[HUNGARIAN MUSIC]Biblio.com
78 241 résultats
4100452 volumes some containing multiple pieces mostly for solo piano but with some for voice and piano including works by the following composers and arrangers:<br /> <br /> Ãbrányi Arditi Bohus Császár Dohnányi Doppler Dunayevsky Egressy Ellenbogen Erkel Farkas Fényes Frank Horváth Höszly Huska Jacobi Kálmán Kéler Kerekes Kneifel Kovaltsik Möller Mosonyi Müller Pékáry Ridley-Kohne Rózsavölgy Rupp Suppé Széchenyi Székely Szirmai Thern Travnyik Verdi Windt Zapf Zeller and Zerkovitz.<br /> <br /> A detailed inventory is available upon request. unknown
187013609London: Weekes & Co 1870. First Edition. Sewn binding. Very good. Oblong small quarto 10pp. A very good copy in the original printed side-sewn wrappers with two blindstamps from the publisher to the wrappers and a contemporary owner's name at the top of the front wrapper along with a very old pencilled price. Light dust-soilng and foxing to covers gentle wear to spine but a sound intact copy of this fragile publication. Housed in an early 20th century red morocco-backed red cloth slipcase with red cloth chemise with handsome bookplate. Some mild wear to the slipcase; near fine. A scarce rather early ephemeral piece relating to Carroll's great masterwork which includes a few lines written by him. Per the Preface: "The author of the words Carroll has been good enough to add to one of the Poems so that if on no other ground this publication will be valuable inasmuch as it has furnished the charming absurdity about'the Duck and the Dodo The Lizard and the Cat a-swimming in milk round the brim of a Hat."<br /> <br /> Williams and Madan note multiple colors of the wrappers and different placements or arrangements of the advertisements with no established priority. The printed cover text in our copy while appearing black to the naked eye is actually mixed with gilt which can be seen in good light particularly with the help of a loupe.<br /> <br /> Rare in commerce with just a handful of auction appearances since the early 20th century. Weekes & Co unknown
1967158550New York: Slugs' in the Far East 1967. Vintage flyer for several nights of performances held at the historic East Village jazz club. Flyer advertises performances held between February 7 through March 5 1967 with performers including Jackie McLean George Benson Kenny Dorham Stanley Turrentine and Sun Ra and His Astro-Infinity Music.<br /> <br /> Robert Schoenholt and Jerry Schultz opened Slugs' Saloon named after G.I. Gurdjieff's "terrestrial three-brained beings" from his "All and Everything" trilogy in Manhattan's East Village in 1964. New York regulations forbade the use of "saloon" and the venue name was soon changed to Slugs' in the Far East due to its East Village location. By the mid-1960s the bar was hosting regular jazz performances and soon became closely associated with Sun Ra whose Arkestra would play regular gigs every Monday as noted on the flyer on offer as "Sun Ra and His Astro-Infinity Music." By the late 1960s Slugs' hosted a number of prominent jazz musicians. including Sonny Rollins Albert Ayler and Ornette Coleman among many others. The club shut down in late 1972 several months after regular performer Lee Morgan was shot to death at the bar by his common-law wife Helen Moore.<br /> <br /> 5.5 x 8.5 inches framed to 8.5 x 11 inches. Near Fine. Slugs' in the Far East unknown
1952612527No place: unpublished 1952. Unbound. Near Fine. An archive of unpublished sheet music by the song writing duo Robert A. Bernstein and Warren B. Meyers. Consisting of 23 pieces most finished and submitted for copyright but none published. All approximately 9" x 12" some a bit larger most hand printed one piece with a negative photostat copy and one with both a negative and positive photostat copy included many of the hand notated sheets have typewritten text some with handwritten corrections and notes and some sheets are printed on both sides. The pieces only feature a vocal melody and lyrics as that’s the part eligible for copyright only one piece features piano the beginning of a draft for a musical titled Lonely Means for Anyone. Most of the pieces have a paperclip mark at the top some bumping to the corners as to be expected but overall a near fine archive.<br /> <br /> Robert A. Bernstein and Warren B. Meyers appear to have primarily worked together during the 1950s putting on revues and one act musicals within New York City and its environs; shows such as No Bed of Roses 1952 A la Carte 1952 La Donna Della Evening 1952 Improper Channels 1957 and 2x4 1959 all of which seem to have slipped so fully into obscurity that only a few miniscule newspaper clippings remain to confirm that they ever existed. While Bernstein never stumbled upon a hit his biggest recorded credit listing him as a writer for the show Almost Crazy 1955 which ended up suffering from middling to poor reviews Meyers produced an unexpected success in 1967 with his first and seemingly only foray into the book world Who Is That: The Late Late Viewers Guide to the Old Old Movie Players. A heavily illustrated guide to what the preface describes as showcasing "the most frequently seen players categorized by their most frequently played roles." The book was a big hit even getting a write-up in The New York Times who flatteringly wrote that readers would find the book "Near the check-out counter— the place of honor—at your paperback store these days."<br /> <br /> Collected here are 21 titles that have been registered with the Copyright Office two have not but are reported by said office to have not been published. Whether they were never published but performed in one of Bernstein’s and Meyers' shows or whether they simply never graced the ears of an audience in any form we do not know. What we do know is that it makes perfect sense that some of these would not have been published in the 1950s if ever – From the vague but nonetheless present socialism of the song "Capital in Labor" "Harken to the teacher love your fellow creature/never bring him ruin or rue/listen honey tell me who wants money/when the sky is sunny big and blue." To the masochistic internalized sexism of "Bane of My Existence" "He beats me and he hurts me/he cheats me and deserts me/oh he treats me like a slave but he’s my man.†To the off-the-wall problematic lyrics of "If You Incest" which begins with a female patient singing "I used to be aggressive but now I'm just depressive/I used to be inspired but now I'm just tired . Oh doctor get rid of this hex! Is it related to sex" To which the male doctor replies "You mustn't have a fit so it's fun to be a schizo! . It makes you cute and coy-a this charming paranoia" and it only gets worse from there.<br /> <br /> While most of the material is rather standard fare for the trade at the time such as "The Kiss Song" "I'm a dunce for being hooked I kissed you once and I was cooked" a handful of the songs standout as rather outrageous in their lyrical content; including one song that says all you need to know and more with its title alone "When Fanny Fans Her Fanny With A Fancy Spanish Fan." Not only do these songs speak about the blatant sexism that was so prevalent in America at the time but they also speak to both the taboos and trends of the 1950s through lyrics that attempt to break them and mock them. The best example of this being "If You Incest" which can be partially read as a reaction to the contemporary popularity around Freudianism and psychoanalysis; yet also however unwittingly highlights the callous manner in which male doctors treated female psychiatric patients.<br /> <br /> Then there are the more subtle but no less interesting aspects such as a lethargic gender swapping edit to the song "The Only Girl for Me" replacing one pronoun for the other but changing practically nothing else; a song featuring a rebellious Mona Lisa who sings “I want to fight with a knight and be quite a bit unpleasant/want to spit in a fit on some pitiful old peasant/want to mumble and rumble and grumble for a while/but I don’t want to smile my smileâ€; and perhaps the most amusing or saddest moment a song of love and longing titled “Dream of Me†filed for copyright in 1951 revised and filed again in 1952 with the same melody but newly titled “Hopelessly†the lyrics now expressing bitter heartbreak and loneliness.<br /> <br /> We were unable to find any published music by Bernstein and Meyers and very little has been written about them. Whether these songs were performed at the time or not there is one thing for certain they have not been heard for a long time. A fascinating archive of unpublished songs by a little known though somewhat successful song writing duo from the 1950s. A list of each title is available upon request. unpublished unknown
1922100473<p>1922-1935. 1922-1935. Very good. - The collection consists of: 18 Autograph letters signed 20 Typed letters signed an unsigned Autograph letter an unsigned Typed letter and a contract signed by Stella de Mette and 4 Typed letters from Francesco Liazza together with autograph drafts of letters by Brown on 3 of the de Mette pieces.</p><p>1. St. Louis MO March 10 1922. Autograph Letter Signed on both sides of a 3-3/8 X 5-1/4 inch card addressed to Mr. Brown expressing her boredom. "All I've been doing is attending social affairs & living a most monotonous life - as society does not in the least appeal to me." Signed "Stella de Mette-Liazza".</p><p>2. New York City April 21 1922. Autograph Letter Signed on 2 sides of a folded 6-1/2 X 5 inch folded sheet of note paper addressed to Mr. Brown suggesting a meeting with him. Signed "Stella de M. Liazza".</p><p>3. Hotel Schuyler Arms NYC June 8 1922. Autograph Letter Signed on both sides of her personal 10-1/2 X 6-1/2 inch monogramed letterhead addressed to Mr. Brown requesting that he make an appointment with her friend Anna Lorraine a "dramatic artist". "Anticipated hearing from you three or four weeks ago - but no doubt things didn't materialize." Signed "Stella de Mette-Liazza".</p><p>4. Alvin Theatre-San Carlo Opera Co. Pittsburgh PA. December 8 1922. Autograph Letter Signed on 3 of 4 sides of 6-1/4 X 5-1/8 inch "The Washington Washington D.C." note paper. She addresses Mr. Brown introducing "Miss Stasia Ledowa - you no doubt have admired her splendid work with the San Carlo at the Century - just recently. She is a REAL artist." Stasia Ledowa was premiere danseuse with the Chicago Opera Company. Signed "Stella de Mette".</p><p>5. Draft of a letter from Chamberlain Brown to Stella de Mette 9 lines written over the top of a typed letter from Stella de Mette in which she informs Brown that she is "hard at work - studying Carmen - the first time in my career that I have taken this opera seriously.Want to thank you again & again for the big interest you take in me & hope at some future date we can do something really worth while." Signed "Mrs. Francesco Liazza" on "San Carlo Opera Co. Orchestra / Francesco Liazza Manager" letterhead. In his draft Brown writes that he heard Frances "Peralta as 'Carmen' the other night and she was really excellent. She gave a rare intelligent performance with several new ideas that pulled a Jeritza on the audience. At the end of the third act instead of standing still she lit the cigarette and did a complete fall on the ground and started the card scene over again. By the time Don Jose arrives at her she yells 'La Mort' and tears the cards to pieces giving Jose a look - realizing he is the man to kill her and then with great emotion pulled a second act 'Tosca'". Accompanied by the carbon of Brown's typed letter dated June 27 1924.</p><p>6. July 19 1924. Autograph Letter Signed on both sides of a sheet of 11 X 8-1/2 inch letterhead from "The Kemper Lane / Cincinnati" Addressing Brown as "My dear friend" asking him to "please hold your thumbs for me on Mon. night. They are putting on Carmen just for me & am opening in this.P.S. Francesco will wire you after perf. & I would be very grateful if you could get this in some of the N.Y. papers". Signed "Stella de Mette".</p><p>7. March 15 1925. Autograph Letter Signed on 3 sides of 2 sheets of 8-1/2 X 5-3/8 "The Newhouse Hotel / Salt Lake City Utah" letterhead. Addressing Brown as "Dear friend" de Mette encloses "the splendid notices I rec'd this season". Not here present. Signed "Stella de Mette".</p><p>8. Philadelphia PA. October 23 1925. One-page Typed Letter Signed on 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra / Francesco Liazza Manager" letterhead. Addressing Brown as "Dear 'Manager": de Mette writes that she was "furious on Tues. night. That Dumb-bell Franco Tafuro simply ruined my Carmen. The notices are good but were better last year when Manuel Salazar was my Don Jose. He simply stood like a wooden man all evening & I might as well have been playing to the chair.Francesco thinks some one is working against me here & I hope that you can get me away from here next season.I am heartily sick & tired of this D--- company." Signed "Stella". The right edge of the letter is chipped.</p><p>9. Detroit Mich. November 14 1925. Typed Letter Signed on 2 sides of 11 X 8-1/2 inch "Fort Pitt Hotel / Pittsburgh Pa" letterhead. A long chatty letter: "Last week was a hard one - viz: Mon.night - Carmen Tues. Amneris Wed. matinee - Hansel & Gretel & Sat. matinee Lohengrin also Forza on Sunday night.The next Carmen will be sung by Alice Gentle - she has Tafuro for Don Jose the opening night in New Orleans - I wish her luck. He certainly queered my Carmen in Phila. & the first one here.How I'd have love to have been at the opening of the Met. dear Matzenauer I know she was glorious. I adore her. long may she reign Queen of Mezzos". Signed "Stella". There are scattered ink jottings at the end of the letter perhaps notes by Brown.</p><p>10. New Orleans La. December 3 1925. Typed letter unsigned on both sides of 11 X 8-1/2 inch "The Brown Hotel / Louisville Ky" letterhead. Addressing Brown as "Dear Manager" de Mette writes that "We are rehearsing several hours each day - Fra Diavolo.Maestro wants me to learn a new role - the countess in Andrea Chenier we give it the last week & the blind woman also which I have sung many times Francesco doesn't want me to do any more favors to the management so I don't know what shall happen. I certainly am getting an awful deal this season at the hands of the management. I told you that would happen as it's because I wouldn't sign that contract with Fortune Gallo.This must positively be my last year in this Co. I am thoroughly disgusted & discouraged. Suppose I will have all the Carmens on the coast being Gentle is not with us anymore. Feel like giving my notice as I know I shall be roasted to a cinder under the circumstances." The letter is lacking a second sheet with de Mette's signature. The last line reads "With many good wishes from Francesco & I also to Lyman & hope to hear from.".</p><p>11. New Orleans La. December 20 1925. Typed Letter Signed on both sides of 11 X 8-1/2 inch "San Carlo Grand Opera Company / Fortune Gallo Impresario" letterhead. de Mette addresses Brown as "Dear Manager". "Mr. Fortune Gallo came here a few days ago & yesterday had a long session with Francesco regarding me. At first he was very indifferent - saying if I didn't like things I could give him my two weeks notice - just calling a bluff but when he realized my husband accepted same & would permit me to remain in Co. no longer he changed his attitude and begged Francesco to let me stay & F. said 'No it's too late. You see he told him some one else was coming to sing Carmen on the coast & I shall not be humiliated any more in this Co. by giving up my best role to some one else far inferior to me." She then speculates as to who the new Carmen might be- "could it be Marguerite Sylva.that Mexican Consuelo Escobar.Perhaps this Rhea Toniolo" "I sang the countess in Andrea Chenier.also did the blind woman in third act & had the house in tears - even the chorus were weeping." Signed "Your disappointed Carmen. Stella de M.L." The original envelope stamped "Special Delivery" is included.</p><p>12. Waco Texas. January 4 1926. Typed Letter Signed on both sides of 11 X 8-1/2 inch "The Raleigh Waco Texas / The Blackstone Tyler Texas" letterhead. Addressing Brown as "Dear Sir Chamberlain" de Mette writes of her disappointment in not hearing from him after writing to him of her resignation with the San Carlo Company. "The real truth that G. Fortune Gallo has been so horrid to me this year is that I did not sign the five year contract with him & told a friend of our's that he didn't want anything more to do with de Mette that I was most ungrateful after he had made me & also said 'We shall see what this Chamberlain Brown can do for her'.It certainly infuriated him when he discovered that you had taken me under your wing." Signed "Stella de M.L."</p><p>13. Los Angeles CA. January 20 1926. Typed Letter Signed on 1 & 1/2 sides of 11 X 8-1/2 inch "The Gunter / San Antonio Texas" letterhead. "Dear Manager: Was so relieved in receiving your nice letter.We were certainly pleased that you were of the same opinion regarding my leaving the San Carlo.You know they advertised me all over Texas & the last week in Texas from El Paso to Arizona Phoenix the Co. played on guarantee a certain Mr. Johnston who engaged Co. has not yet paid Gallo - because I did not appear & he was so disgusted with Toniolo that he had them play another performance Rigoletto instead of Carmen." Signed "Stella".</p><p>14. Los Angeles CA. January 27 1926. Autograph Letter Signed written on both sides of 10-1/2 X 7-1/4 inch "The Huntington Pasadena California" letterhead. "Hello there! Enclosed clippings speak for themselves. I am certainly getting a lot of revenge & the Western Mgt is very much displeased with both my successors. Signed "Stella".</p><p>15. Los Angeles CA. January 31 1926. Als written 1 & 1/2 sides of 10-1/2 X 7-1/4 inch "The Huntington Pasadena California" letterhead. "Dear Sir Chamberlain: Just heard Alice Gentle is engaged for Ravinia Park this next summer to replace Florence Easton - so that means that she is going there to do soprano roles this time. I wonder if he has his mezzo - you know last season he promised to engage me this next season." Signed "Stella".</p><p>16. San Francisco CA February 26 1926. Typed Letter Signed on 1 & 1/2 sides of 11 X 8-1/2 inch "The Gunter / San Antonio Texas" letterhead. "Dear Manager: Just now rec'd telegram & I am so happy over good news.Please do write & tell me all about this Shubert engagement.If it should be a production or anything new to me I want to get busy & study same as I am always ready with my work." Signed "Stella de Mette-Liazza".</p><p>17. Los Angeles CA. March 16 1926. Autograph Letter Signed written on 4 sides of 6-3/8 X 5 inch notepaper. de Mette writes for details regarding the Shubert engagement. She has been enjoying her recitals with the Los Angeles Symphony Orchestra under the direction of Walter Henry Rothwell. "Mr. Piazza the Western Orpheum agent is trying to persuade me to try vaudeville - but I fear you may not approve." Signed "Stella de M.L."</p><p>18. St. Louis MO. March 29 1926. Autograph Letter Signed written on 4 sides of 6-3/8 X 5 inch notepaper. "Dear Sir Chamberlain - Well -What has happened". de Mette writes of her depression as a result of her dealings with Fortune Gallo. She makes a snide remark concerning Lorna Doone Jaxon "the WONDERFUL NEW Carmen! Discovered by Gallo." Signed "Stella de M.L."</p><p>19. St. Louis MO. April 25 1926. Autograph Letter Signed written on 3 of 4 sides of 6-3/8 X 5 inch notepaper. de Mette disappointed that the Shubert engagement fell through writes that she is "horribly discouraged & don't feel like returning to N.Y. at all". Signed "Stella de M.L.".</p><p>20. St. Louis MO. May22 1926. Tls on 2 sides of 11 X 8-1/2 inch "Hotel Empire / New York City" letterhead. The letter follows a meeting between Brown and Francesco Liazza. "Your ideas are really splendid. However I haven't the slightest idea of returning with Gallo - much sooner will never sing again in public. Gallo as you know pays very little - he is never on the level & his contracts are always pro Gallo. Naturally I left the Company & would never go to Gallo & ask to be re-engaged.I really think I have gotten all out of that Co. that I can ever expect." Signed "Stella de Mette-Liazza".</p><p>21. St. Louis MO. June 19 1926. Typed Letter Signed on one side of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. "Dear Friend: Have been awaiting news from you for many moons.My idea is to commercializ next season & then go to Italy for a season or two & then something BIG should develop." Signed "Stella de Mette". On the verso of the letter Brown has written a draft reply: "I am starting to produce my own play this week. I hope I shall star you --- soon".</p><p>22. St. Louis MO. June 27 1926. Autograph Letter Signed on 1 & 1/2 sides of 11 X 8-1/2 "Lutheran Hospital / St. Louis MO." letterhead. The letter mainly concerns her husbands' recent operation. Signed "Devotedly Stella".</p><p>23. St. Louis. July 20 1926. Typed Letter Signed on 1 & 1/2 sides of "San Carlo Opera Co. Orchestra" letterhead. ".a queer telegram came - signed by Aurelio Gallo of course I do not believe Aurelio ever sent it offering me Asheville engagement to sing the following roles: Forza del Destino Juliette in Tales of Hoffman & Aida. I answered telegram if Carmen were in repertoire I insisted on doing same or I should not consider engagement. After that Gallo wrote Fortune Gallo to Francesco in fact sent two letters being very desirous of engaging me but it was plain to see that some one else was to sing Carmen this season. "Signed "Stella de Mette-Liazza".</p><p>24. Detroit Mich. September 28 1926. Autograph Letter Signed on one side of 10-1/2 X 7-1/4 inch "Savoy" Detroit letterhead. A complaint about Brown's silence. Signed "Stella de Mette".</p><p>25. Philadelphia PA. November 2 1926. Typed Letter Signed from Francesco Liazza on 1 & 1/4 inch sides of his personal "San Carlo Opera Co. Orchestra" letterhead. Liazza writes Brown concerning the undermining of his wife in New Orleans. ".there is something peculiar & some one is against Stella - of course I know G. is at the bottom of this plot.We play at the Tulane Theatre. The Manager of the house Mr. Campbell very friendly with Mr. G.The New Orleans Picayune deliberately knocks her no matter what she sings - gives her credit for nothing & some one is influencing this critic." Signed "Francesco Liazza".</p><p>26. Pittsburgh PA. November 9 1926. Typed Letter Signed on one side of 11 X 8-1/2 inch "Firt Pitt Hotel / Pittsburgh PA" letterhead. de Mette reminds Brown to look into the "New Orleans business". Signed "Stella de Mette-Liazza".</p><p>27. New Orleans LA. November 26 1926. Typed Letter Signed on both sides of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. "Dear friend: Just to tell you that the 'Hunch' Francesco had about me & the New Orleans engagement is correct. The committee did not want me to appear in any of the subscription performances. I am sure Gallo is not to blame but all this emanates from Mrs. G. S four years ago she waged war against me to the various society dames.Francesco & I are racking our brains & are going to get even some way.Did the Blind Woman in Chenier last night & rec'd storms of applause in fact stopped the show." Signed "Stella de M. Liazza / San Carlo Opera Co./ Tulane Theatre / New Orleans La."</p><p>28. Los Angeles CA. January 28 1927. Typed Letter Signed written on 1 & 1/2 pages of 2 9-1/2 X 6 inch sheets of "Engstrum Arms Apartment Hotel" letterhead. "Dear Greatest of Managers: Your letter pleased me immensely and think the letter written to Mayfield in New Orleans was splendid. I notice he roasts big celebrities too so I should care - poor old Schuman-Heink got her's from this person too very recently." de Mette goes on to describe the roles she is singing in California. Signed "Stella de Mette-Liazza".</p><p>29. Pennsylvania. March 10 1927. Als scrawled over 3 half pages of 9-1/4 X 6 inch yellow hotel letterhead from Hutchinson Kansas. A heads up that de Mette and her husband are booked for passage to Europe on April 2. Signed "Stella de Mette-Liazza". Brown has written a draft on the verso of the third sheet inviting the Liazzas to dinner and "Aida" when passing through New York.</p><p>30. Milan Italy. May 26 1927. Als written on 4 sides of 8-1/4 X 5-1/4 inch "Hotel Agnello & Duomo / Milano" notepaper. de Mette writes that she has a good contract for the San Carlo of Naples. "However everything in the theatrical line operatic is in a very critical condition - all theatres closed etc. A number of artists have started a movement to oust all theatrical agents & it is in the hands of the government & we are patiently awaiting to see what happens." Signed "Stella de Mette-Liazza".</p><p>31. New Orleans La. November 2 1927. Typed Letter Signed from Francesco Liazza on 11 X 8-1/2 inch "Claridge Hotels Memphis Tenn" letterhead. He appreciates that Brown will continue managing his wife's engagements and gives her travel itinerary in Europe. Signed "Francesco Liazza". There is a draft of Brown's reply on the verso.</p><p>32. Milan Italy December 6 1927. Autograph Letter Signed written on 4 sides of 7-1/4 X 7 inch notepaper. de Mette has 2 contracts for Cremona. She will be singing in "Gioconda - debut the 26th - and the slave in Francesca da Rimini & the blind woman in Chenier". She "signed a contract for four operas at a very good salary.Aida of course Trovatore Rigoletto & Ballo in Maschera Ulrica for Copenhagen Denmark". She then writes of other singers and her future hopes. Signed "Stella de Mette-Liazza". Together with the original envelope on which Brown has written the draft of a letter to her.</p><p>33. New Orleans. December 22 1927. A brief typed letter on 11 X 8-1/2 inch "The Roosevelt / New Orleans" letterhead from Francesco Liazza informing Brown of his wife's debut in Cremona. "It will be in Gioconda. That is the town where Ponchielli was born. It is one of the most severe for criticism." Signed "F. Liazza".</p><p>34. Boston MA. March 15 1928. A Typed Letter Signed from Francesco Liazza on 10-1/2 X 7-1/4 inch "The Elks / Boaton Massachusetts" letterhead. He thanks Brown for an encouraging letter that Brown had sent de Mette. He says that when he returns to New York later in March "we may resume our plans for the orchestra for your Sunday concerts to be given at the Cosmopolitan Theatre." Signed "Francesco Liazza".</p><p>35. An unsigned and undated note from de Mette on "Hotel Phonix / Kobenhawn" letterhead. She is happy with the response of the Danes to her performances. She was in Copenhagen in January and March & April 1928.</p><p>36. Astoria NY. October 29 1929. Tls on one side of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. de Mette writes of her need for work and her frustration with Brown's lack of communication. Signed "Stella de Mette".</p><p>37. Astoria NY. November 24 1929. Typed Letter Signed on one side of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. More frustration with Brown. "Have you abandoned your latest project - Carmen etc. in Greenwich.Was told you placed this German contralto in vaudeville Hupple I believe is the name. I always thot I was in the first row of the contralto dept in the C.B. offices." Signed "Stella de M."</p><p>38. A 20 inch high by 8-1/2 inch wide "Actors' Equity Association.Minimum Contract for Stock". The contract dated November 15 1929 is between Chamberlain Brown Manager and Stella De Mette Actor. "It is agreed that the Actor is to play CARMEN GIOCONDA AND OTHER OPERAS in the Manager's stock company at GREENWICH CONN.The Manager hereby agrees to pay the Actor the sum of THREE HUNDRED Dollars each week during the term of the engagement." Signed "Stella de Mette".</p><p>39. Clayton MO. June 18 1933. Typed Letter Signed on one side of 11 X 8-1/2 inch "Hotel Saint Louis / Quebec" letterhead. "Alfredo Salmaggi offered me all or any performance I'd care to accept but I promptly refused as I am well acquainted with his companies. I hear they are doing very well however. Is this true I was also called for the German Co. but it would have required too much capital for coaching brushing up on German roles." Signed "Stella de M. Liazza".</p><p>40. Chicago IL. October 4 1933. Typed Letter Signed written on 1 & 1/2 sides of 9-1/2 X 6 inch "Hotel Stephen Girard / Philadelphia" letterhead. "What happened to the proposed Co. opera of Canada Is Wagner still in charge Gallo's salaries are so ridiculous that Francesco wouldn't let me waste my energy for such a paltry sum. However business has been great & it looks as if they'd have a good season." Signed "Stella de M. Liazza".</p><p>41. Detroit MI. November 5 1933. Typed Letter Signed on one side of 8-1/2 X 5-1/2 inch notepaper. de Mette writes of enjoying her time off from singing. Signed "Stella". Brown has drafted a reply on the verso.</p><p>42. Chicago IL. October 8 1934. Typed Letter Signed with a handwritten P.S. on 10-1/4 X 7-1/4 inch "The Croydon Hotel / Chicago" letterhead. ".we are three leading contraltos. Ina Bourskaya one of the nicest women I have ever known & Dreda Aves. We are all one happy family & oh it's so good to be in dear old grand opera again.While in Montreal I met & sang for the pres. of the Canada Starch Co. & he has a very fine radio programme every Monday night - an orchestra of 30 symphony orchestra so Gallo has given me permission to be guest artist at the Broadcasting concert.next Monday". In her footnote she writes that she will sing Mon coeur s'ouvre ta voix from Samson and Dalila on the radio. Signed "Stella".</p><p>43. Winnipeg Canada. November 16 1934. Typed Letter Signed on both sides of 8-1/4 X 6 inch "The Marlborough / Winnipeg Canada" letterhead. de Mette writes of her successes on tour. "In Toronto & Detroit also was I demanded for the next season. Co. has been re-engaged for two weeks in Toronto". She mentions in passing her wish to join the Metropolitan Opera. "Mr. Gatti Giulio Gatti-Casazza is soon to vacate I see - maybe I shall have a chance then" Signed "Stella de Mette Liazza".</p><p>44. New Orleans La. January 14 1935. Autograph Letter Signed on both sides of 9-1/2 X 6 inch "Hotel New Orleans" letterhead. de Mette writes of "big success in Carmen. Am studying Lohengrin in German as here-to-fore did it in Italian & English. Shall sing it in Dallas next week.My voice is in fine condition." Signed "Stella".</p><p>45. Detroit MI. October 10 1935. Autograph Letter Signed written on the rectos of 2 sheets of 9-1/4 X 6 inch "Clifford Apartment Hotel / Detroit Michigan" letterhead. "Up to date there have been 9 mezzos - among them Casteloth i perf only Van Gilder 3 perfs Aves 2 perfs Hottinger 2 perfs Lorna Doone Jackson sang Carmen here & it was deplorable poor timing - the papers were all brutal.". Signed "Stella de M."</p><p>With the encouragement of Enrico Caruso Stella de Mette 1891-1989 sailed to Italy in 1908 to study opera in Milan. She made her debut in Genoa at the age of nineteen as a mezzo-soprano in "Cavalleria Rusticana". She sang in opera houses across Europe and the United States giving five hundred performances in "Carmen" and more than seven hundred in "Aida". She also acted in fourteen productions on Broadway. In 1932 she sang Carmen in the musical revue "Chamberlain Brown's Scrap Book". She met her husband Francesco Liazza while singing at the Metropolitan Opera in New York. Mr. Liazza was the manager of the San Carlo Opera Co. Mrs. Liazza sang in her husband's company which performed frequently in St. Louis until his death in 1942 when she retired and moved to Glendale.</p><p>Francesco Liazza 1888-1942 orchestra manager of the San Carlo Opera Company His age was 54. Mr. Liazza was orchestra manager for thirty years of Fortune Gallo's enterprise including Summer operetta seasons at Jones Beach and on tour and with Anna Pavlowa and the Original Ballet Russe. He had been a trombone player in the Metropolitan Opera and radio orchestras. Born in Naples Italy Mr. Liazza came to the United States in 1907.</p><p>Fortune Gallo 1878-1970 was an Italian-born opera impresario. Gallo was owner and General Manager of the traveling San Carlo Opera Company from 1913 until its disbandment in the late 1950s. Gallo was married to Sofia Charlebois an American lyric soprano in the San Carlo company.</p><p>Chamberlain Brown 1892-1955 was a theater impresario in the United States. He acted produced Broadway plays represented actors as a casting agent published theatrical publications and hosted radio shows about the theater with guest stars in each episode. His brother Lyman joined him in the business. He is said to have discovered Valentino Clark Gable Leslie Howard Tallulah Bankhead among others.</p> 1922-1935.
31423Los Angeles: Box Editions 2012. A fine set with 13 records in color sleeves illustrated slipcase three folded posters each 36 x 24 inches and a 52 page catalogue illustrated with mostly color installation and performance images. First Edition. Box set of 13 vinyl records documenting experimental musical performances organized during the retrospective exhibition "Beneath the Valley of the Lowest Form of Music: The Los Angeles Free Music Society 1972-2012" Jan. 14 - Feb. 23 2012. The first LP is particularly notable recording improvisations from the opening reception which included contributions from Mike Kelley only a few weeks prior to his death. This copy SIGNED by 9 of the artists to the colorful slipcase including Paul McCarthy Mitchell Brown Dennis Duck Ace Farren Ford Joseph Hammer Rick Potts and Vetza. Los Angeles: Box Editions unknown
181534415London: Printed & Sold by Preston at his Wholesale Warehouses 97 Strand between 1801 & 1822. 1815. 1815. Good. - Oblong octavo 6-3/4 inches high by 9-1/2 inches wide. Hardcover bound in marbled boards backed with a light brown calf spine with calf corners titled and decorated in gilt on the spine. The red leather ownership label of the 19th century music instructor Lucy Penniman lettered & decorated in gilt mounted on the front cover. The covers are rubbed and bumped with wear to the edges and corners. The leather has split along the joints and large sections are missing from the head and tail of the spine. The pagination is as follows: The first book identified as volume 2 of Marsh's work is paginated 2 3 1 65 & 1 pages. The second book identified as volume 5 of Marsh's work is paginated 4 & 61 & 1 pages. The preface p.1-3 plus the printer's advertisement within the first work are printed in letterpress. The title page and contents including the music are all engraved. The title page and contents including the music in the second work are all engraved. The pages are toned with some soiling minor foxing and staining. There are a few page corner creases. The inner edges of pages 25/26 & 27/28 of the second work are splitting and those leaves are nearly detached. A child's pencil scribbling slightly defaces pages 60 & 61 of the second work. Good. <p>First editions.<p>From the library of Lucy Penniman music instructor 1828 at the Female Classical Seminary in Brookfield Mass. with her name printed in gilt within gilt decorations on a red leather label with adorns the front cover.<p>Nine lines of manuscript titled "Musick" are penned most probably by Penniman on 4-5/8 inch high by 8 inch wide fine cream paper mounted by the corners with red wax onto the front blank. One of the corners of this manuscript page is torn. The lines are quoted from Sir Walter Scott's "Halidon Hill".<p>According to Kidson "British Music Publishers Printers and Engravers" London 1900 Preston used this imprint from 1801 through 1822.<p>The English composer diarist and writer John Marsh 1752-1828 was a lawyer by training and quite the renaissance man with interests ranging far beyond the law and music to include astronomy philosophy religion and geometry. Marsh was perhaps the most prolific English composer of his time having written at least 350 musical compositions including 39 symphonies. While he is remembered mostly for his music he also wrote books on astronomy religion and geometry. <p>RARE. COPAC locates only 2 copies of the first work one of those located at the National Trust and the other at the British Library and WorldCat locates only 1 copy that located at the British Library. Of the second work COPAC again locates only 2 copies one at the British Library and the other at Leeds while WorldCat locates only the Birtish Library copy. London: Printed & Sold by Preston, at his Wholesale Warehouses, 97 Strand, [between 1801 & 1822]. [1815]. hardcover
17520This 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. Two items: First an AQS 1p irregularly-trimmed roughly rectangular 8" X 4½" n.p. n.d. January 1958. Very good. Yellowed tape stain at each corner and two more small tape stains along right edge touching slightly upon a couple of words. Curious free verse poem or song lyrics -- whether to one of McPhatter's published songs is uncertain. "I want to walk in the shadow of your arms" it begins. "I want to live by the touch of your lips. I want to be in the River with you while the sea's calm I want to live and love I don't want to miss. I want to live with a love that's divine I want to be with you and give you all my love. I want to say that you are mine. I want to ask faith from the one above." Boldly signed at the conclusion. An unheard-of McPhatter rarity quite intriguing and exceedingly scarce -- and worthy of further research. Second an IPS 8" X 10" n.p. n.d. Very good. Faint yellow tape stain at each corner. Classy handsome half-length glossy portrait of a young smiling McPhatter in suit and tie inscribed large and bold in thick black marker at the upper right "To / 'Donald' / ALL the best / ALL the time! / Clyde McPhatter." Very choice and very scarce. McPhatter who suffered from alcoholism died of a heart attack at age 39 making his autograph material quite uncommon. unknown
186621446European Origin: Not Published 1866. Album of materials gathered by John Henry Cornell 1828-1894 American musical author organist and composer ".a solidly trained composer of church-music part-songs and songs.an erudite and methodical student of theory and an able author and translator." Grove; educated in New York England and Germany in 1866 he traveled once again to Europe visiting historic sites and his musical peers collecting photographs autographic materials and ephemera along the way that are preserved here; Approximately 100 pages with items usually tipped-on to one side only; including photographs of composers usually standard carte-de-visite size of fellow musicians & others including: 3 Photos on the same page of musicians Carl Reinecke 1824 - 1910 Danish composer; Ferdinand David 1810-1873 German virtuoso violinist and composer; Alexander Dreyschock 1818-1869 Czech pianist and composer; trombone virtuoso Moritz Nabich 2 one with his instrument and others of Madame and Fraulein Nabich; King John of Saxony; Fraulein Suvanny Soubrette at the Leipzig Theatre; German actress Hedwig Raabe 1844-1905 with a clipped signature - and on the same page a photo of Franz Buchner Orchestral Director with a small inscribed card; German painter Peter von Cornelius 1784-1867; a cdv-size photo of A.J. Boekelman musical director from Utrecht with inscribed card; photo of Hungarian composer pianist conductor and arranger Károly Carl Thern 1817- 1886 with clipped signature; U.S. Consul Dickinson of Indiana see below in printed ephemera for a bit more on this man; photo of Father Skelly O.S.B. Kilkenny Ireland - and almost 20 additional portrait photographs of presumed musical peers and their families some of these with signed inscriptions that have so far eluded identification; Also including and laid-into the album loosely or on pages trimmed from the album: Moritz Hauptmann 1792-1868 a small photo and two small clipped notes signed a few inches square one tipped-on below the image another note on a tipped-on card 2" x 3" loose; below the image of Hauptmann is a photo of Isaac Ignaz Moscheles 1794-1870; on another sheet Franz Wilhelm Abt 1819-1885 autograph 7-line note signed with cdv-size photo with a clipped greeting on card tipped in below the image - another unidentified musician's image above also with a signed photo & card and on the back of the sheet with the letter another two images one with signed card; Johannes Gijsbertus Bastiaans 1812-1875 and a photo of his wife both inscribed; on a loose sheet the obituary of Cornell noting his musical career marriage education and travels and that he at one time had taken Roman Catholic religious orders in Baltimore and had died within the Episcopal Church with selections of his compositions played at the funeral service held at Trinity Chapel in New York City - here are a signed card of William Reed Huntington of Grace Church 1838-1900 and an autograph of Morgan Dix 1827-1908 both men prominent leaders of the Episcopal Church of the U.S. in the 19th century - Dix was one of the officiants at Cornell's funeral - on the back of this loose sheet is a cabinet card photograph of an image of W.A. Mozart; Printed ephemera including: A 3" x 5" card printed black on pink with humorous musical-themed imagery announcing "Klapperkasten Moscheles-Abend Leipzig d. 12 May 1866 im Schutzenhaus" with a small circular albumen photo image of the composer at the side a younger cdv-size image of Moscheles and above another printed note accomplished in hand to John Cornell regarding Klapperkasten; a card printed black on blue stock "Soiree musicale von Nabich Posaunen-Virtuos" 2 1/2" x 3 1/2" - old fold line good cond. loose and a "Groot Concert te geven door den heer Moritz Nabich.B. Van der Eijken.J. Hrimaly." with the program below in which 2 pieces are by Cornell - approx. 8" x 4" Joh. Enschede en Zonen Haarlem imprint below - on the back of this loose sheet are two photographs of architecture one identified as the "House of W. Vorschuur" and three cdv-size photos: one of Dutch painter Wouterus Verschuur 1812 -1874 and his son W. Verschuur Jr. also a painter - both signed directly below their portraits on the photos and one of the performers on the concert program Czech violinist Jan Hrimaly 1844-1915; a broadside announcement for a "Musikalische Soiree" Im Saale des Hotel de Prusse with the program printed by Julius Krampe with 2 Cornell pieces played 8 1/2" x 5" one edge with some creasing wrinkling still very good; a Soiree Musicale with Moritz Nabich and Mejufvrouw Boekelman and list of works printed by Van Munster & Zoon 8" x 5" and with 2 Cornell works played too with a couple closed edge-tears and creases good; another loose piece of ephemera 4 1/2" x 3 1/4" a menu-card dinner-choice text handwritten and the rest printed by Friedrich Daehne and noted below by Cornell as "Bill of fare of our 4th of July Dinner." - on back is noted ".with U.S. Consul T. Y. Dickinson Jas. Wilson of Newport R. I. and others Leipzig"; an announcement of a concert 10" x 7 1/2" "Jena. Montag den 19. Februar 1866 im Rosensaale Concert des Academ. Gesangvereins." with the program of music tipped-on is most of a map published by C.H. Wogan "The Strangers Guide to Dublin" approx. 6" x 8" one side trimmed close with loss to two of the corner vignettes; also a folding 12" x 15" map of Berlin by Baldwin & Cradock trimmed close to the neat line all around; a curious advert for a moisturizing rejuvenating apparatus not illustrated clipped from a periodical for "Regenerators" of Leo Bohlius a hairdresser in Germany; with some additional newspaper clippings of the time and a few later also tipped-in or loose; with approximately 150 additional architectural scenery & art photos from the time averaging 3" x 3" size with a few larger images; the photos are of locales in Kilkenny Quenstown Ireland; various places in Wales & England; Altenburg Leipzig Dresden Hanover Germany; Brussels Belgium and other places; including a small photo of the Kristallnacht-destroyed synagogue of Leipzig; and another noted as the "Old Opera-House in Dresden as I saw it. Burnt down."; among these are about 10 ethnic European costume photos in cdv size also; the album approx. 13" x 11" size; the sheets only no covers; still loosely bound; many pages edge-chipped and the paper quality good; the first page with old discoloration and the "Ireland" scenery photos on that page chipped torn and worn; as noted above there are many loose and cut-out pieces - the evidence is within the album of where some of these may originally have been located - all this seems to be done by a very unskilled hand perhaps a childish effort; some leaves obviously and crudely excised at some time; by and large the photographs & ephemeral items in good condition; good also to have included here the final materials recording his obituary & death; a very interesting compendium of visual and textual information especially regarding the Romantic composers of Europe and their association with their American counterpart; we note that one of the loose albume pages contains a group of material regarding the wife of Martin Luther; including a photographic reproduction of an engraving depicting the ruins of the Kloster Nimbschen by Selbstverlag V. Peters Leipz. approx. 3" x 4" in black and white identified below as "Ruins of Nimbshcen Convent of which Katharine Bora was a member."; with an unknown gentleman's carte-de-visite-sized photo-portrait circa 1860s; with an albumen photograph also carte size approx. 2 1/4" x 3" of a portrait identified below of Katharina von Bora Luther 1499-1552 wife of Martin Luther the German leader of the Protestant Reformation; and tipped-on is a 1" x 1 3/4" thin beige leather fragment having evidence of tiny stitching and some threading around 3 edges of a "Piece of Katharine Bora's slipper" identified in the same handwriting as the above items; ".According to Dr. Stefan Rhein Director of Luther monuments in the state of Sachsen-Anhalt.Katharine von Bora was Luther's companion and equal partner the picture of a self-assured self-confident liberated woman at the side of her husband. But this most important woman of the Reformation period of the 16th century is relatively unknown for she lived in the shadow of her powerful husband." Erwin Weber Lutheran Journal 1999; for the future of the Protestant Christian faith Luther's marriage established the validity of marriage within the clergy as well as focusing attention on the importance of inspirational strong women in early Protestantism; the items with some ageing darkening; the old backer paper with some tears cutouts from paper probably from a larger sheet; list of items on the page written in a later hand in top left corner; the items in very good condition and an interesting fragment of the life of this important Lutheran woman. Manuscript. No Covers. Good. Not Published Paperback books
196815319New York 1968. Near fine. Eight Kodak color transparency slides. 2" square with image areas 1 3/8" x 15/16" approx. Date stamped "MAR 68" to border of verso. Notated in ink outside of image area with names numbers. Clean well preserved. Near fine. High-resolution jpgs of all images provided. <br/><br/>A collection of presumably unpublished images of Jim Morrison at New York's Fillmore East March 22 1968. Three of Morrison on stage two pictured with five intimate close-ups likely captured backstage. A particularly poignant shot has him leaning into the microphone with a light projection behind. This two-night four-show Fillmore engagement produced what are often considered some of the best shows of the band's career. Though we've been unable to determine the pho- tographer they are of clear professional caliber and bear a certain resemblance to the work of legendary rock-and-roll photographer Elliott Landy. A striking group of original vintage slides. unknown books
36073Barcelona: Editorial Mediterrania 1985. Near Fine. Barcelona: Editorial Mediterrania 1985. First Edition Limited to 500 sets of which this is no. 349. Three volumes; large square quartos 31.5cm; publisher's blue gilt-lettered moiré silk all edges gilt housed in two-piece clear acrylic slipcase; Vol. I: 228pp.; Vol. 2: Three 33 1/3 vinyl audio discs in original gilt card chemises; Vol. 3: Laid in color print "Autoretrat" by Dali. Vinyl chemises all show some finger-soiling scratches to acrylic slipcase with some cracks crudely tape-repaired; overall slipcase in Good condition contents Near Fine. Editorial Mediterrania unknown
1900D10896America England et al 1900-1970s. Sheet Music. Very Good. A massive collection of more than 700 pieces of sheet music each title in an archival sleeve -- just a small handful of duplicates. Condition varies from Good some chipping and dust-soiling to Fine though generally Very Good. Spanning decades the bulk are published in New York Chicago Detroit and London but also include Rome Hollywood San Francisco and beyond. Composers include Harold Adamson Mack Gordon Vincent Youmans Irving Berlin Lew Brown Alfred Bryan Sammy Cahn B. G. De Sylva Ray Henderson Al Dubin Arthur Freed Nacio Herb Brown George and Ira Gershwin Oscar Hammerstein Richard Rodgers Otto Harbach Paul Francis Webster Gus Kahn Edgar Leslie Sam Lewis Joe Young Jay Livingston Ray Evans Frank Loesser Cole Porter Leo Robin and others. Arranged for intermediate pianists but including a few pieces for beginners and most with chord progressions for ukulele and/or guitar styles include fox trots waltzes ballads war-time songs holiday songs and songs from Broadway Disney and film. Please inquire for a full list. <br/><br/> unknown books
195515414New York: Passantino 1955. Original wraps. Near Fine. A wonderful piece of theatre history the original 1955 program for Truman Capote's "House of Flowers". THIS COPY IS NOT ONLY SIGNED BY TRUMAN CAPOTE on the title page next to his printed name BUT IS ALSO INSCRIBED BY HAROLD ARLEN WHO WROTE THE MUSIC FOR THE PLAY TO PEARL BAILEY THE PLAY'S LEAD. This inscription appears next to Arlen's printed name on the title page as well. The program itself is clean and Near Fine in its stapled yelow wrappers with very faint creasing along the panels. Tall thin quarto crisp black-and-white photos thruout of the principals involved in the production and performance of the play. Passantino unknown
195515414New York: Passantino 1955. Original wraps. Near Fine. A wonderful piece of theatre history the original 1955 program for Truman Capote's "House of Flowers". THIS COPY IS NOT ONLY SIGNED BY TRUMAN CAPOTE on the title page next to his printed name BUT IS ALSO INSCRIBED BY HAROLD ARLEN WHO WROTE THE MUSIC FOR THE PLAY TO PEARL BAILEY THE PLAY'S LEAD. This inscription appears next to Arlen's printed name on the title page as well. The program itself is clean and Near Fine in its stapled yelow wrappers with very faint creasing along the panels. Tall thin quarto crisp black-and-white photos thruout of the principals involved in the production and performance of the play. <br/><br/> Passantino paperback books
First edition, 8vo (222 x 120 mm), xvi, [17]-292pp., with half-title, folding engraved frontispiece of a male dancer, folding plate of a Chinese procession, some light spotting, contemporary marbled boards, expertly rebacked in calf, raised bands ruled in gilt, red morocco lettering piece. The rare first edition by the Italian director of dances at the Royal Theatre in the Haymarket. Giovanni-Andrea Gallini (1728-1805), later known as Sir John Andrew Gallini, presents a history of dance, arguments for learning the art of dance, and a discourse on the minuet. Especially interesting are Gallini's comments on European and non-European dance, and discussion includes practices in Britain, Spain, Naples, the peasants of Tirol, Russia, Turkey, China, Africa, and the Americas. Beaumont, Bibliography of Dancing, pp.79-80.
193029385Kbh., 1930. Lille folio. Indb. i et nydeligt samt. hldrbd. af rød maroquin. Indeholder det orig. egenhændige manuskript til teksten af Seedorf, orig. egenhændige tegninger af Nygaard, Orig. egenhændige noder af Clemmensen samt 1. prøvetryk af musikken og teksten, indeholdende adskillige egenhændige rettelser.
Kbh., 1930. Lille folio. Indb. i et nydeligt samt. hldrbd. af rød maroquin. Indeholder det orig. egenhændige manuskript til teksten af Seedorf, orig. egenhændige tegninger af Nygaard, Orig. egenhændige noder af Clemmensen samt 1. prøvetryk af musikken og teksten, indeholdende adskillige egenhændige rettelser.
2 volumes In-4, X-158; 185 pages. Première édition des 64 magnifiques compositions en couleurs d'Arthur Rackham. Traduction en prose rythmée par Alfred Ernest. I. LÕOr du Rhin et la Valkyrie : 34 illustrations par Arthur Rackham, en couleurs et contrecollées sur vélin fort brun. Tirage à 330 exemplaires. Un des 300 sur vélin à la forme, n¡ 329. II. Siegfried et le Crépuscule des Dieux : 30 illustrations par Arthur Rackham, en couleurs et contrecollées sur vélin fort brun. Tirage à 390 exemplaires. Un des 350 sur vélin à la forme, n¡ 232, signé par Rackham à la justification.
Lettera autografa, Ettore Berlioz (1803-1869) lettera autografa firmata S. d., lettera autografa firmata su bifolio in carta, testo di sei righe e firma alla prima facciata, con firma autografa al termine del testo (vedi foto). Al margine inf. indicati indirizzo dal quale si scrive, il giorno, il mese ma non l'anno. Testo in francese. Cm 22x17. Accluso schedino descrittivo del precedente collezionista. Condizioni di conservazione Esemplare in buone condizioni con normali lievi tracce di pieghe di spedizione, lievi / leggere bruniture, a un margine della quarta facciata due piccole tracce di nastro adesivo dovute a precedente inserimento dell'esemplare in album (vedi foto). Autografo molto raro, in cui il compositore francese Berlioz chiede di diffondere la voce in merito a un concerto dei filarmonici di Parigi. Testo in francese. Provenienza raccolta Amorth (collezione privata). SC03.D16259 N BIS
222:155 mm auf Trägerkarton (325:245 mm).
13 (statt 20) Hefte in einem Band. Mit zusammen 12 gest. Orig.-Lieferungstiteln (davon 11 aufgezogen zwischengebunden), 78 (von 120) radierten Tafeln von Wilhelm u. Moritz Henschel und 2 SS. Subskriptionsanzeige. Etwas späterer Pappband mit intarsierter Originalbroschur unter Verwendung eines der Lieferungstitel. Gr.-4to. Erste Ausgabe der in 20 Einzelheften erschienenenen Darstellungen nach Aufführungsskizzen. Iffland selbst ist u. a. dargestellt als König Lear und Shylock, der Geizige im Stück gleichen Titels von Molière sowie als Nathan der Weise. So umfangreich wie vorliegend von größter Seltenheit. Heft 14 u. 16 in sich verbunden, aber komplett. Es fehlen das erste sowie die letzten beiden Hefte, außerdem die Hefte 5, 6, 11 und 15. - Auf dt. Auktionen außer einem einzigen kompletten Exemplar (Bassenge 1990) seit 1950 nur ein Einzelheft der Serie nachweisbar (Dörling 84, 24. XI. 1975, Nr. 792 [Heft 19 mit 6 Kupfern, DM 240]). Auch im Rahmen der gleichnamigen Ausstellung der Zentral- und Landesbibliothek Berlin, die ausschließlich dem vorliegenden Werk (4. II.-26. III. 2005) gewidmet war, konnte nur ein gerade erst im Jahr davor erworbenes, unvollständiges Exemplar präsentiert werden. In den Rändern teils etwas finger- bzw. stockfleckig, im ganzen aber sehr ansprechendes Exemplar. Die Darstellung des "Hettmann im Schauspiel Graf Benjowsky" hübsch zeitgenössisch koloriert. Slg. Kippenberg 5082 (15 Hefte mit zusammen 90 Tafeln). Lipperheide Uce 9. Hiler 456. Thieme/B. XVI, 430 (dat. 1808-1819). Nicht bei Colas und in Ornamentstichslg. Berlin. Nicht in Kayser u. Goedeke.
11 beschr. SS. auf 78 Bll. Flexibler Perkalinband. Kl.-4to. Die tls. einmontierten Eintragungen stammen von den Schriftstellern Gerhart Hauptmann (1862-1946), Karl Schönherr (1867-1943, zweifach) und Franz Werfel (1890-1945), von den Schauspielern Franz Höbling (1886-1965), Hans (1900-1991) und Hugo (1854-1944) Thimig, von der Violoncellistin Senta Benesch (1913-1986) und ihrem Gatten, dem Musikpädagogen Maurice Benesch (D. n. b., mit e. Notenzeile aus Franz Schuberts Trio, op. 100), von dem Komponisten Julius Bittner (1874-1939, mit 3 e. Takten aus seiner Oper "Der Musikant) und seiner Gattin Emilie, geb. Werner, von dem Maler Tom Dreger (1868-1948) und der Sopranistin Maria Cebotari (1910-1949) sowie von ihrem Ehemann, der Schauspieler Gustav Diessl (1899-1948).
L16338Collection complète du n° 1, mars 1970 au n° 11, mai 1971 en 13 fascicules (complet des 9 et 10 bis). In folio en feuilles. Périodique consacré à tous les aspects de la contre-culture ainsi qu'a la musique psychédélique, au free jazz, au blues, au folk... Nombreuses contributions écrites, dessins, photo, etc. E.O. Très rare complet !
awd-1032Huile sur isorel signée en bas à droite et datée 1971 au dos (67/64,5 cm).
