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2008635642008. Hand-written correspondence from Bob Moss to Patrick Eddington aka “Pat the Cat†who was a Utah artist and former high school art teacher who spent over two decades corresponding with numerous artists and authors. Each piece of correspondence is signed by Bob Moss at the foot.<br /> <br /> The archive includes:<br /> <br /> 1 handmade Christmas card.<br /> <br /> 1 postcard which is an advertisement for his exhibit at the Beehive Tea Room.<br /> <br /> 1 card to Patrick Eddington in which Bob describes a cd he will be working on consisting of local history-oriented songs. He writes "Nobody seems to want to help. No local hipster seems to want to do UTAH history songs. Ive sic written a very good one about J. Bracken Lee and an OK one on the Johnson sic Army Utah war."<br /> <br /> 1 four-page letter.<br /> <br /> 1 three-page letter.<br /> <br /> Page 2 of a two-page letter.<br /> <br /> 17 slides depicting various projects by the artist including stoneware collage and ink on wood. Annotations by Bob Moss in the borders.<br /> <br /> 7 color photographs 4 x 6" showcasing Bob Moss's unique creations. Three of the photographs show the artist displaying his work. Folk artist/musician Bob Moss 1953-2011 was born in Logan Utah. He is most known for his wood-burned pieces that often featured the Deseret Alphabet Brigham Young's unique phonetic Mormon language. Bob Moss did his first work in the Deseret Alphabet in 1989 for Joe Stetich's "Hatu Teresed." On his website Bob points out that he has always emphasized his musical side. He has 5 cds out under his own name another one produced as a group and a sixth cd titled "Bob Moss Plays Frank Sinatra on his Five-String Banjo." <br /> <br /> The letters full of personality and humor consist entirely of Bob's unique musings and his honest views of life as well as his art. When one reads these letters one gets a small glimpse of the way in which Bob lived his life. According to his sister Linda Hill "Bob showed you what he chose to show. He lived on the fringe of polite society and he was fiercely independent and true to himself." The Salt Lake Tribune<br /> <br /> In a letter to Patrick he writes "I work pretty hard. Frankly Im sic totaly sic exhausted a lot. Still when I get home I make myself work on art. I'm trying to finish the color backboard to a woodburnt cut out beehive. But mostly Ive sic just been doing words. I figure some people might dig the Deseret Alphabet and would rather have lots of that. But its also somrthing I can manage to do when I'm Dog Tired."<br /> <br /> In another letter he muses "My stuff is kind of goofy maybe. Ive sic met almost no one who shares any of my interest. Anyone elses sic interests are as valid as mine. But I have my path & I intend to keep on following it."<br /> <br /> Moss's obituary published in "The Deseret News' closed with this poignant wish: "Instead of flowers remember that the art of happiness is to serve all and lend a helping hand to someone in need or send a hand-written letter to someone you love."<br /> <br /> His artwork rests in the hands of his family friends and fans. unknown
1860214155Bureau de Musique von C.F. Peters Leipzig. G.A. Zumsteeg`sche Musikal. Handlg. Stuttgart. Ant. Diabelli und Comp. Wien. Buch- & Musikalien-Handlung von Siegel & Stoll Leipzig. 1860. Hardcover Die Jahresangabe ist ungefähr. Zustand: Die Seiten sind randrissig die Bindung hält nicht mehr gut zusammen. An den Seitenrändern stockfleckig. Ecken Kanten Rücken berieben/bestoßen. Bureau de Musique von C.F. Peters, Leipzig. G.A. Zumsteeg`sche Musikal. Handlg. Stuttgart. Ant. Diabelli und Comp., Wien. Buch- hardcover
17241750London: John Cluer. G: in good condition. Cover marked and heavily rubbed. Wear to spine with loss at ends. Remains of book-plate to front paste-down. Inner hinge cracking. Previous owners inscriptions to prelims 1725 1747 1840 1858 & 1946. Sporadic marking. Occasional ink and pencil annotations. Aeg. 1724. First Edition Thus. Red hardback tooled leather cover. 170mm x 120mm 7" x 5". xvi 152pp. B/w frontispiece. Carefully Corrected & also Figur'd for y Organ Harpsicord and Spinet. . John Cluer hardcover
19292090202120700053Victor Publishing Company 1929. Soft Cover. Fine. Number of pages: 8 pages Size: B5 size Victor Publishing Company paperback
1918009861San Francisco: Walter N. Brunt Press 1918. Book. Very Good. Newsprint. First Printing. 14" x 10 1/2". 14" h x 10 1/2" w World War One broadside printed on newsprint by Walter N. Brunt Press 880 Mission St. S.F. No year given but 1918. Very Good small edge tears and chips light creasing. Billed as the "Greatest Open Air Concert Ever Held in America" with "17000 Good Seats". Presented "under the auspices of War Camp Community Service Commission and Leland Stanford University" The "Proceeds to be devoted to the development of the recreational facilities of the men at Camp Fremont and to sending the fifteen women graduates of Stanford University to France for War Service". RARE. OCLC locates no copies although Stanford University Library holds the program and song sheet for this event. Walter N. Brunt Press unknown
1770009869Paris: Chez Lacombe 1770. Book. Very Good -. Hardcover. First Edition. 4to - over 9¾" - 12" tall. xxiv 252 pages illustrations including music plates music table. Very Good Plus bound in contemporary quarter leather over marbled boards boards rubbed at corners and edges gilt at spine dulled scattered light toning prior owner name and inscription front end page. Abbe Pierre-Joseph Roussier 1716 -1790 was known as an ardent proponent of the theories of Jean-Philippe Rameau. SCARCE. Chez Lacombe Hardcover
1946021511-GNew York: Rinehart & Company 1946. Book. Illus. by Unknowen. Fine. Hardcover. Author Presentation. 1st Edition. 1st. Edition 1946 lime green cloth hardcover in the dust jacket 156 page book with black & white photo illustrations . One of Americas music and movie legends Hoagy Carmichael . This is a signed copy to a freind of Carmichaels . " Hello Vincent thanks for that Blonde job - She thinks I don't know it Hoagy Carmichael " and then signed it below that " Just how dumb can I be Hoagy C. ". Condition : Fine / DJ is Very Good with edge rubs and very small nicks. See the book image and autograph. Size: 8vo - over 7¾" Tall Size: 8vo - over 7¾ - 9¾" tall. Rinehart & Company Hardcover
1983108G1637USA: Cherry Lane Music Co. Inc. 1983. Book. Illus. by Hamilton James - Photographer. Good. Spiral Bound. First Edition. 4to - over 9¾" - 12" tall. Features the incomparable keyboard and guitar chord stylings of Donald Fagan best-known for his work with Walter Becker 1950-2017 as Steely Dan. These arrangements are challenging even for seasoned musicians but well worth the effort for they will produce honey for your ears and soul. 64 pages. Several black and white photos. Songs include: I.G.Y. What a Beautiful World; Green Flower Street; Ruby Baby; Maxine; New Frontier; The Nightfly; The Goodbye Look ;Walk Between the Raindrops. Unmarked. Average wear. Minor bits of faint beige moisture exposure to fore-edge of some pages. We've added a new spiral binding so the book will lie perfectly flat while you attempt to master this truly outstanding compilation. Cherry Lane Music Co. Inc. Paperback
191436331Detroit New York Chicago: Jerome H. Remick & Co. Music Publishers 1914. 1914. Good. - Folio 14 inches high by 11 inches wide. 9 volumes bound in black & white printed wrappers of Jerome H. Remick & Co Music Publishers. Each instrumental section is titled in blue grease pen on the front cover of its volume. The soiled creased and chipped covers are detached and the volume for the bassoon part lacks the rear cover. The nine parts included are those for Viola Clarinets Cornets Bassoon Cello Flute and Bass each of which contains the music for musical numbers 1-4 4-1/2 5-8 10-16 and 18. The part for the Horns section includes the music to numbers 1-4 4-1/2 5-8 and 10-16 while that for the Trombone section contains numbers 1-4 only. The pages and signatures i.e. groups of pages are laid loose within the wrappers. There are profuse corrections annotations and markings in pen pencil and blue grease pen throughout. The pages are toned with occasional creases and soiling. Good. <p>The printed form of the work a vocal score with piano was published as "The Legend of Loravia: A Musical Comedy in Two Acts. Book by J.K. Hodges and E. Streeter. Lyrics by J.K. Hodges. Music by Vinton Freedley. Additional Number by S.L.M. Barlow". It is itself rare.<p>The sequence and numbers here differ from the published copy of the musical. The numbers as they are here presented consist of: 1. Opening Chorus; 2. When the Girl I Left Behind Me; 3. Welcome to Isabelle; 4. I'm So Tired of You Mr. Moon; 4-1/2. Dance; 5. Rubinstein Rag; 6. Variety; 7. Following Isabelle; 8. Here's To The Girl; 10. The Modern Play; 11. Romance; 12. Finale - Act 2; 13. Opening Chorus - Act 3; 14. Loravia; 15. March Song Act 2; 16. It's the Little Things That Count; and 18. The Nicest Girl I Know.<p>J.K. Hodges who wrote the lyrics and the composer Vinton Freedley each played roles in the performance Freedley performing the role of "Isabelle Rankin a rich American heiress".<p>The parts have the stamps of the Bendix Music Bureau of New York. Max Bendix made his Bendix Symphony Orchestra which he conducted available for special occasions. Some of the parts additionally have the stamp of composer/conductor George Lowell Tracy.<p>Tracy 1855-1921 had made his first appearance as a conductor when he was only 10 years old leading an orchestra in a performance of "Oliver Twist" produced by Fannie Davenport and her husband. He lived in Lewiston Maine where he founded the Rubenstein Club of Lewiston and Auburn and the Maine Conservatory of Music. He eventually became a professor of music at Boston College.<p>Composed in 1912 "The Legend of Loravia" was first performed by The Hasty Pudding Club at Harvard from March 30 to April 7 1914. It was then performed at The Carnegie Lyceum in New York City from April 20 to 22 1914.<p>Vinton Freedley 1891-1969 was an American theatre and television producer known for his productions of works by Cole Porter George Gershwin and Richard Rodgers and for such television shows as Talent Jackpot and Showtime U.S.A. Among his musical productions were Lady Be Good featuring Fred and Adele Astaire Let's Face It! Leave It to Me! Cabin in the Sky Anything Goes Pardon My English and Red Hot and Blue.<p>Informally known as "The Pudding" The Hasty Pudding Theatrical was and is a student society at Harvard University which performed burlesque cross-dressing musicals. In 1897 John Wheelwright described The Hasty Pudding as a "kindly association of men of all ages in a gay evening of simple enjoyment".<p>A rare and very unusual item. Detroit, New York, Chicago: Jerome H. Remick & Co. Music Publishers, [1914]. unknown
17516This legendary R & B tenor hit the charts in the mid-50s with the Drifters and such hits as "Money Honey" "Such a Night" and "Honey Love" before going solo. ALS 1p 8½" X 11" New Rochelle NY 1958 January 2. Addressed to Donald. Very good. Yellowed tape stain at each corner and one 1¼" at each side. On delightfully corny letterhead of "Clyde McPhatter's Tune Shop" this rare letter was written shortly after his split from the Drifters and the height of his fame as a soloist. A gracious letter to an admirer reading in part: "Hope that you will like the little verse that I am sending you. Very sorry that I don't have any pictures at this time hope when you write again I'll have some on hand. So until then be good." Bold full signature. McPhatter who suffered from alcoholism died of a heart attack at age 39 making his autograph material quite uncommon. unknown
188438972N Y N Y: PSYCHIATRY. Good with no dust jacket. 1884. Presumed 1st. Hardcover. Banjo; B&W Illustrations; 4to 11" - 13" tall; Bound in 3/4 leather with blue paper-covered boards. An instructional book for playing the banjo. Includes notes and depictions of playing strategies. The work features many illustrations and pieces of music. The volume shows external age/wear with loss of leather half of the spine cover lacking moisture marks to both boards soiling of the boards and rubbing to the extremities of the boards. The text block is solidly bound with age-toned pages. Paper loss to upper right corner of one leaf pages 23 and 24. A publisher's sticker is present on the title page Hnery Wheman NY. The illustrations display well remaining bright and clean. The book measures approximately 8 3/4" x 11 3/4" and contains 94 pages. Los at top right corner of page 23/24 to a depth of 4 lines see picture. No copies found in Worldcat or Via Libri Libraries. None show up at auction and none on line. A single appearance in Library of Congress LC Control No. : unk84075985 . The author is known to have lived in NY at time of publication. . PSYCHIATRY hardcover
1930List2107Tuskegee 1930. Pair of silver gelatin prints measuring 9 ½ x 7 ⅞ and 7 x 5 inches. Residue to versos from removal from scrapbook tear and crease to larger image very good contrast. Very Good. A pair of photographs from the prolific photographer Prentice H. Polk of a band led by Allen Moton the son of Dr. Robert Moton the president of Tuskegee University. Moton was among other things an acquaintance of Ralph Ellison’s at Tuskegee and may have been the inspiration for the car ride in Invisible Man as Ellison recounted a particularly harrowing drive with Moton in his father’s Cadillac with the pianist Hazel Harrison in which Moton was trying to impress Hazelton with his knowledge of philosophy. According to an article in the Tuskegee Herald in 1956 Moton also played with Teddy Wilson at Tuskegee before Wilson joined Benny Goodman’s band. The larger photograph has several of the band members identified in ink on the verso as Allen Moton Morris Lollypop Baker Robert likely Moton also a musician and Crosby. We find no record of the band besides the photograph leaving the possibility open that “Moton’s Sharps and Flats†was not the name under which they performed. <br /> <br /> Works cited: Gebhart Caroline. Ghosts of Tuskegee. In: Devlin Paul editor. Ralph Ellison in Context. Cambridge Cambridge University Press 2021. unknown
180536825Dedham MA: H. Mann for the Author 1805. Oblong octavo. Contemporary leather-backed blue/gray paper-covered wooden boards. <br /> <br /> 1f. recto title printed within decorative border verso copyright iii Preface dated "New-Canaan Con. October 1805" iv "To the Teachers of Music and Choristers in the United States: v-xi "Concise Rules of Psalmody" xii "Musical Dictionary" xiii-xv "List of Subscribers" xvi 17-95 printed music i index pp.<br /> <br /> The list of subscribers includes persons resident in New Canaan Norwalk Wilton Winchester Weathersfield Ridgbury and Colebrook Connecticut; Dedham Massachusetts; and New York. Signature of "J.I. Miller Ghent N.Y. Jan. 24 1883" and "Property of Emma M. Sherman Ghent N.Y." in pencil to front pastedown.<br /> <br /> Contains 67 compositions 65 American including one anthem four set-pieces and one canon by Austin Capt. S. Belknap S. Capen A. Ellis S. Hanford G. Holbrook O. Holden S. Holyoke Ingalls W. Janes S. Jenks O. King A. Knapp Rev. C. Lee Madan A. Munson Newcomb S. Raymond T. Swan S. Way Dr. Wetmore and R. Wilcox with 34 identified first printings. <br /> <br /> Binding worn with paper lacking to both boards wood lacking to upper portion of lower board; hinges cracked; endpapers lacking. Somewhat worn browned and foxed; some dampstaining; vertical crease to title; portion of final leaf lacking with loss of several measures to recto "Resolution" and text to verso "Index to the Music" Third edition. ASMI 289. <br /> <br /> Jenks a composer and tunebook compiler taught singing-schools in New England and New York state and developed a network of both pupils and fellow teachers whose compositions he went on to publish. The Delights of Harmony contains his Sorrow's Tear 1804 perhaps the earliest American setting of a poem by Thomas Moore as well as his Evening Shade and North Salem both of which are still frequently performed by southern shape-note singers who preserve the singing-school tradition.<br /> <br /> "Stephen Jenks' music is representative of the type of music being written at that time in rural New England America a cappella and an interest in melodic writing. However his music contains striking harmonic progressions unusual dissonances and cross relations. In "Weeping Nature" The Delights of Harmony 1804 for example Jenks seems to revel in the clash of the E major / minor chord or in the song "Sorrow's Tear" filled with cross relations between C sharp / C natural. Although many of these result from his use of modal harmony and as previously mentioned strong melodic writing for the individual parts his use of these relations is not simply random they are used to express the text being set." Wikipedia. H. Mann for the Author unknown
BN45030Hardcover. <br/><br/> hardcover
54066Venezia Ministero per i beni culturali e ambientali 1980. 8° 78 S. 13 farb u etlcieh s/w-Abb. Broschur m. Transp.-OU Tadell. Mit Widmung des Künstlers an ein Sammlerpaar anlässlich der Vernissage in Venzia.Music 1909-2005 geht nach Abschluss seines Studiums an der Kunstakademie Zagreb 1934 auf Reisen. Der Künstler verbringt einige Zeit in Madrid Paris Wien und Zürich bevor er sich 1940 in Venedig niederlässt. Music wird 1943 nach Dachau deportiert wo er unter schwierigsten Bedingungen fieberhaft das Leiden im Lagerleben aufzeichnet. 1945 kehrt der Künstler nach seiner Befreiung nach Venedig zurück wo ihm seine Arbeiten auf der Biennale 1950 den ersten Preis einbringen. Bereits 1951 und 1952 folgen die nächsten Auszeichnungen als Music erst mit Corpora zusammen dann allein den Prix de Paris erhält. Den Ausgangspunkt für einen malerischen Neubeginn bildet die Beschäftigung mit den dalmatinischen Landschaften seiner Kindheit. Die Auseinandersetzung mit seiner Umgebung den italienischen Landschaften ist der nächste Schritt. Von byzantinischen Mosaiken und Ikonen wird Music stilistisch stark beeinflusst. Der Künstler arbeitet in den fünfziger Jahren auch in Paris wo die "lyrische Abstraktion" das französische Informel weitgehend das Kunstleben bestimmt. Music behält jedoch auch sein Atelier in Venedig und stellt 1956 und 1960 wieder auf der Biennale aus. Diesmal wird dem Künstler der Große Preis für die Grafik und der Unesco-Preis zugesprochen. Die organischen Motive Music's werden in den sechziger Jahren abstrakter und die Bildkomposition löst sich von den Gesetzen der tiefenräumlichen Darstellung. Die vielbeachtete Serie "Wir sind nicht die Letzten" entsteht in den siebziger Jahren in der er die Schrecken seiner KZ-Erfahrungen in Zeugnisse universell gültiger Tragik verwandelt. Die Werke des Künstlers werden in vielen internationalen Ausstellungen gewürdigt. Beispielsweise 1995 in einer großen Retrospektive im Pariser Grand Palais. 010 Venezia, Ministero per i beni culturali e ambientali, 1980 unknown
1958List3662New York: Pace & Handy; Handy Brothers Music Co.; W. C. Handy; Richmond-Robbins; Robbins Music Corp.; and others 1958. Approximately 29 pieces of sheet music together with a 32-page Blues folio. Folio format. Generally very good overall with typical handling wear toning and occasional edge wear. A substantial accumulation of blues sheets centered on the work of W. C. Handy 1873–1958 the composer widely known as the “Father of the Blues.†Spanning more than four decades of publication and assembled over many decades by a Chicago-area collector the group documents both the popularity of Handy’s compositions and the central role his publishing enterprises played in bringing blues music into the American popular music mainstream. Pace & Handy the pioneering Black-owned music publishing firm founded in 1912 by Handy and businessman Harry H. Pace published many of the early issues. The company was among the first African American–owned music publishers to achieve national commercial success issuing blues compositions at a time when Black musicians rarely controlled the publication or profits of their work. Pace & Handy helped establish the blues as a recognized commercial genre and laid the groundwork for later Black-owned enterprises in music and recording.<br /> <br /> The group includes several of Handy’s most famous compositions among them “Beale Street Blues†“Yellow Dog Blues†and “The Memphis Blues.†At the center of the collection are numerous editions and arrangements of “St. Louis Blues†Handy’s most celebrated composition and one of the most widely recorded songs in American music history. First published in 1914 it appeared over the following decades in numerous new arrangements and promotional editions reflecting performances by major bandleaders and orchestras such as Paul Whiteman Earl Hines Tex Beneke and Erskine Hawkins as well as theatrical and film adaptations including the revue Blackbirds of 1928 and the later 1958 motion picture St. Louis Blues. <br /> <br /> Overall a quite extensive accumulation. Full list as follows:<br /> <br /> “Aunt Hagar’s Blues.†W.C. Handy. New York City: Richmond-Robbins Inc. 1922. 6 pp. Very good.<br /> <br /> “Basement Blues.†W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1924. 6 pp. Excellent.<br /> <br /> “Beale Street Blues.†W.C. Handy. New York City: Pace & Handy 1918. 6 pp. Very good minus.<br /> <br /> Blues Folio. W.C. Handy. New York City: Robbins Music Corporation 1942. 32 pp. Very good plus.<br /> <br /> “Harlem Blues.†W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1922. 10 pp. Near Fine.<br /> <br /> “Long Gone.†Chris Smith and W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1910. 6 pp. Excellent to Near Fine.<br /> <br /> “Loveless Love.†Successfully Sung by Seger Ellis. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1921. 8 pp. Very good.<br /> <br /> “Loveless Love.†Feat. by Charlie Spivak and His Orchestra. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1921. 6 pp. Very good minus.<br /> <br /> “Loveless Love. A Blues Ballad.†W.C. Handy. New York City: Pace & Handy 1921. 6 pp. Excellent.<br /> <br /> “Ole Miss.†W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1915. 6 pp. Near Fine.<br /> <br /> “Saint Louis Blues.†W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 6 pp. Near Fine.<br /> <br /> “Saint Louis Blues. Chicago World’s Fair Edition.†W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1930. 12 pp. Very good minus.<br /> <br /> “Saint Louis Blues.†Feat. Katharine Handy Lewis. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 6 pp. Fine.<br /> <br /> “Saint Louis Blues.†Feat. by Paul Whiteman. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 6 pp. Very good plus.<br /> <br /> “Saint Louis Blues.†Introduced With Great Success by Guy Lombardo. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 6 pp. Very good minus.<br /> <br /> “St. Louis Blues.†Arranged As Solos for Saxophone. W.C. Handy. New York City: Alfred & Company Music Publishers 1914. 8 pp. Excellent.<br /> <br /> “St. Louis Blues.†As Played by Earl Hines and his Orchestra. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 8 pp. Excellent.<br /> <br /> “St. Louis Blues.†From Blackbirds of 1928 1928. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1928. 6 pp. Very good minus.<br /> <br /> “St. Louis Blues.†From St. Louis Blues 1958. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1958. 6 pp. Excellent.<br /> <br /> “St. Louis Blues.†Played by Tex Beneke. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 6 pp. Very good plus.<br /> <br /> “Sundown Blues.†W.C. Handy. New York City: W.C. Handy 1923. 6 pp. Very good plus.<br /> <br /> “The Ghost of the St. Louis Blues.†Billy Curtis and J. Russel Robinson. New York City: W.C. Handy 1919. 6 pp. Excellent.<br /> <br /> “The Hooking Cow Blues.†Douglas Williams and W.C. Handy. New York City: Pace & Handy 1917. 4 pp. Very good plus.<br /> <br /> “The Memphis Blues Or Mr. Crump.†As Played by Jack Teagarden. J. Russel Robinson and W.C. Handy. New York City: W.C. Handy 1940. 6 pp. Very good.<br /> <br /> “The Saint Louis Blues.†Feat. by Erskine Hawkins. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 4 pp. Very good.<br /> <br /> “The Saint Louis Blues.†Revised Edition. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1942. 6 pp. Very good.<br /> <br /> “The Yellow Dog Blues.†W.C. Handy. New York City: Pace & Handy 1919. 4 pp. Very good plus.<br /> <br /> “Wall Street Blues.†Margaret Gregory and W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1929. 8 pp. Very good plus.<br /> <br /> “Yellow Dog Blues.†As Featured by Gilda Gray. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1928. 6 pp. Very good plus.<br /> <br /> “Yellow Dog Blues.†Feat. by Eddie Condon and His Orchestra. W.C. Handy. New York City: Handy Brothers Music Co. Inc. 1914. 6 pp. Very good.<br /> <br /> “Yellow Dog Blues.†Made Famous by the Joseph C. Smith Orchestra. W.C. Handy. New York City: Pace & Handy 1919. 6 pp. Very good plus. Pace & Handy; Handy Brothers Music Co.; W. C. Handy; Richmond-Robbins; Robbins Music Corp.; and others unknown
1973142586N.p.: N.p. 1973. Draft script for the 1973 play. <br /> <br /> Based on the 1950 Broadway play "Out of this World" by Cole Porter Dwight Taylor Reginald Lawrence. George Oppenheimer NY columnist playwright and screenwriter streamlined his interpretation for a tasteful revamp to fit a smaller stage. The musical opened off-Broadway at the Equity Library Theatre in March 1973. Writer Howard Thompson wrote a review in the March 12 1973 edition of the New York Times calling out Joy Franz vocal talent as Juno in her rendition of "I Am Loved." <br /> <br /> Set in Athens Greece. <br /> <br /> Green titled wrappers. Title page present with credits for music and lyrics by Cole Porter book by George Oppenheimer suggested by Dwight Taylor Reginald Lawrence. 88 leaves with last page of text numbered 2-5-33. Mechanical duplication. Pages about Fine wrapper Very Good bound with two gold screw brads. N.p. unknown
95285New York: Kal Efron. Original program from the 1961 U.S. tour of My Fair Lady starring Ronald Drake and Caroline Dixon. Quarto illustrated with photographs. Signed and inscribed by Ronald Drake Margaret Bannerman Marie Paxton Charles Vistory Hugh Dempster and Katharine Hynes. In very good condition. A unique example. Based on George Bernard Shaw's Pygmalion My Fair Lady set a record for the longest run of any show on Broadway with its notable 1956 Broadway production starring Rex Harrison and Julie Andrews. Often referred to as "the perfect musical" the piece was adapted into the popular 1964 American musical drama film starring Audrey Hepburn as Eliza Doolittle and Rex Harrison as Henry Higgins. A critical and commercial success it won eight Academy Awards including Best Picture Best Actor and Best Director. Kal Efron unknown
1967169972N.p.: N.p. 1967. Revised script for the debut staging of the 1967 musical.<br /> <br /> Loosely based on the life of undercover German spy and exotic dancer Mata Hari about a French intelligence officer's quest to expose Hari's treachery falling in love with her in the process.<br /> <br /> The play received a pre-Broadway tryout at the National Theatre in Washington DC but the Broadway production was canceled after the show was met with negative reviews. It was then staged off-Broadway in 1968 at the Theatre de Lys then known as the Lucille Lortel Theater under the new title "Ballad for a Firing Squad" only running for 15 performances. In 1996 the show was revived at the York Theatre under the original title but unfortunately met with a similar fate to its predecessors. <br /> <br /> Orange titled Studio Duplicating Service wrappers. Title page present dated September 1967 noted as Revised with credits for playwrights Edward Thomas Martin Charnin and Jerome Coopersmith. 140 leaves with last page of text numbered 2-8-42. Mimeograph duplication rectos only. Pages Very Good plus wrappers Very Good unbound. N.p. unknown
1956145819N.p.: N.p. 1956. Draft script for the 1956 Broadway musical which opened at the Broadway Theatre on March 22 1956 and ran for 383 performances before closing on February 23 1957. With a three-page "prop inventory" bound in at the rear. <br /> <br /> Based on a story by Will Glickman and Joseph Stein about an entertainer and his struggles in show business and conceived as a vehicle for Sammy Davis Jr. Davis' performance received rave reviews and helped to launch him beyond night clubs and into the superstardom he would see by the end of the decade.<br /> <br /> Red titled Hart Duplicating Service wrappers. Title page present with credits for writers Joseph Stein and Will Glickman and composers/lyricists Jerry Bock Larry Holofcener and George Weiss. 85 leaves with last page of text numbered "PROP INVENTORY - 2." Mimeograph duplication rectos only. Pages Very Good Plus with some slight staining wrapper Near Fine bound with two silver screw brads. N.p. unknown
1970000013016n.p.: Apple Records Inc 1970. First and only edition. Poster. Very near Fine. 20" x 28" or 50.8 cm x 71.12 cm. Poster. Black coated paper printed in white. With the cover of the Let it Be album enlarged and in a white border. With the Apple records logo printed in red below the enlarged album cover next to the statement "Manufactured by Apple Records Inc.". States "Printed in the U.S.A." in tiny font on the bottom left side of the poster. Augsburger Eck & Rann 1130 the third edition of the bibliography. A lovely example of this item intended to advertise the Beatles' final record Let it Be. Very minimal surface wear to the poster and a small ink number "10 ¢" written on the verso this copy was likely part of a group of remainders that the record company could not sell or dispose of. Apple Records, Inc unknown
1734019334Venice Venezia 1734 1737: Giuseppe Bettinelli 1734. First Edition . Full Vellum. Very Good. Frontispiece. Four Volumes 1734 Stated Second Edition Of The First Volume First Editions Of Volumes 2 Through 4. Vol. 1: Half Title Frontispiece Title 12 1 504 And Is The Stated Second Edition Dated 1734; The First Edition Was Issued In 1733. Vol Ii: Title 1 1 480 Dated 1734. Vol. Iii: Title 1 1 520 With "La Betulia Liberata" 1734 Same Publisher At Rear Title 1 72. Vol. Iv:Title 1 2 With Nine Separately Paginated Plays The Last Being Really A Dialogue 11737. Original Vellum. Metastasio Was A Renowned Child Prodigy Whose Plays Became Incorporated Into Much 18Th Century Music. Light Usuage To Vellum. Contents Fine Except A Damage In 1" Corner Of First Three Pages Not Affecting Text And Related Damp Mark No Damp Staining At Lower Foredge Corner Of Pages In Margins And Not Affecting Text. Original Signatures Of Joachim Steetz Dated 1747. Very Scarce Worldcat Locating Only One Copy. New Sturdy Slipcase By Heritage Bindery Pasadena. <br/> <br/> Giuseppe Bettinelli hardcover
175040348Italy 1750. 5 parts. Quarto and two bifolia. Notated on 10-stave rastrum-ruled paper. Watermark letters within a circle.<br /> <br /> Contains:<br /> <br /> 1 P.rimo Ten.ore: 1 p. Text commencing "Tantum ergo sacramentum" and Genitori Genitoque" "P Mro Martini" to head.<br /> 2 P.rimo Ten.ore music different from above: 1 p. Text commencing "Tantum ergo sacramentum" and Genitori Genitoque."<br /> 3 Basso: 1 p. Text commenting "Tantum ergo sacramentum" and "Genitori Genitoque" with "Tantum &c. a 3 Voci Ripieno" to head.<br /> 4 Secondo Tenore: 2 pp. Text commencing "Pange lingua" "Nobis datus" "Verbum caro" and "Genitori Genitoque." With "à 3. Voci TT. e B." to head of first page.<br /> 5 2o. Ten.ore: 1 p. Text commencing "Tantum ergo" and "Genitori Genitoque." With "P Mro Martini" to head.<br /> 6 2o. Ten.ore: 3 i blank pp. Text commencing "Sancta Maria" "Sedes sapienti" "Regina Martyrum" and "Agnus Dei." With "Littanie a 3. Voci" to head. <br /> 7 Basso: 3 i blank pp. Text commencing "Kyrie" "Virgo potens" "Regina Angelorum" and "Agnus Dei." With "Littanie a 3. Voci" to head.<br /> <br /> A few small stains. unknown
1874List3618Hull and Nuneaton: W. J. Wellsted & Son 1874. Carte de visite portrait measuring 2 ½ x 4 inches. Albumen photograph on original mount with Wellsted’s printed royal arms and “By Special Invitation†crest advertising the firm as “Photographers of the Prince & Princess of Wales†with addresses at 3 Paragon St. Hull and Church Lane Nuneaton. Excellent. A scarce provincial English studio portrait of the Fisk Jubilee Singers taken during their early British tours when they visited Hull in 1873 and 1874. A closely related photograph from the same Hull sitting is preserved at Hull Museums; that example includes the troupe’s manager George White along with an unidentified woman. The present image represents a variant from the same series consistent with multiple negatives or slightly altered arrangements made for local sale to concert attendees.<br /> <br /> The photograph aligns with the group’s well-documented appearances in Hull during their first English tour. They arrived on Friday August 1st 1873 and performed that evening at Hope Street Congregational Church where contemporary accounts describe the building as filled to capacity. The concert reportedly raised over fifty pounds with a second performance following on Sunday afternoon. During this same visit the group was heard singing outdoors near King William’s monument bringing their repertoire beyond the church interior and into the civic heart of the town. They returned to Hull on December 5th 1873 this time appearing at Hengler’s Circus a larger public venue. George White the group’s manager later remarked that Hull was a place where they had earned funds “beyond their expenses.â€1 On the Sunday of that December visit seven female members and one male singer accompanied by White attended a gathering of roughly three thousand schoolchildren at the Artillery Barracks where a collection of just over £17 was taken for the Jubilee fund. The following day they visited Wilberforce House at the invitation of merchant Thomas Massam singing in the birthplace room of William Wilberforce and performing both “John Brown’s Body†and “God Save the Queen†linking their American antislavery origins with Britain’s own abolitionist legacy.<br /> <br /> At some point in their visits the group was photographed at the W.J. Wellstead studio with the images likely produced to sell during their performances. Besides the variant copy at the Hull Museum we find no other examples of this image. <br /> <br /> 1 “The Fisk Jubilee Singers in Hull and East Yorkshire†African Stories in Hull and East Yorkshire https://www.africansinyorkshireproject.com/fisk-jubilee-singers-part-one.html accessed March 5 2026. W. J. Wellsted & Son unknown
1863List315Boston: Oliver Ditson and Company 1863. First Edition. Fine. Manuel Fenellosa and his brother-in-law Manuel Emilio came to the United States from Spain in 1836 aboard the SS United States. They settled in Salem Massachussetts first forming a band and then a music school. They were friends of the publisher John P. Jewett who published their work and let them perform at his home. Jewett was also the publisher of Uncle Tom’s Cabin. Both Fenellosa and Emilio composed works inspired by the abolitionist cause. Emilio composed a companion piece for John Greenleaf Whittier’s poem “Little Eva: Uncle Tom’s Guardian Angel.†Manuel’s son Luis wrote A Brave Black Regiment the history of the 54th Massachusetts Volunteer Regiment. Fenellosa composed this piece in 1863 with lyrics written by an unknown “R.T.L.†He held a concert in 1864 after emancipation. <br /> <br /> A fine example beautifully preserved in self-wraps. OCLC 180868477 locating five copies. Oliver Ditson and Company unknown
