8 829 résultats
192155221London: Ascherberg Hopwood & Crew Limited 1921. First Edition. Quarto 31cm; original pictorial wrappers backed in maroon cloth; viii1124pp. Rubber-stamped signature of Ivor Novello on lower title page. Modest wear and creasing wrappers dust-soiled with a few tiny nicks and creases to same and a small ink notation and small stain to front cover; several creased corners in text with the holograph addition in pencil of a second verso in "Lonely Soldier" on pp.24-25 in an undetermined hand though not Wodehouse's; complete Very Good. A musical play co-written by Wodehouse and English author Frederick A. Thompson 1884-1949 with music by Welsh composer Ivor Novello. The Golden Moth premiered at the Adelphi Theatre in London on 5 October 1921 running for 281 performances. An elusive Wodehouse item in the original wrappers; OCLC notes 12 holdings. McIlvaine Ga.5. Ascherberg, Hopwood & Crew, Limited unknown
55196Berlin: Heimproduktion and Köln Electrola 1978. Vinyl record in original pictorial record sleeve measuring 31 × 31.4 cm. Cover with signed dedication: "heart symbollich Valie Export M. Wiener. Berlin 26.5.79" and record label also with signed dedication: "Mike Steiner von Monsti Wiener. Valie Export 26.5.79" the dedication signed by both probably in Wiener's hand. Sleeve creased; edges rubbed; small edge defect; the record with a few superficial scratches. The album "Wahre Freundschaft" is the first of two records that Valie Export and Monsti Wiener produced together. The recordings were made in 1978 in Wiener's apartment in Berlin-Kreuzberg and were released in an edition of 1000 copies. On the record the two Viennese performance artists sing old German and Austrian folk songs and popular classical songs such as "Das Wandern ist des Müllers Lust" Franz Schubert and avant-garde pieces by Gerhard Rühm and Konrad Bayer for example as well as numerous obscene banal and silly pop songs. The performances are repeatedly interrupted by fits of laughter from the two interpreters who barely hit a note correctly and fail in their attempt to sing the canon "Frère Jacques". Cf. Wolfgang Müller Subkultur Westberlin 1979-1989 Hamburg 2014 p. 69f.<br /> <br /> Ingrid Wiener and Valie Export had previously worked together with Dieter Roth on a longer project which at first glance seems atypical of the neo-avant-garde. On the initiative of Wiener who studied textile design in the first half of the 1960s the three artists created a series of tapestries although Valie Export withdrew from the project. The production of the tapestries was a tedious very time-consuming practice; it could sometimes take years to produce one carpet. However Dieter Roth maintained his spontaneous approach in this collaboration. For the first tapestry in which Export was involved Roth supplied a soiled linen napkin from a meal at the Italian restaurant chain "Bertorelli". He scribbled three chunky cats in red pencil on the grease-stained machine-made napkin. In the bottom right-hand corner of the tapestry Valie Export wove Roth's signature and the year the collaboration began 1974 as well as her own logo signet at the top right-hand edge next to the city name Berlin and the end year 1976. At the top left Wiener wove her signature in small letters. The record offered here was thus created in the context of this collaboration. Caroline Lillian Schopp: Feminist In-Action. Ingrid Wiener's Tapestry Collaborations in: FKW: Zeitschrift für Geschlechterforschung und visuelle Kultur. No. 68 October 31 2020 p 52ff.<br /> <br /> As of June 2025 no copies located in North American institutions. unknown
1939161356N.p.: N.p. 1939. Final script for the 1939 film. Specially bound copy belonging to screenwriter Jerry Wald with his name in gilt on the front board.<br /> <br /> Jerry Wald is best remembered for his long and successful association with Warner Brothers as both a screenwriter and producer of a number of notable films including "Mildred Pierce" 1945 "Humoresque" 1946 "Key Largo" 1948 and "Flamingo Road" 1949. In the 1950s he moved to Twentieth Century-Fox and was the producer there for "An Affair to Remember" 1957 "Peyton Place" 1957 and "Sons and Lovers" 1960.<br /> <br /> Based on Rodgers and Hart's 1936 Broadway musical. A former vaudeville star is forced to join a ballet company whereupon he becomes romantically involved with the company's prima ballerina whose jealous dance partner attempts to arrange the man's death. <br /> <br /> Set in New York. <br /> <br /> Bound in red cloth with red quarter leather binding with five raised bands and gilt titles on the spine. Distribution page present dated 5/5/39 and noted as FINAL stamped copy No. 102 with receipt intact. Title page present with credits for screenwriters Jerry Wald and Richard Macaulay and playwrights Richard Rodgers and Larry Hart. 138 leaves with last page of text numbered 135. Mimeograph duplication rectos only with two blue revision pages dated 5/9/39. Pages Near Fine binding Near Fine. N.p. unknown
187741635Gand Gent and Bruxelles: Typographie C. Annoot-Braeckman later on Hoste resp. Muquardt later on Ramlot 1877-1907. 31 Années annals in 28 vols. Vol. 1-26 uniformly bound in red publisher's cloth gilt uncut only tear in frontcover vol. 1; a few vols. sl. dust-soiled vol. 27-28 original printend wrappers few sl. imperf. uncut. With 13 portraits annotated music in text and illustr. of instruments. - Only the pages facing the end-papers browned otherwise nice set printed on handmade paper. Each volume about 200 pages with the subjects "Agenda Calendrier Ephémérides musicales" "Actes Administraives" "Concerts" "Variétés" and i.a. in 10 volumes parts of the "Catalogue du Musée" of about 50 pp. with illustrations of instruments from the whole world. Some other subjects: "Musique vocale en Italie" "Notice sur le manuscrit 1704 de la Bibliothèque" With annotated music i.a. 1 folding leaf etc. Typographie C. Annoot-Braeckman, (later on Hoste) , resp. Muquardt (later on Ramlot) hardcover
1081930-1960. Popular and indigenous music published from 1946-1960. All in very good condition.8vo. Housed in a contemporary clam shell box. unknown
159941148Brixiæ Brescia: Apud Vincentium Sabbium 1599. Quarto. Full contemporary vellum with manuscript titling to spine. 1f. recto verso blank p. 3 dedication p. 4 "Tabula" 5-143 i blank pp. Printed in red and black. Typeset throughout. With decorative woodcut initials and woodcuts of religious scenes at head of each chapter.<br /> <br /> Title with large oval woodcut device incorporating saints and Latin motto "Ecclesiæ Brixiani Advocata Defensores."<br /> <br /> Includes ca. 35 pages of neumatic musical notation on red 4-line staves scored for solo voice. <br /> <br /> With 17th and 18th century annotations to front pastedown canceled "M. A" M. Dona . F. B. and front free endpaper in two hands: the first "Ego Carolus Fontana . 1699" and the second Barthoi Campagnola Archipbri sta Caecilia Verona dono Antonij Piccoli Verone Archibri Terrentiani Brixien Diacesis die 10 Feris 1734." Annotation to verso of rear free endpaper "L h P. Ego Carolus Fontana de Rsa Pa habita Gambar 1699." <br /> <br /> Binding worn soiled and stained with a few minor tears to edges and spine; remnants of early vellum ties. Moderate foxing to title; occasional light foxing minor soiling dampstaining and small stains; mispagination from p. 57. OCLC 1 copy only at the Sistema Bibliotecario Ticinese in Switzerland. OPAC SBN 1 copy only at the Biblioteca di Studi Giuridici e Umanistici in Milan. Apud Vincentium Sabbium unknown
1870218992Selbstverlag 1870. Softcover Großformat Die Jahresangabe ist ungefähr. Zustand: mit Kennungen einer Bibliothek keine Eintragungen Rücken Ecken Kanten gut. Die Notensätze sind sämtlich handgeschrieben mit einem einführenden Text säuberlich in Tinte. Selbstverlag, paperback
1832biblio46<p>Heugel Henry. Recueil de Planches d'Exemples et de Formules de la Nouvelle Méthode de Musique inventée et développée par Henry Heugel. Brest: Chez l'Auteur; Paris: chez Aulagnier 1832. Large 4to</p><p>8vo original marbled boards printed blue title & subscription leaves laid down on both covers.ii 1-24 23-26 25-36 2 subscription list printed on verso only pp. Printed cover & title page. Spine is pershing and protected by plastic which is giving the unusual coloring during scanning of the book covers.</p><p>Author's signature authentication stamp on front cover & title page. Edges are rubbed; small snag on the title page with no loss; some foxing; but a very remarkable survivor and an extremely rare book.</p><p>First and Only Edition. This Volume of 26 brief lessons and explanatory diagrams was produced to accompany the author's 'Nouvelle Méthode pour l'Enseignement de la Musique' which was also issued in Brest & Paris in 1832. Heugel describes himself on the title page as a 'Marchand de Musique et d'Instruments.' The hiccup in the pagination is due to the insertion of a four page signature printed on the interior pages only and with one recto marked '25 with a large diagram of the transposition of keys. The book was offered for 5 francs to subscribers and 6 francs to non subscribers and the lists on the rear cover and the final leaf of text provide the names and addresses of the subscription locations in Paris & Brest. OCLC locates but a single copy of the 'Nouvelle Methode.' and none of this work.</p><p>The item is housed at the Eastman School of Music in Rochester N.Y. but there are not a single copy of this companion volume listed anywhere. Making it an exceptionally rare music book.</p> Brest: Chez l'Auteur
1929MUSICHAL001820N.D. c 1929. First edition. Quarto. Cloth-backed pictorial boards. Two-page introduction by Ivor Novello followed by seventy-two pages of affectionate caricatures printed in black and red and mostly several to a page of the stage celebrities of the day. These had originally appeared in The Tatler magazine. It was after his meeting with Novello in Stockholm in 1918 that Einar Nerman moved to London for almost all of the 1920's. The front endpapers show his caricature of dancers at Novello's Fifty-Fifty Club for which he had provided the mural decorations. The rest of the images show the performers in their stage personas.Many of the subjects have signed their images often more than once as they appear several times. The full list of those who have signed in more or less order of first appearance: Ivor Novello Gertrude Lawrence x 4 George Robey x 2 Lily Leslie Maisie Gay x 4 Dorothy Dickson x 3 Jessie Matthews x 4 June x 2 Kitty Reidy Sidney Fairbrother Cicely Courtneidge x3 Joyce Barbour x 3 Jack Hulbert Morris Harvey x 2 Irene Browne x 2 Leslie Henson x 4 Laddie Cliff x 4 Douglas Byng x 3 Ernest Thesiger x 2 Heather Thatcher x 2 Cyril Ritchard Jack Melford Paul England Peter Haddon x 2 Bobby Howes Carl Brisson Evelyn Laye x 3 Joe Coyne x 2 Jos� Collins x 2 W.H. Berry John S. Coyle A.W. Baskcomb x 2 Desiree Ellinger George Graves Phyllis Dare Noel Coward Binnie Hale John Deverell Arthur Chesney Claude Hulbert Jack Buchanan Elsie Randolph Edith Day George Gee Helen Gilliland Leslie Sarony Viola Compton Cedric Hardwick Frederick Ranalon Melville Gideon Nelson Keys Turner Layton Clarence Johnstone Norman Long Gwen Farrar Rich Hayes Dorothy Ward Nellie Wallace Sophie Tucker and Billy Bennett.This was presumably the copy belonging to the hugely influential theatre manager and producer Hugh ''Binkie'' Beaumont as three of the signatures those of Noel Coward Jos� Collins and Sophie Tucker are accompanied by inscriptions to him.Some insect damage to fore-edge of front free endpaper not affecting the image. Covers a bit darkened at the edges. Very good. hardcover
150818New York: Music Theatre International 1977. Vintage script for the 1977 Broadway revival of the 1971 musical. Copy belonging to actor Lennie Del Duca who played an unnamed apostle with his name to the title page in manuscript ink and his manuscript pencil annotations many of which are unfortunately now erased but some visible throughout. <br /> <br /> Andrew Lloyd Webber's third musical following the final days in the life of Jesus Christ. The revival opened at the Longacre Theatre on November 23 1977 and ran for 96 performances before closing on February 12 1978. <br /> <br /> Set in Jerusalem.<br /> <br /> Mustard titled Studio Duplicating Service wrappers. Title page present undated with music credits to ANDREW LLOYD WEBBER and lyrics credits to TIM RICE. 94 leaves with last page of text numbered 2-CC-51. Xerographic duplication rectos only. Pages Very Good plus wrapper Very Good lightly soiled and edgeworn bound with two gold brads. Music Theatre International unknown
12501Music Zoran Antonio. PAYSAGE SIENNOIS. S.39 Lithograph 1953. Edition of 250 published by Guilde de Gravure Paris. Signed in pencil and numbered 199/250. unknown
D17833Hardcover. Fair. 106 manuscript pages. Oblong narrow 8vo 3 x 7 1/2 inches contemporary handmade calf with stiff yapp edges worn top leather detached; first leaf worn 3 leaves with early stitched repairs likely lacking some leaves edges rounded soiling and dampstaining to early leaves. Massachusetts or Vermont circa 1800-10 <br/><br/>Noahdiah Merritt 1782-1854 was born in Templeton MA and removed to Vermont by the time of his marriage in 1807. He later settled in upstate New York. Some of his family papers are at Cornell University. Most of the songs in this volume have only melodies with no lyrics. An exception is "An Elegy on the Death of a Child 4 Years Old who was Kil'd by the Roling of a Cartwheal" which fills 15 pages. It may be an original composition; we are unable to trace any of the lyrics. Many of the other compositions in the book were part of the core repertory of American sacred music and had previously been published. Oliver Holden's "Coronation" for example had first appeared in 1793. See Britton American Sacred Music Imprints page 685. Also included near the end are the words only for "Mount Vernon Hymn" by Stephen Jenks a tribute to the late President Washington first published in 1802. Noahdiah's father Noah Merritt was a Revolutionary War veteran claimed in a family history to have been personally acquainted with Washington Edwin Atkins Merritt Recollections page 187. Provenance: The present volume is not inscribed but an inserted card written by his granddaughter reads "Noahdiah Merritt's Song Book about 130 years old property of Mrs. Oliver A. Milner." Cornelia Eliza Merritt Milner 1866-1951 was daughter of Noahdiah's son William Wallace Merritt 1832-1922 who went west to Iowa. An added note on the card explains that the book was purchased in Lincoln NE in 1993. hardcover
1890List1620Mostly New England: Various Photographers 1890. Cabinet cards measuring 6 ½ x 4 ¼ inches. Various settings showing the band members posed with their instruments including banjos violins trumpets drum and tubas. Varying wear but generally very good with some normal age-related fading. Very Good. Originally from Lawrenceville New York the Shepard Family Band toured throughout the Northeast in the 1880s and 1890s eventually settling in South Royalton Vermont. All members of the family were apparently musically inclined: “In addition to Minnie mother and matriarch Mary “Minnie†Shepard and her husband patriarch James Monroe Shepard all of the children were pressed into service. Daughter Laura Belle the ‘violiniste’ was getting better all the time under the instruction of a ‘competent master.’ Her fans “will be astonished at the improvement in style tone and expression.†It was said of little Lessie that ‘Among lady cornetists she has no equal.’ The darling little son of the family Master Burtie could not help but please for he was well-known to be ‘The youngest Tuba soloist in the world; only nine years of age; scarcely larger than the instrument he plays.’ He was also a ‘clever comedian singer and character artist.†The baby little Flossie “a sweet little miss of four summers’ was said to be a “wonderful mimic and impersonator…a veritable little fairy.’ Daughters Kittie and Georgia were also part of the troupe.†- Henry Sheldon Museum. A very nice collection. Various Photographers unknown
19264528Various locations in Texas and elsewhere 1926. Very good. Approximately 130 manuscript letters totaling 275 pages written on a variety of paper sizes and stationery many with original transmittal envelopes plus a handful of printed ephemera. Letters arranged chronologically in several manila folders and housed in an archival folder. Original mailing folds general wear. A unique collection of manuscript letters mostly sent to Larkin C. Rogers of Mineral Wells Texas. Larkin C. Rogers Charlie or Larkin to his family began studying at the Kidd-Key Conservatory of Music at Sherman Texas in 1915. Friends and family write to him there occasionally sending him notices of musical events and throughout the correspondence are receipts for his orders for musical scores. Larkin’s mother and sister Nancy try to get him musician jobs in the Mineral Wells area but times are hard. His mother’s letters are long chatty and detailed; as such she provides good local color on her particular area in North Texas. In May 1917 Larkin’s mother writes: “How are you all coming in about the War excitement Think you’ll have to go And are you patriotic enough to want to go I see all musicians who can read music well are wanted and will be trained after joining on some instrument - I suppose suitable for the bands. Then when they’re not needed in the one they’re used in the hospitals. I like that better for you - if you do go - than to have to be in the fighting. They say the music is a necessary thing - so they have to have them. You’d better get to learning some band instrument - how do you like a piccolo†<br /> <br /> Larkin’s brother Edwin is already in the Army training near Waco and is overseas by June of 1918. In May 1918 Larkin’s mother again suggests he might like to enlist. By April she is urging him: “For we can never have universal peace till the Huns and all such are conquered. No one part is as essential as another - and where you are best fitted to serve it is your duty to get into - so leave no stone unturned to get into a band either in Waco or Camp Bowie.†By May he has enlisted but is not yet in a band - training at Camp Travis near San Antonio where he asks his mother to come in order to help him find a band. By October 1918 he is overseas. Larkin’s mother continues to provide motherly advice in her letters including lecturing him against smoking. At this point there is a long absence of news from him - and his family fears the worst.<br /> <br /> By May 1919 Larkin is shipped back to the States and admitted to the Army hospital at Oteen North Carolina. His mother writes with home remedies and fears that he is in for an “unmentionable disease.†In a sign of the times however he has influenza and bronchial complications. By this time his parents him they have moved to Dallas mentioning that although they still get mineral water to drink from their hometown of Mineral Wells the Dallas area is flat and at a lower altitude. Larkin’s sisters are friendly and sometimes humorous; they write him about music recitals and tease him about a “cootie garage†under his nose. Larkin informs them that a woman near the hospital is allowing him to practice at her piano. His mother visits him at the hospital and is quite upset that he is sometimes bedded down with a patient with hereditary syphilis. In January 1920 his mother learns that all places of amusement in Ashville have been closed because of flu which worries her as he is still not completely recovered. She knows about the flu as they all have had it in Dallas. His mother reads that there is complete vocational pay for disabled soldiers; she tries to obtain the disability pay for Larkin in order to take a concert pianist course. Larkin’s sister Lois in Williamsburg Virginia wants him to apply to a new music school in Richmond where she gets a teaching job - not to go to the Domrosch School in New York as she complains that it is "full of Jews and has an atmosphere which kills fineness." However she highly recommends New York in general: "Boston is a place. New York is life - a world - an experience which must be in every life before it is complete. You are an atom – but there is no place where life as a tiny atom receives such consideration and such kindness if its good!"<br /> <br /> By January 1921 Larkin is out of hospital and studying again in Sherman. He gives his first post war recital in April. His brother Edwin has a job with the Dallas engineering department. In 1923 Nancy causes a flap and panic when she quarrels with her sister Lois and the music school in Virginia and goes off alone. Lois begs her mother to stop writing her altogether as it is too stressful. Both Nancy and Larkin end up in New York City in the music scene and their parents end up back in Mineral Wells. Their mother writes Larkin a very nasty anti-Semitic letter about the rumor Nancy is going to marry a Jew. She fulminates also about the illicit and dreadful drinking that Americans seem to have slipped into. The last letter from Larkin’s father indicates that the two sisters and Larkin plan to combine households and stay in New York. An interesting collection of one Texas family’s correspondence centering on a young musician who also served in the First World War before returning to his life in music. Worthy of further and deeper research. unknown
1928011176Vienna: Universal- Edition A. G. 1928. Hardcover. Near Fine. Rebound copy lacking paper covers with 220 stamped in the middle of the right margin on page 31 thus indicating either one of 300 copies of the first printing or perhaps less likely one of 500 copies of the second printing. Rebound in 1/4 cloth over dark beige and black marbelized boards oversized to original leaf dimensions with separate sheets bound in between each leaf of text. 79 pp 1. Internally fine. Covers a wee soiled. Universal- Edition A. G. hardcover
1949139871Los Angeles: Twentieth Century-Fox 1949. Revised Final script for the 1950 film. Bound presentation script belonging to producer Sol C. Siegel with his name in gilt on the front board. With 53 studio still photographs tipped in throughout four pages of retakes and added scenes tipped in at the rear as well as a number of manuscript annotations primarily denoting the titles of various musical numbers. <br /> <br /> Based on the short story "Stork Don't Bring Babies" by S.K. Lauren Grable and Dailey play a showbiz couple who discover in successive order that they cannot have children that they can adopt children and that they aren't really fit to raise children. But things get better with the help of several musical numbers scored by Harold Arlen. <br /> <br /> Bound in green faux leather boards with gilt titles and rule and marbled endpapers. Title page present dated Dec. 1 1949 noted as Revised Final with credits for screenwriters Trotti and Binyon. 191 leaves with last page of text numbered 130. Mimeograph duplication with blue revision pages throughout dated variously between 12/21/19 and 1/5/50. Pages Very Good plus photographs Near Fine with some bruising or chipping to the verso of the preceding page on either the top or bottom edge. Boards Near Fine with a bump to the upper rear corner. <br /> <br /> Hirschhorn The Hollywood Musical. Twentieth Century-Fox unknown
1955149900Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1955. Four vintage candid reference photographs from the 1955 film showing variously actors Marlon Brando Frank Sinatra composer Frank Loesser and director Joseph L. Mankiewicz on the set. <br /> <br /> The first photo double weight shows Marlon Brando as Skye Masterson surreally <br /> socking one of his gangster companions in the nose. <br /> <br /> The second photo shows Brando rehearsing "Luck Be a Lady" with sheet music in hand and with the song's composer Frank Loesser at the piano.<br /> <br /> The third photo shows Sinatra and Brando in a candid moment.<br /> <br /> The fourth photo single weight shows director Joseph L. Mankiewicz and dancer Carey Leverette relaxing contemplatively Mankiewicz sitting and smoking his pipe Leverette inside a large industrial exhaust pipe.<br /> <br /> Based on the 1950 Broadway musical which was in turn based on Damon Runyon's short stories "The Idyll of Miss Sarah Brown" and "Blood Pressure." A serial gambler wins a bet that he can get a Christian missionary to travel with him to Havana where the pair begin to fall for each other. Nominated for four Academy Awards.<br /> <br /> Set in New York and Havana.<br /> <br /> All photos: 8 x 10 inches. Very Good to Near Fine overall variously with a few pinholes and very shallow creasing. Metro-Goldwyn-Mayer [MGM] unknown
1966141924New York: Stuart Company 1966. Draft script for the 1966 Broadway musical. <br /> <br /> A series of three playlets tied together by themes such as dissatisfaction with getting what one wants and repeated references or design elements such as the color brown. Each playlet based on an existing work with the first act based on "The Diary of Adam and Eve" by Mark Twain the second based on "The Lady or the Tiger" by Frank R. Stockton and the final act based on "Passionella" by Jules Feiffer. <br /> <br /> The musical first premiered at the Shubert Theater on October 18 1966 and ran for 463 performances before closing November 25 1967 directed by Mike Nichols and starring Alan Alda Barbara Harris and Larry Blyden. Nominated for seven Tony Awards including Best Musical Best Direction of a Musical for Nichols and Best Actor in a Musical for Alda and winning Best Actress in a Musical for Harris. <br /> <br /> Revived December 14 2006 by the Roundabout Theatre Company running for 99 performances through March 11 2007 starring Kristin Chenoweth. Nominated for a Best Revival of a Musical Tony Award. <br /> <br /> Green titled wrappers. Title page present with credits for playwrights Sheldon Harnick Jerry Bock Jerome Coopersmith and director Mike Nichols. 82 leaves with last page of text numbered 22. Mechanical duplication. Pages Near Fine wrapper Very Good plus bound with two silver brads. Stuart Company unknown
19412221693<p>4 bars of "I Can't Give You Anything But Love Baby" boldly signed and inscribed 1941. 7 1/4" x 10" 1 page on yellow ledger sheet. Fine and superb example.</p><p>McHugh 1894-1969 was an American songwriter and sometime screen actor "The Helen Morgan Story" 1957; collaborated with lyricist Dorothy Fields for a number of well-known standards "I Can't Give You Anything But Love Baby" and "On the Sunny Side of the Street" both written in 1928.</p>
19473116763New York: Wittenborn Schultz Inc. Publishers. Fine with no dust jacket. 1947. First Edition; First Printing. Softcover. First edition. Fine in yellow printed wrappers with white & orange titles. 111pp. 7 1/2" X 9 3/4" Features work by Mark Rothko Miro Joan Jean Hans Arp. Jackson Pollock Robert Motherwell Virgil Thomson Oscar Niemeyer Richard Huelsenbeck David Smith and others. Cover design by Paul Rand. Remarkably nice as new copy of this rare journal. ; 7 1/2 x 9 3/4"; 111 pages . Wittenborn, Schultz Inc. Publishers. paperback
04912Los Angeles: Sutton House 1935. Snickerty Nick with the Music<br /> Near Fine in original Printed Dust Jacket<br /> <br /> RACKHAM Arthur illustrator. Snickerty Nick & the Giant. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Los Angeles & San Francisco: Sutton House 1935.<br /> <br /> Third edition the first with the music included. Quarto 9 1/2 x 7 3/16 inches; 242 x 183 mm. viii 1-81 1 blank 83-132 pp. Three full-page monotone plates facing pp. 16 20 & 42 eight full-page black & white drawings and two line drawings. Original 'bright yellow' cloth with pictorial stamping in black on the front cover in black. A near fine copy in the original yellow pictorial dust jacket some light chipping to extremities some tiny tape repairs otherwise an excellent example of a dust jacket that we have never seen before.<br /> <br /> The differences between this and the 1933 edition are as follows: The title-page of the 1933 edition has the imprint Suttonhouse: Los Angeles 1933 whilst the 1935 edition has Suttonhouse Los Angeles San Francisco and no date the date 1935 is on the verso of the title-page. The text and illustrations are identical but the 'Suggestion for Production' p. 77- 80 in the 1933 edition has now been changed and extended to p. 81. Following p. 81 is an additional title-page for the music which follows from p. 85 through p. 132.<br /> <br /> "The idea of the Selfish Giant in this play has been taken from the story of Oscar Wilde's Selfish Giant. Spring would not come to his garden because he would not let the children play in it. It was always winter there. One morning he woke up hearing the music of a linnet singing in his garden. He jumped out of bed and saw a most wonderful sight "flowers were looking up through the green grass and laughing" and in every tree was a little child; but one little boy was too tiny to climb the tree and the Giant's heart melted and he helped the little child into the tree. The little child kissed him and forever after the children played in the Giant's garden because his heart had softened through love of the little child. The children never saw the child again. But one day he came to the Giant who saw on the palms of the child's hands "the prince of two nails and the prince of two nails were on the little feet". The little child had come to take the Giant to play in his garden "which is Paradise." My indebtedness to this story is the character of the Selfish Giant. The little play of Snickerty Nick is not a dramatization of The Selfish Giant. <br /> <br /> The character of Snickerty Nick is an original character and the play centers around him. The little boy is only a loving and beloved child and Spring and Winter are personified by faeries and gnomes. To Arthur Rackham I tender my most sincere thanks whose magic touch as in Peter Pan Grimm's Faery Tales and Undine making real all faeries and gnomes endears all child life to grown-ups as well as to children." Forward by Julia Ellsworth Ford.<br /> <br /> This edition with the music not recorded in Riall<br /> <br /> In over fifty-five years of specializing in the work of Arthur Rackham I have never seen the 1933 edition and I have only seen this 1935 edition once before - this copy which I sold in 1989. According to Riall see p. 180 the 1933 edition is listed as a "reprint of 1919 edition with same coloured illustrations. Bound in bright yellow cloth. 3 full page illustrations in full colour. 8 drawings in black and white. This edition has the music added at the end of the book."<br /> <br /> OCLC locates just seven copies of the 1933 edition and twelve copies of the 1935 edition in libraries and institutions worldwide - none of the copies cited have any bibliographical details other than the book has 80 pp. 1933 or 132 pp. 1935. Both of these editions are unknown to The Arthur Rackham Society.<br /> <br /> The two books were produced in 1933 & 1935 to accompany the first Hollywood production of Snickerty Nick on April 8th 1933. Julia Ellsworth Ford's famous little 'folk' play was directed by Pauline Parker. Los Angeles: Sutton House, 1935 unknown
20956Known as "Gentleman Jim" this influential Country Western singer of the '50s and '60s achieved great popularity with such hits as "He'll Have to Go" 1960; he died at age 40 in a plane crash in Tennessee. Color IPS verso heavy stock 3½" X 5½" n.p. n.d. Near fine. Handsome color picture postcard issued by RCA Victor Records the recto featuring a nice half-length portrait of Reeves in tie and red sweater. Verso features message and address portions and across this in bold large script as red as his sweater Reeves writes "To / Donald / Best of luck always / Gratefully / Jim Reeves." The signature itself which runs from the lower left corner to the upper right corner measures a full 5½"! A superb example of this rarity. unknown
013000NY: Playbill 1981. Soft cover. Very Good. Playbill for the original 1981 Broadway production of Merrily We Roll Along that was distinguished when it was first produced as one of Sondheim's least successful musicals opening on November 16 1981 and closing after just 16 performances and 44 previews. It was also the last musical that Sondheim and producer/ director Hal Prince worked on together after collaborating on a phenomenal string of critically acclaimed musicals Company A Little Night Music Follies. SIGNED BY SONDHEIM on the front cover. A production directed by Maria Friedman that began at the Menier Chocolate Factory in 2013 which came to Broadway in 2023 changed critical reaction bringing Merrily more stature in the Sondheim canon than before. Sondheim's signatures without inscriptions are uncommon. Given the short run of the original production one of the more collectible Playbills and uncommon signed by the master. Stapled spine 130 pages gently toned short tear bottom rear cover closed with archival tape. Playbill unknown
192413334Berlin: Horodisch & Marx 1924. A beautiful book with 15 original etchings by ERNST OPPLER each one individually signed in pencil. Statement on the colophon:"Der Carnaval von Robert Schumann mit 15 Radierungen von Ernst Oppler und einem Nachwort von Oscar Bie erschien in einer einmaligen Auflage von 420 Exemplaren. Present copy is number #46. Nr. 21 -120 wurden auf handgeschoepftem Zandersbuetten abgezogen und tragen die Unterschrift des Kuenstlers unter jeder Radierung. Den Notendruck besorgte die Berliner Musikalien-Druckerei den Kupferdruck Georg schneider den Buchdruck die Reichsdruckerei in Berlin. Der Satz des Nachwortes und des Druckvermerkes wurde in einer eigens hierzu neugegossenen Ronde des 18. Jahrhunderts hergestellt. Erschienen im Herbst 1924 in Berlin." Bound in original vellum with ornate gilt blindstamping on cover and spine. The book measures 9 X 12 inches and is in Fine condition except for sime minor bowing of the front cover. Comes in original green paper slipcase. Ernst Oppler 1867-1929 was a well-known German Expressionist painter and etcher who lived in Berlin and who is known for his portraits particularly Nijinsky and Karsinova-Russian ballet dancers landscapes interiors and harbor scenes. First Edition. Illus. by Ernst Oppel. Horodisch & Marx hardcover
18578705N.Y.: Leavitt and Allen no date c 1857. Good. 1857. Hardcover. 160 pp.; 24mo; blind stamped pattern on brown cloth; spine lettered and decorated in gilt which is dulled. Dampstain from top & bottom edges near spine head affecting text pages particularly prelims and rear endpapers diminishing as one works into the center of the book. Song notes and ownership name of "Thomas M. Elliott Grass Valley Nevada County California" in pencil front endpaper; rough sketch of a map in pencil back pastedown showing east coast states near and including New York; leading bottom corner tip of text block a bit chewed. Overall binding is solid and the bulk of the text relatively clean. Appears to be rare in the original. Without music: tunes for part of the songs indicated by title. . Leavitt and Allen no date (c 1857) hardcover
