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20101037-22(Wien),Kovacek & Zetter 2010. qu.-kl.8°. (60) S. mit zahlr. farb. Abb. Farbig illustr. Okart., gutes Expl. [2 Warenabbildungen]
193038087Lintorf, Heinrich Hamker Margarinefabrik, Dampfmolkerei, um 1930. 4°, zahlr. farb.. Sammelbilder, es fehlen: "Das tapfere Schneiderlein" cpl. und 2 Bilder, Beiggeben: Schulheft mit verschiedenen Klebebildern, Because of nonsensical laws, orders outside of Germany will only be carried out if the delivery is made to an address in Germany! Lieferungen NUR an Adressen in Deutschland! Bezahlung per PayPal möglich, we accept PayPal, , Einb. nicht vorhanden, Seiten stark bestoßen u. angeschmutzt, fingerspurig, Schnitte angeschmutzt, altersbed. Bräunungen, starke Gebr.sp., gebunden
199926234Limassol. Eurobooks 1999. 240 Seiten. 8°. Illustrierte OPappe.
1918134692Leipzig, Breitkopf & Härtel, 1918. 171 S. OHlwd. M. Rsign. Einbd. teils beschabt. St. a. Vorsatz, Tit. u 2 Seitenrändern.
94877o. O., o. V., o. J. 20 S. Kl.-8° Klein-Oktav, Softcover/Paperback
9521R.M.N., Paris, 1990. In-8, broché sous couverture illustrée, 189 pp.
1964ABE-154919665735318 PAGES-35 CM X 50 CM-CHYPRE, L'O.T.A.N. ET L'O.N.U., PAR HENRI LAUGIER-M.FIDEL CASTRO PROPOSE D'INDEMNISER LA COMPAGNIE SHELL POUR LA NATIONALISATION DE SES INSTALLATIONS A CUBA-RUGBY TOURNOI DES 5 NATIONS, LES AVANTS DE FRANCE EN DEROUTE DEVANT LE "QUINZE" D'ANGLETERRE (3-6)-OPERA DE MARSEILLE, "IPHIGENIE EN AULIDE" DE GLUCK-TELEVISION: CHARLES AZNAVOUR
In-8 (Cm 27,5 x 19), pp. 96, leg. mz. tela con titolo e fregio in oro al piatto ant., frontespizio illustrato, rari segnetti a lapis, millimetrica allentatura tra le pp. 32 e 33. Ordinari segni del tempo. MOLTO BUONO
200526591Weinheim, Beltz Verlag, 2005. 4° ca. 1180 S., mit zahlreichen farb. u. s/w Abb., Bezahlung per PayPal möglich, we accept PayPal, Regalspuren am Fußschnitt, Einband ger. beschabt und ger. bestoßen, Reste von Postversandaufklebern a. Titel, altersbedingte Bräunungen, Gebr.sp., kartoniert
198726576Weinheim, Beltz Verlag, 1987. 4° ca. 950 S., mit zahlreichen farb. Abb., Bezahlung per PayPal möglich, we accept PayPal, Regalspuren am Fußschnitt, Einband ger. beschabt und ger. bestoßen, altersbedingte Bräunungen, Gebr.sp., kartoniert
199226575Weinheim, Beltz Verlag, 1992. 4°, ca. 1050 S., mit zahlreichen farb. Abb., Bezahlung per PayPal möglich, we accept PayPal, Regalspuren am Fußschnitt, Einband ger. beschabt und ger. bestoßen, altersbedingte Bräunungen, sonst ger. Gebr.sp., kartoniert
200626581Weinheim, Beltz Verlag, 2006. 4° ca. 1180 S., mit zahlreichen farb. u. s/w Abb., Bezahlung per PayPal möglich, we accept PayPal, Regalspuren am Fußschnitt, Einband ger. beschabt und ger. bestoßen, Reste von Postversandaufklebern a. Titel, altersbedingte Bräunungen, Gebr.sp., kartoniert
199726580Weinheim, Beltz Verlag, 1997. 4° ca. 1180 S., mit zahlreichen farb. u. s/w Abb., Bezahlung per PayPal möglich, we accept PayPal, Regalspuren am Fußschnitt, Einband ger. beschabt und ger. bestoßen, Reste von Postversandaufklebern a. Titel, altersbedingte Bräunungen, Gebr.sp., kartoniert
197835586Stuttgart [u.a.] : Kreuz-Verl., 1978. 420 S. 8°. 2. Aufl. Bibl.- Einbd. (broschiert).
6335905Taylor & Francis Group pp. 244 . Papeback. New. Taylor & Francis Group unknown
27445BRUEGHEL GLUCK Gustav. PIETER BRUEGHEL THE ELDER. Paris: Hyperion Press 1937. 4to. Cloth dust jacket. 34 2 pages 63 plat of which 38 colored. First edition. Comprehensive catalog of the works of Pieter Brueghel the Elder the sixteent century Renaissance artist from the Netherlands. Originally written in German it is translated into English by Eveline Byam Shaw. Filled with illustratio and thirty-eight colored plates tipped in the text. Signatures at beginning end of book are loose. unknown
1967521292New York: The New American Library 1967. Hardcover. Near Fine/Near Fine. First edition. Octavo. 288pp. Touch foxing to the top of text block else fine in about near fine dust jacket with a few short tears and touch of interior foxing. Premiere issue of this literary annual featuring contributions from Louise Glück Anne Sexton Philip Roth Richard Eberhart William H. Gass John Ashbery and others. The New American Library hardcover
1966522679New York: The Academy of American Poets 1966. Softcover. Fine. First edition. Introduction by William Meredith. 12mo. 65pp. Stapled gray wrappers printed in blue. Covers are lightly toned at extremities else a near fine copy. Housed in custom cloth clamshell case gilt with Gluck's signature in facsimile in gilt. OCLC lists two holdings. Includes an early contribution by Louise Gluck "The Game" along with many others. The Academy of American Poets unknown
1966522943New York: The Academy of American Poets 1966. Softcover. Very Good. First edition. Foreword by William Meredith. 12mo. 65pp. Stapled wrappers. Very good with the covers lightly tanned small ink owner name and typical wear to the yapped edges. A poetry anthology with an early contribution by Louise Glück "The Game" along others from Ron Loweinsohn Paul Oppenheimer Tim Reynolds Alexander Theroux and others. A complimentary copy with The Academy of American Poets slip laid in. OCLC locates two holdings. The Academy of American Poets unknown
187518913Partitions sur les Moulins,Partitions sur la Terre et paysan Avocat Gustave 1875
1990763401990 Remoulins, Editions Jacques Bremond, 1990, in 8° broché, 254 pages ; couvetrure illustrée ; jaquette rhodoïd imprimée.
18087Editions Jacques Brémond, revue “Propos de campagne”, 1995. Un volume in-8° carré, broché.
40422Paris 19th century. 61 x 47.3 cms with frame 69.5 x 56 cms.<br /> <br /> The composer is depicted bust-length turned 3/4 left facing forward wearing a red jacket blue waistcoat white collared blouse with lace and wig. For a fine full-page color illustration of the original held at the Louvre see MGG Vol. 5 plate 15.<br /> <br /> "Gluck was recognized as an extraordinary phenomenon in his lifetime as is evident from Burney's deferential treatment of the composer during his visit to Vienna in 1772. Shortly afterwards the controversy stirred in French journals resonated well beyond the capital to other countries. The daily cultural discourse of Paris concerned Gluck's 'musical revolution' a catch-phrase taken up by Gluck's opponents such as Jean-François Marmontel as well as by his defenders; in 1781 the 'revolution worked in music by M. le Chevalier Gluck' later dubbed the 'German Orpheus' was used as the title of a collection of pamphlets for and against Gluck with a heavy editorial bias in favour Lesure c1984. Although operas by Piccinni Salieri and especially Sacchini as well as French contemporaries such as Grétry continued alongside Gluck in the French repertoire beyond the Revolution and Empire revivals of Gluck constituted the principal touchstone of dramatic music into the 1820s when the last routine revivals were acclaimed by Berlioz. Opera composers including Salieri Lemoyne and Vogel in Paris were presented or presented themselves as his legitimate successors; elsewhere Mozart especially in Idomeneo and J.M. Kraus were strongly affected by Gluck's example in constructing scenes applying a dramatically motivated admixture of lyricism and more direct and declamatory vocal expression and sometimes in modelling as when the statue in Don Giovanni adopts the tone of the oracle in Alceste. After his death his direct effect can still be heard in Die Zauberflöte and in several French operas including those of Méhul Cherubini and Spontini.<br /> <br /> Among the Romantics he continued to inspire respect and from Berlioz and Wagner emulation. Berlioz supervised productions of Orphée and Alceste in Paris 1859 and 1866. In Orphée Berlioz created the basis for the version most used over the next century at least by restoring the Italian key-scheme in several scenes to accomodate the tessitura of the title role to a female singer; Pauline Viardot was the first in a line to include Giulia Ravoli Kathleen Ferrier Janet Baker and others although the French version with tenor retained some currency. Musicians close to Berlioz began to realize his ideal of a complete critical edition although only a handful of 'reform' operas were published. Wagner wrote about Gluck in Oper und Drama having learned much from deep study of Iphigénie en Aulide of which he made a modernized performing version Dresden 1847. In 1890 for Weimar Richard Strauss similarly adapted Iphigénie en Tauride. Such orchestrational revision and the melding of recitative and aria to blur Gluck's structure of closed forms represented a style of musical archaeology from which Handel and Mozart also suffered or in terms of public exposure benefited. The later 20th century witnessed not only numerous revivals of the reform operas some in musically authentic form and including the Vienna Orfeo but also a less one-sided critical view of Gluck became possible with the publication of a new critical edition and a revival of interest in works in other genres especially opéra comique and with Don Juan ballet. Winton Dean has observed that Gluck's compromise between the demands of words and music 'was one of the most satisfying and successful of all and has placed his greatest works beyond the reach of time' Grove6. None of Gluck's operas except Orfeo/Orphée is likely to become a staple work in the repertory; however to the extent that every production has the aspect of a revival continued interest in his achievement and consequently revival of an increasing proportion of his output is guaranteed so long as opera continues to occupy a central place in Western musical culture." Julian Rushton in Grove Music Online. unknown
1864404171864. Height 26.75" 68 cms. With the artist's name "Francin" to truncation of left arm; integral base inscribed "Gluck."<br /> <br /> Some wear and soiling; age-toned. In quite good condition overall.<br /> <br /> Provenance<br /> Catalogue of the Collection Musicale André Meyer 1961 Vol. I p. 97 and plate 122. Auction catalogue of Pescheteau-Badin Godeau et Leroy Collection Musicale André Meyer et a divers Paris July 2 1998 Lot 101 including color photograph. Auction catalogue of Bonhams London The Roy Davids Collection London 3 October 2005 Lot 246 illustrated. Houdon: An Exhibition of Sculpture from the Collection of Michael Hall esq. Catalogue by Christine Defazio Karl Fugelso and Philip Mezzatesta. New York: Salander-O'Reilly Galleries 1998 pp. 12-15. Poulet et al.: Jean-Antoine Houdon - Sculptor of the Enlightenment. Exhibition Catalogue. The National Gallery of Art Washington D.C. 2003 pp. 102-108. Exposition du Centenaire de Houdon Paris: Galleries Buvelot 1928 pp. 40-41. Vitry: Une Liste d'oeuvres de J.-A. Houdon p. 9.<br /> <br /> The present sculpture exists in two versions: the present scarcer version with full shoulders and partial torso and a second version with partial shoulders and reduced torso<br /> <br /> "Following Houdon's plaster bust of Gluck shown in the Salon of 1775 . the marble was exhibited in 1777 . and destroyed in the fire at the Paris Opera 28-29 Oct. 1873. A faithful reproduction ordered in 1798 by Alexandre Lenoir for the Musée des monuments français and executed in marble by Guillaume Francin is in the Musée national du chateau de Versailles. The Louvre's plaster cast workshop distributed copies of this reproduction beginning in 1864." Poulet et al.: Jean-Antoine Houdon - Sculptor of the Enlightenment. Exhibition Catalogue. The National Gallery of Art Washington D.C. 2003 p. 107.<br /> <br /> "The present bust is probably one of the Louvre's copies. . It was in his depiction of Gluck that Houdon first showed the ravages of smallpox on a subject - it was a common affliction in eighteenth-century France but artists were expected to flatter their subjects in this respect at least." Bonhams catalogue<br /> <br /> "Gluck was an artist a great musician and therefore must be given the attributes of a genius. His face was deeply pockmarked and the sculptor used this fact to establish his theme. He clothed him in a heavy coat whose texture is an overall pattern of slashed grooves free and direct in their expressive impact. Here there was no attempt to stimulate the appearance of the actual material but rather in a manner almost Rodinesque to bring out the quality of the clay. The open shirt the unbuttoned vest the short disheveled hair and the alert titled pose of the head all emphasize the impact of genius." Arnason: The Sculptures of Houdon p. 34. unknown
