. (4), XXIV, 252 pp. With a folding table, and engraved plate of music, and an engraving in the text. - IV: The same. Pseaume CL. Petit motet. Paris, Gando & Fils, 1766. Title, (3) pp. Engraved notes. Later full calf, bound to style with giltstamped spine and marbled endpapers. Includes 2 autograph letters signed by Roussier: Ecouis, 5 Feb. 1773, 2 pp., and Ecouis, 17 Sept. 1776, 3 pp.; each a 4to bifolium with integral address leaf, addressed to Trouflaut. A unique collection of 18th century literature on musical theory, annotated throughout by the priest Gilbert Trouflaut, canon of Nevers, including unpublished scholarly correspondence. Long the organist of the Nevers Cathedral and also employed as an expert consultant on the instrument, Trouflaut was also a noted naturalist who went botanizing with Jean-Jacques Rousseau and created the botanical garden of Nevers, where he also taught at the École centrale. Eitner (IX, 464; misspelling his name as "Trouffaut") quotes his treatise "Sur les Clavecins en peau de duffle" in the Journal de musique (1773). The works contained are individually: I) "Théorie de la musique" by C. L. Ballière de Laisement (1729-1800), a versatile scholar who knew J. J. Rousseau, d'Alembert, Diderot and Voltaire well and wrote several librettos for comic operas (cf. Eitner). "In his 'Théorie de la musique' (Paris, 1764) he developed a system based on the harmonic series of the hunting-horn; a similar system, evidently unknown to him, had been presented by G. A. Sorge in 1741. The 'Théorie' had some followers (notably Canon Jamard and Abbé Feytou) and won Rousseau's praise, but was harshly criticized by later theorists, in particular J.-B. de La Borde" (New Grove). Trouflaut's handwritten ownership (dated 1772) on title; numerous underlinings and annotations, with a scale in the margin of p. 71. - II) Principal theoretical work of the Paris musician N. L. Le Dran, "which tried to introduce a different designation for the chords in the doctrine of the figured base" (cf. Eitner). It was attacked by La Borde with the same vehemence as Ballière's theory had been. Trouflaut's handwritten ownership (dated 1772) on title; a few corrections by his hand. - III) A principal work of musical theory by the Abbé Roussier (1716-92), "self-instructed in music but inclining toward Rameau" (cf. Eitner). Here, he "also dealt with problems of musical temperament, [rejecting] contemporary systems in favour of a Pythagorean tuning" (New Grove). Presentation copy from the author with Trouflaut's note next to his ownership on the title (1772). Numerous annotations and marginalia, some quite extensive. Roussier's correspondence with Trouflaut is bound before the "Memoire". - IV) At the end, one of Roussier's two known compositions, a motet based on Psalm 150 ("Laudate Dominum in sanctis ejus"). Author's presentation copy with Trouflaut's autograph note on the title. On the verso, almost completely covered with Trouflaut's annotations, the scholar also pasted two lines of printed music from "L'art du facteur d'orgues" by Don Bedos de Celles. - Some waterstaining to margin and gutter throughout, more severely affecting the "Mémoire sur la musique des anciens" near the end and the "Pseaume CL" throughout with some loss to legibility. Although the volume was undoubtedly compiled this by Trouflaut himself, his original binding must have been so badly damaged that it was replaced by another one in the 18th century style sometime during the early 20th century. The front flyleaf contains Trouflaut's very extensive notes on the theoretical opinions of M. Guignet (maître de musique de la cathédrale de Nevers) as well as instructions for the original binding ("1# de relieure pour cet in 4° chez Tiger derrière la fontaine St. Benoit, place Cambray a côte de la porte cochere du college de Cambray"). The bookplate of the book's last owner before rebinding, the bishop of Nevers, Dominique-Augustin Dufêtre (1796-1860), has been glued onto the inside of the new upper cover. I: New Grove II, 94. Eitner I, 320. - II: Eitner VI, 105. - III: New Grove XVI, 277. Eitner VIII, 339. Hirsch I, 528. - IV: New Grove XVI, 277.

Inlibris · Wien, AT9 500,00 €

Euclid [i.e., Cleonides] / Péna, Jean (ed.).MareMagnum

[Eukleidou eisagoge harmonike, tou autou katatome kanonos]. Euclidis rudimenta musices. Eiusdem sectio regulae harmonicae, e regia bibliotheca desumpta [...]. Paris, Andreas Wechel, 1557.

4to. 2 parts. (4 pp.), 5-16, 10 ff. Text in Greek and Latin. With woodcut printer's device as well as several floral headpieces and initials. Later full vellum with handwritten spine-title. First edition. - Greek text and Latin translation of the "Introduction to Harmonics" by the Greek scholar Cleonides, the pupil of Aristoxenus, erroneously ascribed to Euclid, and of the "Division of the Scale", about whose true authorship there is no agreement. Edited by the French mathematician and educator Péna (ca. 1528-68), the book reflects the influence of classical mathematicians on Renaissance music theory and was a key work for the wide distribution of music theory of the classical period. - The attribution of the "Eisagoge" to Euclid (or to Pappus in some manuscripts) is incompatible with the Aristoxenian approach adopted in the treatise, namely that "the scale is formed of notes separated by a tone identified by the ear" (DSB IV, 430). Cleonides's treatise is the clearest account of the technical aspects in the work of the philosopher Aristoxenus, who defined key terms of music theory, including the interval, whole tone and semitone, pitch space, and rhythm. - The other musical work here ascribed to Euclid, the "Sectio canonis", expounds a quite contrary theory, namely "the Pythagorean doctrine that the musical intervals are to be distinguished by the mathematical ration of the notes terminating the interval [...] All that it seems possible to say with certainty is that Euclid wrote a book entitled 'Elements of Music' and that the 'Sectio canonis' has some connection with it" (DSB). Wechel printed both works in Greek as the first part and followed them with both Latin translations in the second. - Modern binding a little soiled and occasionally scratched; upper cover slightly bowed. Contemporary handwritten table of contents to second flyleaf (preserved from the first binding), mentioning another work by Péna, his translation of Euclid's "Optica & Catoptrica", also published in 1557, which appears to have been bound with the "Eisagoge" at the time. Second half shows a few light waterstains to the margin. Traces of an erased handwritten ownership on title-page. Rare; not seen at auction for nearly two decades. RISM BVI 296. Gregory/Sonneck 85. Gesch. der Musiktheorie 7, 25 & 320. Davidsson 1962, 27. Gregory 85. Adams E 1023. Hoffmann II, 41. Schweiger I, 111. Not in Damschroder/Williams. OCLC 257567017.

Inlibris · Wien, AT8 500,00 €

Sbarra, Francesco.MareMagnum

Il pomo d'oro: festa teatrale rappresentata in Vienna per l'augustissime nozze delle Sacre Cesaree Reali Maestà di Leopoldo, e Margherita [...]. Vienna, M. Cosmerovius, 1668.

Folio. (16), 105, (3) pp. With folding engr. title page and 23 folding engr. plates by Matthäus Küsell after Ludovico Burnacini. Marbled half calf (c. 1900) with giltstamped title to gilt spine. This splendid work, published on the occasion of the formal opening of the Court Theatre in 1667, contains the libretto and stage designs of the eponymous opera, produced in honor of the marriage between Emperor Leopold I. and Infanta Margareta Teresia of Spain. The "Pomo d'oro" is considered one of the 17th century's most significant achievements of the musical stage; Burnacini's imaginative stage designs are known only through these illustrations, congenially engraved by Küsell. The two additional plates which Vinet mentions, depicting interior views of the auditorium, are not contained in any of the copies cnsulted for comparison; they were produced only after Küsell had completed the series and were added to a very small number of copies. As they are not mentioned by the printed table of plates (ff. B1r-B2v), the work may be considered complete thus. - Occasional browning and waterstaining; several plates with signs of old remargining and restoration; slight defect to one plate (some loss to image, retouched). Attractive, uncommonly well-preserved copy in comparison with the five copies sold at auction during the past three decades (four of which were incomplete, wanting the engr. title page or one of the 23 stage-designs). From the collection of the Viennese brewer Joseph Wuensch (1843-1916) with his bookplate and library label on the front pastedown. VD 17, 39:126553Z (two copies, collations agreeing with the present copy). Kat. der Ornamentstichslg. Berlin 4127 (as here). Vinet 669 (25 plates). Palau 230.777. Thieme/B. V, 264. AKL XV, 253.

Inlibris · Wien, AT8 500,00 €

[Wittgenstein, Paul, Pianist (1887-1961)]. - Louis Spohr (Komponist, 1784-1859).MareMagnum

38 Musikdrucke aus dem Besitz Paul Wittgensteins. Verschiedene Orte, ca. 1815 bis 1842.

Zusammen 1794 SS. Notendrucke. Meist gr.-4to. - Beiliegend 5 Notendrucke von Werken Johann Nepomuk Hummels, Simon Sechters, Heinrich Marschners, Johann Rt. von Herbecks und Carl Perfettas. Zusammen 196 SS. Meist gr.-4to. Weiters beiliegend Spohrs "Selbstbiographie". 2 Bde. Mit 15 Tafeln. XV, (1), 350, (2) SS. (2), 412, (2) SS. Marmorierte Halbleinenbände der Zeit mit Rückentitel und -vergoldung. 8vo. "Paul Wittgenstein hat vor allem Bach und Beethoven geliebt. Beethoven war seine Nummer eins. Ich würde sagen, Beethoven war seine große Liebe, alles andere war schön und akzeptabel, aber geliebt hat er nur Beethoven und Bach", erzählt Erna Otten-Attermann in einem Interview aus dem Jahr 2004/2005 mit Irene Suchy über ihren Lehrer Paul Wittgenstein ("Der Musiker im wunderschönen Schloß". In: Empty Sleeve. Der Musiker und Mäzen Paul Wittgenstein. Innsbruck u. a., Studien Verlag, 2006, SS. 37-43, 41). Es ist auch bekannt, daß Wittgenstein - um im Bild zu bleiben - zeitlebens einige Geliebte unterhielt; daß auch Louis Spohr zu diesen hinzuzuzählen ist, ist jedoch - von einem kleinen Hinweis abgesehen - bislang nicht bekannt gewesen. E. Findell erwähnt in einem Aufsatz in der Music Review (32/1971), daß Richard Strauss mit Paul Wittgenstein gewöhnlich Duette gespielt hätte und daß sie beide dieselbe Leidenschaft für Spohrs Kammermusik entwickelt hätten, und auch an anderer, etwas entlegenerer Stelle gibt es vereinzelt Hinweise aus Wittgensteins Vorliebe für Spohr. In zwei bislang unpublizierten Briefen Wittgensteins an Erich Wolfgang Korngold aus den 1920er Jahren - feilgeboten vom Wiener Antiquariat Inlibris Gilhofer Nfg. - ist wiederholt von Spohr die Rede. In einem Brief vom 25. V. 1923 bedauert er, einer Einladung zu einem Hauskonzert nicht die genaue Adresse hinzugefügt zu haben: "Verzeihen Sie diese Gedankenlosigkeit und die daraus für Sie entstandenen Unannehmlichkeiten. Mir war es doppelt leid, da die beiden Spohr'schen Stücke recht brav gespielt worden sind. Wunderer [d. i. der Oboist Alexander Wunderer, 1877-1955] hat sie seinen Schülern ordentlich einstudiert; er hat, so wie ich, eine Vorliebe für diesen jetzt ganz vernachlässigten Meister. Und ein Meister ist er, das verrät jede Note [...]". Wenig später folgt eine zweite, diesmal mit allen notwendigen Daten versehene Einladung: "Donnerstag den 1. November, nachmittags 4 Uhr, führt Wunderer mit seinen Schülern zwei Doppelquartette von Spohr bei mir in der Alleegasse auf. Hätten Sie Lust es anzuhören? [...]" (Br. v. 22. X. 1923). Diese keineswegs beiläufige Beschäftigung mit Spohr wird besonders an Hand des vorliegenden Bestands deutlich, der 39 (davon mehr als 24 in Erster Ausgabe) von Spohrs rund 300 Werken umfaßt. Keine flüchtige Geliebte also, sondern eine ernsthafte Beschäftigung mit dem Komponisten und Geigenvirtuosen. - Detaillierte Verlistung auf Anfrage.

Inlibris · Wien, AT7 500,00 €

MIRBEAU (Octave)Livre Rare Book

Le Journal d'une femme de chambre.

190029598Un des 20 premiers réimposés sur chine. Reliure signée de Marius Michel Paris, Fasquelle, 1900. 1 vol. (165 x 255 mm) de 1 f., [4] et 519 p. Maroquin brun, dos à nerfs orné de filets à froid, tranches dorées sur témoins, filets à froid sur les coupes, contreplat à encadrement orné d'un jeu de sept filets, couverture conservées (reliure signée de Marius Michel). Édition originale. Un des 20 premiers exemplaires réimposés sur chine (n° 18).

Librairie Walden · Orléans, France7 000,00 €

Berardi, Angelo.MareMagnum

Miscellanea musicale [...] divisa in tre parti. Dove con dottrine si discorre delle materie più curiose della musica [...]. Bologna, Giacomo Monti, 1689.

4to. 3 parts in one volume. (12), 210, (6) pp. With woodcut printer's device, a headpiece and a few woodcut illustrations in the text. Numerous examples of sheet music. Contemporary full vellum with handwritten spine-title. First and only edition. - Rare treatise on musical theory by the Italian composer Berardi (1636-94), a highly prolific artist and theorist particularly focused on church music. It includes the "Osanna" from Berardi's "Iste confessor" mass (pp. 69-78) and displays his broad knowledge of relevant publications on the subject, as well as his admiration for other scholars, including Athanasius Kircher, Marin Mersenne, and his teacher Marco Scacchi, all of whom he frequently quotes. The "Miscellanea" discuss, inter alia, the canto fermo, as well as the history of counterpoint and its practice in the 17th century (pp. 112ff.), promotes a more liberal and frequent use of dissonances (pp. 82ff.), and analyses the manner and form of tempi generating different musical effects (pp. 56ff.). It explains the musical forms of the day as well as the relations between classical and modern music, rejecting the "uniformity of the past and preferring melodic composition instead" (cf. MGG). - Head and foot of spine slightly rubbed; covers a little bowed. Paper evenly browned and brownstained throughout; upper margin somewhat waterstained. Handwritten ownership of the friar Griziottus of Piacenza, as well as of Charles Missieli to title-page. Missieli's ownership is further stamped in four places, partly erased from the title-page, p. 122, and final page, but remaining on p. 196. A few marginal notes and highlights in pen and pencil. Rarely seen at auction. RISM B VI, 138. MGG II, 1174. Eitner I, 451. Fétis I, 349. Gregory/Bartlet I, 31. Hirsch I, 61. Catalogue of Printed Books of Music in the British Museum T, 142. Catalogue of Early Books on Music in the Library of Congress, 31. Graesse I, 338.

Inlibris · Wien, AT6 500,00 €

Haydn, Joseph, Komponist (1732-1809).MareMagnum

Gestochene Visitenkarte. O. O., [um bzw. nach 1803].

Kleines Visitkartenformat. Hinter Glas gerahmt (79:110 mm). "Hin ist alle meine Kraft | alt und schwach bin ich | Joseph Haydn". Haydn verbrachte von 1797 an die letzten zwölf Jahre seines Lebens in seinem 1793 erworbenen Haus in der Vorstadt Windmühle (Untere Steingasse 73, heute Haydngasse 19), wo u. a. die zwei Oratorien "Die Schöpfung" und "Die Jahreszeiten" sowie sechs Messen für die Esterházy-Familie entstanden. Ab 1802 war er krankheitsbedingt nicht mehr in der Lage zu komponieren oder öffentlich aufzutreten.

Inlibris · Wien, AT6 500,00 €

Schubert, Franz.MareMagnum

Nachgelassene musikalische Dichtungen für Gesang und Pianoforte. Lieferung 1-50 (alles Erschienene). Wien, Diabelli, [1830-1850].

50 Hefte in 3 Bänden. Halbleinenbände der Zeit. Quer-Folio. Vollständiges Exemplar der durchweg gestochenen Reihe. Sämtliche Hefte liegen in frischen und sauberen Abzügen der Erstausgabe vor. Deutsch, S. 496. Hirsch V, 650.

Inlibris · Wien, AT6 500,00 €

BENAYOUN (Robert)Livre Rare Book

Ensemble d’archives personnelles concernant le cinéma.

35504322Cet important lot d'archives, réunies en 3 cartons, constitue l'ensemble des manuscrits et documents réunis par Benayoun pour ses travaux de cinéaste, de critique et d'auteur de livres sur le cinéma. Ces archives sont en outre constituées d'un grand nombre de chemises, dossiers et pièces en vrac contenant des documents variés sans rapport entre eux. Nous les restituons tels qu'ils se trouvaient, ces dossiers contenant aussi un certain nombre de documents personnels tel que des factures, quittances, etc.Une grande partie de ces documents et notes, en particulier le dossier «Spielberg» constitue une œuvre inédite.DOSSIER «WOODY ALLEN»Benayoun est l'auteur d'un important ouvrage sur Allen: Woody Allen au delà du langage, 1985, traduit en anglais par Alexander Walker l'année suivante sous le titre Woody Allen beyond words puis sous le titre The films of Woody Allen. Une lettre de Benayoun qui figure dans ce dossier indique que ce changement de titre s'est fait sans l'avis de l'auteur, il somme son éditeur de restituer le titre initial, le seul reconnu par lui.Cet important dossier regroupe des centaines de feuillets sur Woody Allen. Il est principalement constitué de documents tapuscrits ou manuscrits par Benayoun. Mais il contient aussi une importante correspondance à propos du livre, des coupures de presse ainsi que divers travaux sur l'humour dans le cinéma ou l'humour juif qui ne concernent pas spécifiquement Allen mais le mentionnent abondamment. La documentation est en partie regroupée en chemises correspondant aux chapitres du livre. Le dossier contient en outre de nombreuses photographies des films d'Allen. DOSSIER «BUSTER KEATON»Dossier contenant plusieurs centaines de feuillets portant les différents états de l'écriture du Regard de Buster Keaton de Benayoun (Paris, 1982) qui sera traduit en anglais l'année suivante sous le titre The look of Buster Keaton. Documents tapuscrits et manuscrits, courrier, coupure de presse, photocopies diverses, etc.DOSSIER «JOHN HUSTON»Plusieurs centaines de ff. d'épreuves corrigées de son John Huston paru en 1966.DOSSIER «SPIELBERG»Il s'agit du dernier travail de Benayoun. Son livre sur Spielberg n'a jamais paru du fait de la mort de l'auteur en 1996.Le matériel rassemblé pour ce livre est bien plus considérable que les précédents, groupés dans plusieurs chemises correspondant aux différents chapitres du livres l'ensemble comporte des centaines de pages tapuscrites ou manuscrites. La rédaction du livre semble très aboutie. Ces documents se composent entre autres d'un tapuscrit annoté de 18 pp. in-4 donnant les chapitres 2 et 3 Le boy scout et sa magie blanche et Une maturité précoce apparemment achevés. Passionnante documentation de ce livre inédit.DOSSIER «HISTOIRE DU DESSIN ANIMÉ»Dans un dossier au titre tapuscrit «Radiodiffusion télévision française – Histoire du dessin animé» 16 pp. tapuscrites de retranscription de l'émission. Cette émission semble faire suite à une première sur Walt Disney, celle-ci concerne le dessin animé après Walt Disney. Le Dessin animé après Walt Disney est aussi un livre que Benayoun a fait paraître en 1961. À la suite, ce dossier contient le manuscrit du livre, plusieurs dizaines de pages manuscrites et tapuscrits annotés.DIVERS DOSSIERS DE PRESSE.Annotés par Benayoun, avec des documents sur ces films et des brouillons d'articles de sa main:- Lawrence d'Arabie- Annie (J. Huston)- Duel au Colorado (Gunfight at Comanche Creek)- Comédie érotique d'une nuit d'été. (W. Allen)- Big- Roger Rabbit- Le fou de guerre- Rencontre du troisième type- Chronique d'une mort annoncée (F. Rosi)- Le Sacrifice (A. Tarkovski)DOSSIER «TOURS 66»Dossier réunissant une centaine de pièces diverses. Certaines d'entre elles concernent le festival du court metrage de Tours en 1966. 9 tirages de photographies de tournage ou de films dont Lucien Clergue et Ousmane Sembène, programme du festival... Ce dossier contient aussi de nombreuses pièces, notes de Benayoun, coupures de presse etc. apparemment sans rapport avec cet événement.PARIS N'EXISTE PAS1 dossier contenant diverses pièces, en particulier des comptes du film et une correspondance entre Benayoun et son père qu'il sollicite pour le financement du projet.Dossier contenant 172 photographies tirées du film ou prises lors du tournage ou à lors de conférences ou de galas à l'occasion de la sortie du film. Nombreuses photographies en double.3 photographies publicitaires en couleurs à l'entête du distributeur montrant des scènes du film, 30 x 24 cm. - 2 photographies en noir de 20 x 25 cm. - 28 photographies tirées du film en noir de format 18 x 24 cm. - 136 photographies en noir de format 13 x 18 cm. - 3 photographies couleurs de format 9 x 12 montrant Benayoun.Joint: important lot de centaines de pièces diverses non classées relatives à son travail de critique; brouillons, notes, photographies, manuscrits d'articles (Walt Disney, Blake Edwards...), coupures de presse. Notes concernant Passage Breton, Paris n'existe pas, tapuscrit de poème, projets de scénarios, etc.Robert Benayoun fut une figure centrale du surréalisme d'après-guerre, critique, cinéaste, écrivain, traducteur, collagiste. Il entre en contact avec Breton en 1948 et mène à partir de cette époque une intense activité au sein du groupe. Ses contributions à Medium, Le Surréalisme même, La Brèche, Bief, etc. sont innombrables. Les domaines de l'humour, du monde anglo-saxon et du cinéma relevaient de «sa juridiction», selon les termes de Breton. Cependant, sa vaste culture lui permit d'aborder tous les aspects du surréalisme, il prend une part essentielle à l'organisation des expositions, à la rédaction de pamphlets et de tracts et fait connaître le mouvement par ses livres tels L'Érotique du surréalisme ou Le rire des surréalistes. Comme artiste il a participé à plusieurs événements. «Il a révélé un œuvre déjà anciennement entreprise de collagiste expert en allusions scabreuses et bouffonnes conflagrations» dit le Dict. du surréalisme p. 55.Traducteur de talent, il fait découvrir au public français l'humour de d'E. Lear ou encore une Anthologie du nonsense, ainsi que des traductions de Ch. Ford, W. Irving, etc. Mais Benayoun est principalement connu aujourd'hui comme critique et auteur de livres sur le cinéma. Il fut critique à L'Âge du cinéma dont il fut l'un des fondateurs en 1950, à France Observateur, Le Point et surtout à Positif dont il était un des principaux contributeurs. Ses livres sur Woody Allen, Buster Keaton, J. Houston, J. Lewis, Resnais, Tex Avery, Le dessin animé après W. Disney, etc. furent, souvent réédités et demeurent des ouvrages de référence sur ces sujets. «Robert Benayoun avait commencé il y a quelques années un livre sur Steven Spielberg avec l'accord du réalisateur de Jurassic Park mais la maladie l'a empêché de le terminer.» dit sa nécrologie dans Libération du 22 oct. 1996. Benayoun fut enfin cinéaste. Si son grand projet, entrepris avec son ami Brunius, d'un film sur l'histoire du mouvement surréaliste ne vit finalement jamais le jour, il a utilisé une partie des scènes tournées à St.-Cirq-Lapopie pour ce projet dans son documentaire Passage Breton. Ses deux films sont Sérieux comme le plaisir (1975) et Paris n'existe pas (1972) avec S. Gainsbourg qui reste régulièrement programmé sur les chaînes de cinéma.

Librairie du Manoir de Pron · Montigny sur Canne, France6 000,00 €

ELISSEEFF Serge IACOVLEFF AlexandreMareMagnum

Le Théâtre japonais (Kabuki)

- Jacques de Brunhoff chez Jules Meynial, Paris 1933, 28,5x38,5cm, broché. - Le Théâtre japonais (Kabuki) Jacques de Brunhoff chez Jules Meynial Paris 1933 | 28,5 x 38,5 cm | in original wrappers First edition printed in 500 numbered copies on Arches paper, the only issue, our copy unjustified. Illustrated with 32 superb colour plates and 48 in-text black and white illustrations. Serge Elisséeff, a great orientalist of Russian origin, established in Paris in the 1920s and then in the United States, was the first director of the Yenching-Institut at Harvard. He will then become famous by developing, during the Second World War, a rapid teaching of Japanese and Chinese for the armies sent to the Pacific. Superb and rare copy free from foxing of the most beautiful illustrated book on Kabuki. [FRENCH VERSION FOLLOWS] Edition originale imprimée à 500 exemplaires sur Arches, le nôtre non numéroté. Ouvrage illustré de 32 superbes planches en couleurs et de 48 illustrations in-texte en noir. Serge Elisséeff, grand orientaliste d'origine russe, établi à Paris dans les années 20 puis aux États-Unis, fut le premier directeur du Yenching-Institut d'Harvard. Il deviendra ensuite célèbre en mettant au point, durant la seconde guerre mondiale, un enseignement rapide du japonais et du chinois pour les armées envoyées dans le Pacifique. Superbe et rare exemplaire exempt de rousseurs du plus beau livre illustré sur le Kabuki.

Librairie Feu Follet · Paris, FR5 175,00 €

PARROT LouisMareMagnum

Tapuscrit avec ajouts manuscrits autographes de L'intelligence en guerre

- 1945, 22,3x27,9cm, (24) f., 340 feuillets. - Typescript of L'Intelligence en guerre with handwritten manuscript additions 1945 | 22.3 x 27.9 cm | (24) f. | 24 handwritten sheets hold with a pin & 340 leaves of typescript «We can say without contradiction that this concern for the truth, this love for justice, have never been manifested so brightly as during these dark days where the French had lost the use of speech.» 340 page typescript of the work L'Intelligence en guerre by the resistant writer-journalist Louis Parrot, accompanied by handwritten notes concerning the title, half-title, preface and first bibliography pages (4 pages in total) and the index of names quoted at the end of the volume (6 pages in total). Several folds and rust marks from the metal fasteners. he typescript includes handwrittencorrections and changes, in particular 25 fully handwritten pages, and additions in the margin on several tens of pages, featuring fully in the version published in 1945 by La Jeune Parque publishers. With L'Intelligence en guerre, writer and literary critic Louis Parrot, a leading figure of the underground press during the Second World War, friend of Eluard, Picasso, and Aragon, identifies a panorama of French resistant thought that does justice to the forgotten Maquis as well as the most emblematic writers of the underground press. he publication, at the end of the war, of this anthology of fighting poets, where the literary chronicle meets the history book, is also a political act committed to the selection of «heroes» of the intellectual resistance and an implicit condemnation of the supporters of the 'wait and see' policy. By sending this typescript to a journalist friend, also part of the resistance, Parrot entrusts this brother in arms with the sum of a work whose visible changes and additions show the political choices of its author, as well as his aesthetic inclinations. This typescript is a unique document whose in-depth study will serve as the basis for the his oriography of literary resistance. he recipient of the typescript, Auguste Anglès, is one of the main players in the Lyonnaise resistance press, creator of the underground newspaper Confluences. Parrot therefore addresses a version of his work, which highlights the difficulty as well as the need for completeness of his task, to this enlightened judge, who is very familiar with the intellectual networks, as shown by the handwritten note on the board chemise: «My dear Angles, Here is a copy, unfortunately not with even the major changes and corrections; they have increased the book by more than 100 typed pages. There were a lot of mistakes that were fixed. So forgive me for giving you a copy on which nothing has been corrected. I hope that it will, however, help you. Best wishes, Parrot» he handwritten note addressed to Auguste Anglès shows that it is a working document («a copy on which nothing has been corrected»), prior to the corrected proofs sent to the publisher. The typescript presents two stages of the text, increased by several marginal or full-page corrections, which, as Parrot indicates «have increased the book by more than 100 typed pages,» feature systematically in the text published in 1945. We note some important turnarounds, in particular the replacement of Georges Duhamel by François Mauriac as the figurehead of the resistance within the Académie Française. Other bundles of typed pages are added to this, enigmatically entitled «petit blanc» «little white,» which were incorporated later - the passages on the writers Antoine de Saint-Exupéry, Jean-Paul Sartre and Jean Giraudoux (added to the chapter on the Lettres françaises in the final version). These late additions mark the controversial inauguration at the Pantheon of the literary resistance of writers such as Saint-Exupéry (renounced by General de Gaulle) or Sartre, whose attitude during the Occupation was the subject of much controversy and who is indebted to Camus for his participatio

Librairie Feu Follet · Paris, FR5 175,00 €

Kerle, Jacobus de.MareMagnum

Selectae quaedam cantiones sacrae modis musicis quinque et sex vocum compositae. Discantus. Nürnberg, Theodor Gerlach, 1571.

Qu.-8vo. 46, (2) SS. Neuer Halbpergamentband (unter Verwendung alter Pergament-Handschrift) mit Titelschild. Kostbarer Typendruck der Discantus-Stimme zu 16 Kompositionen, mit Holzschnitt-Initialen zu Beginn der Gesangsabschnitte. - "Truchseß von Waldburg, der als Kardinal maßgebend an der Kirchenmusikreform des Trienter Konzils geteiligt war, brachte den Niederländer Jacobus de Kerle nach Augsburg (Domorganist 1568-75), bedeutend als Messen- und Motettenkomponist; [...] die kath. Kirchenmusik [erlebt] in den Jahrzehnten zwischen dem Religionsfrieden von 1555 und dem Dreißigjährigen Krieg eine glanzvolle Epoche, die im Wirken des [...] J. de Kerle [...] gipfelt" (A. Layer in "Musik in Bayern", Bd. I). - Stellenweise etwas fingerfleckig. RISM K, 447. Eitner V, 353. Lesure (Musique imprimée avant 1800), S. 342. BUC, S. 569.

Inlibris · Wien, AT5 000,00 €

CINEMA PORTATILE, JOLLYFILM.MareMagnum

''Il primo ed unico Cinema Tascabile...'' Assieme di 160 porzioni di pellicole in 8mm entro contenitori in cartoncino; completo del visualizzatore manuale per guardare i minifilm.

Straordinaria raccolta di 160 (dei 350 che compongono l'intera collezione) brevi ''8mm per l'Italia'' pellicole di una ventina di cm comprendenti una dozzina di fotogrammi, ognuna conservata nella propria scatoletta in cartone. Il tutto è contenuto nella scatola originale di vendita, con grande immagine pubblicitaria sull'apertura, completa del visualizzatore manuale originale e del catologo di tutti gli 8mm prodotti. Il visualizzatore è completamente meccanico e i mini-film comprendono un gran numero di argomenti e generi, dallo sport al naturalismo, dal cinema d'epoca alla politica. Tra quelli presenti segnaliamo ad esempio: ''Silvana Pampanini ai tempi di Poppea'', ''Walter Chiari Tarzan'', ''Gino Cervi pugilatore'', ''Sbadiglio di Audrey Hepburn'', ''Mio Mao atterrito dall'enorme pipistrello'', ''Amedeo Nazzari con Eleonora Rossi Drago'', ''Parla P. Togliatti'', ''Arriva Donna Sophia!'', ''Sbadiglio di Audrey Hepburn'', ''Arriva Donna Sophia!'' , ''Clark Gable commovente papà'' (Clark Gable in a touching moment as a dad), ''Burt Lancaster pirata dei sette mari'', ''Cavalluccio marino ripreso mentre partorisce'', ''Auto acrobazie negli Stati Uniti'' , ''Arriva Churchill'', ''I magici baffoni di Bob Hope''. Highly interesting example from a decade of experimental inventions which sought to exploit the technology of moving pictures for private use, and to capitalize on the great popularity of cinema. In addition to the "player", the collections consists of about 160 short 8 mm film motion pictures, about 30 cm long and include some 80 photograms each. The original display box, with illustrated advertising on the inside of the cover, contains the 160 boxes and the original viewing device. Among the short movies: Audrey Hepburn yawning - Here comes Sophia Loren - Burt Lancaster pirate of the seven seas - A seahorse giving birth - Car stunts in the US - Bob Hope's magical moustaches. There is also a complete illustrated catalogue of all of the 350 "cine-programs" assembled by the Jollyfilm. Topics include sport, adventure, cartoons, movie stars, comedy, history, original war footage, underwater, wild animals and more.. .

Libreria Antiquaria Pregliasco · Torino, IT4 800,00 €

Horn, Johann Caspar.MareMagnum

Geistliche Harmonien über die gewöhnlichen Evangelia so durchs gantze Jahr an denen Son[n]tagen, auch hohen und andern Festen pflegen erkläret zu werden. Der Winter-Theil. Basso. Dresden, Johann Christoph Mieth, 1680.

144 SS. Halbpergament der Zeit unter Verwendung eines Pergament-Notenblatts des 17. Jahrhunderts. 4to. Nur die Basstimme des Winterteils. "Eine große Anzahl Exemplare [...] der je 38 Nummern der 'Geistlichen Harmonieen' spiegeln die einst große Beliebtheit dieses Evangelien-Jahrgangs, eines der ersten mit Instrumentalbegleitung, eines der letzten mit reinem Bibeltext ohne dichterische Zusätze. Es sind geistliche Konzerte. Ihre Sonderstellung besteht darin, daß sie durchwegs die Perikopenlesung im vollen Umfang vertonen, sich also nicht mehr auf 'Evangelische Kernsprüche' beschränken" (MGG). Der österreichisch-sächsische Mediziner J. C. Horn (um 1630-85) war auch zwischen 1663 und 1676 Mitglied des Leipziger Kreises um Sebastian Knüpfer. - Einband tintenfleckig. Innen papierbedingt leicht gebräunt, im Rand teils auch braunfleckig, aber wohlerhalten. MGG VI, 716. Nicht im VD 17.

Inlibris · Wien, AT4 500,00 €

Praetorius, Hieronymus.MareMagnum

Cantiones variae V, VI, VII, IIX, X, XII, XVI, XX, vocum quae sunt operum musicorum Tomus Quartus Cui in gratiam Musicae peritorum additum habes Bassum Continuum [...] Sexta vox (und Septima vox). Hamburg, Carstens, [1618].

2 Stimmbücher (von 8). 4to. Neue Pappbände. Erstausgabe dieser bis zu 20stimmigen Gesänge. In Typendruck, mit zahlreichen, verzierten Initialen. Mit Hassler, Jakob Gallus und Michael Praetorius gehört der Komponist zu jenen, die den mehrchörigen venezianischen Stil nach Deutschland verpflanzt haben. - Leicht gebräunt, ausgezeichnet erhalten. Gaspari II, 484. RISM P, 5341. Nicht in Katalog Wolfheim.

Inlibris · Wien, AT4 500,00 €

QUENEAU RaymondMareMagnum

Dossier des fiches du jury remplies par Raymond Queneau pour le Festival de Cannes de 1952

- Cannes 1952, 20,9x27cm, 90 feuillets. - Le palmarès de Queneau Dossier des fiches du jury remplies par Raymond Queneau pour le Festival de Cannes de 1952 soit 90 feuillets presque tous remplis de sa main. Un seul film manque hélas à l'appel, Dans la tempête (Arashi no naka no hara)de Kiyoshi Saeki, l'ensemble est sinon complet de toutes les critiques des longs et courts métrages en compétition au festival cette année-là. Amusant ensemble des critiques de Raymond Queneau, alors membre du jury du Festival de Cannes. Ces fiches retracent les impressions acerbes ou élogieuses de l'écrivain au visionnage des films. L'année 1952 voit se dérouler la cinquième édition du jeune Festival de Cannes avec comme président du jury Maurice Genevoix. Le grand prix est remporté par deux films, Deux sous d'espoir (Due soldi di speranza) de Renato Castellani et Othello d'Orson Welles. Sur la fiche de ce dernier, l'avis de Queneau est sans appel : "Number one". Quant au film de Castellani, le critique est dithyrambique : "enfin ! du cinéma - intelligent, vivant, humain. Deux ou trois passages ont de la grandeur. Et ce n'est pas prétentieux.", il juge sa vedette féminine, Maria Fiore, "épatante". Du côté français, c'est Fanfan la Tulipe qui est en lice et Queneau n'est pas tendre : "ça aurait pu être un film agréable, mais le dialogue gâche tout." Gina Lollobrigida est "quelconque" et Gérard Philippe "pas bon, cette fois-ci". Le film obtiendra malgré tout le prix de la mise en scène. Il trouve Marlon Brando, qui sera sacré "meilleure interprétation masculine"; "T.B." dans Viva Zapata d'Elia Kazan. L'un de ses coups de coeur est incontestablement Le Medium de Gian-Carlo Menotti qu'il qualifie d'"EPATANT/ un film ! un opéra ! saisissant ! poignant !" et qui remportera le Prix du film lyrique. [ENGLISH DESCRIPTION ON DEMAND]

Librairie Feu Follet · Paris, FR4 370,00 €

CENDRARS (Blaise). LEGER (Fernand).Livre Rare Book

La fin du monde filmée par l'Ange N.-D.

191922979LA SIRENE 1919 1 Roman de Blaise Cendrars. Compositions en couleurs par Fernand LEGER. Paris, La Sirène, 1919, in-4, broché, couverture imprimée, ornée d'un dessin et titrée en calligraphie, sous chemise verte ornée d'un décor géométrique rouge et noir sur le premier plat.

Librairie Chrétien · Paris, France4 000,00 €

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