- Gluck C.W - Potier EdmondLivre Rare Book
89 résultats
187518913Partitions sur les Moulins,Partitions sur la Terre et paysan Avocat Gustave 1875
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
186050572Darmstadt, Koehler, um 1860. Bild ca. 16 x 12 cm, Blatt ca. 24 x 17 cm. 1 Blatt, verso weiß.
183030318A Paris, aux Bureaux de la Chanson du Jour illustrée, sans date (vers 1830) . Album relié demi-toile rouge au format 27 x 18 cm, 30 livraisons de "Conservatoire Populaire du Chant", 4 pages chacune ayant paru "tous les samedis" (première série. Il ne semble pas y avoir eu d'autres séries au même titre). Oeuvres présentes : Adolphe et Clara, Gulistan ou le Hulla de Samarcande, Colinette à la cour, Alceste, Cosi fan Tutte, Obéron, Adieu, Vivre loin de ses Amours, La Molinara, Didon, Les deux jaloux, la Dot de Suzette, Gulnare, Camille ou le souterrain, Les Maris garçons, Les deux aveugles, La fausse magie, La belle Arsène, Annette & Lubin, Ariodant, Ernelinde, L'italienne à Londres, L'attente, Zoroastre, Blaise & Babet, Les Danaïdes, Nina, La création, La servante maitresse, Persée, - Puis 18 numéros de "La Chanson du jour", aux Bureaux de la Chanson illustrée dont les titres sont : Oui ! j'aime à rire, Mon chien fidèle, Aux fleurs la brise, Rose & marguerite, Le compagnon maçon, Le printemps, Légende de l'ange gardien, La dernière pensée du Christ, Les deux Pierrots, L'écaillère, La fête-Dieu, Que dites-vous ?, La réponse de Rosette, Grandis mon fils, Les rêves au pays breton, Le bon pasteur, Le loup & le chien, Page & chatelaine, Puis 24 numéros de "Les Chants de la Maison" (recueil bi-mensuel dirigé par M. Alberty, chez Amand Chevé, sans date, vers 1840).- Revues peu courantes dont les textes sont de Marsollier, Henri second, Marc Constantin, Jeaure, Marmontel, Favart, Poinsinet, Cahuzac, Monvel, Comte de Ségur, Baurans, Quinault etc.- Musique de Dalayrac, Grétry, Gluck, Werer, Shubert, Boieldieu, Paisiello, Piccinni, Madame Gail, Mehul, Monsigny, Martini, Phildor, Cimarosa, A. Pilati, Rameau, Dezède, Salieri, Haydn, Pergolèse etc.- 710g.- Très bon état.
1890036339London: Vizetelly & Co. Circa 1890 1890. First Edition Thus . Hardcover. Very Good. Plates From Original Engravings After C. Eisen And C. P. Marillier Tissue Guards. 124 Pp Catalogs At Front And Rear. Brown Cloth Spine Gilt With Embossed Gold Boards Slate Green Endpapers."# 61 U. S." Of A Limited Edition Of 1500 Copies On Handmade Paper Of Which This Is One Of 400 For The United States. Gilt Bright But Some Rubbing To Cloth And Boards With Small Frays At Tips; Hinges Tight; Ornate Engraved Bookplate Of James Fraser Gluck. Gluck A Buffalo Lawyer And Collector Was Both Hero And Culprit In The Travels Of Mark Twain's Manuscript Of "Adventures Of Huckleberry Finn." A Century Ago He Was Responsible For The Preservation Of Twain's Heavily Corrected Text As Well As The Disappearance Of Half Of It. <br/> <br/> Vizetelly & Co. (Circa 1890) hardcover
1825195865diParis, Chez Antoine-Augustin Renouard, Quatrieme Edition, MDCCCXXV (1825). Halbleder, mit marmorierten Deckeln, ca. DinA 6, Kleinformat, XIV+337 Seiten, marmorierte Einbandinnenseiten/Vorsatzblatt, Einband mit einigen Gebrauchsspuren, sehr STARK beschabt, berieben und bestoßen, marmorierter Schnitt fleckig, Schnitt und Seiten papierbedingt gebräunt, Name auf dem Titelblatt, Seiten zum Teil STARK stockfleckig, trotz der deutlichen Gebrauchs- und/oder Altersspuren ausreichender Zustand [5 Warenabbildungen]
1873147931873 Imprimerie veuve Bader et Cie Reliure pleine percaline, pièce de titre, 220p + 1 carte. Très bon état.
1899mon0003335397Societe Universelle Lyrique 1899. Hardcover. Good. . Section 5 only. Cover shows minor wear and tear rubbing. Pages lightly tanned slightly shaken and chipped. Includes Orpheus and Eurydice A Sketch of Christoph von Gluck A Sektch of Giacomo Meyerbeer The Huguenots Il Trovatore Carmen A Sketch of Georges Zizet The Jewess and A Sketch of Jacques Francois Halevy. Societe Universelle Lyrique hardcover
182564538Edition Nicolo, 1 vol. in-4 reliure demi-vélin vert, Chez Madame Veuve Nicolo, à Paris, édition gravée et imprimée par Marquerie, s.d. [ circa 1825 ], 1 f. et 226 pp.
1899RO50029950Noël Boy. 1899. In-4. En feuillets. Bon état, Plats abîmés, Dos satisfaisant, Déchirures. 4 pages. Plats détachés.. . . . Classification Dewey : 780.26-Partitions
186527503ABZürich, Orell, Füssli und Comp., 1865. Gr.-8°. 28 S. Mit einem lithogr. Porträt von J. Lier nach H. Bodmer. Orig.-Heft (angestaubt und leicht stockfleckig). = "53. Neujahrsblatt (Neujahrsgeschenk an die Zürcherische Jugend sic.) von der allgemeinen Musik-Gesellschaft in Zürich auf das Jahr 1865".
1899RO50023220"Imprimerie des Annales. 17 décembre 1899. In-4. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Quelques rousseurs. Non paginé. 4 pages environ. Gravures noires et blanches représentant ""Lady Smith"" par Reynolds, ""Les accusés de la haute-cour (Paul Deroulède et Jules Guérin)"" de Malteste, et photos et gravures noires et blanches ayant pour thème ""Le congrès socialiste : les chefs du parti socialistes"".. . . . Classification Dewey : 780.26-Partitions"
1896RO50023023"Imprimerie des Annales. 8 mars 1896. In-4. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Quelques rousseurs. Non paginé. 4 pages environ. Gravures noires et blanches représentant les directeurs du conservatoire de l'époque, ""Un secret"" de M. Gruet, ""Thermidor, la dernière charette - M. Coquelin dans Labussière"".. . . . Classification Dewey : 780.26-Partitions"
1899RO50043318CHOUDENS. 1899. In-8. Broché. Bon état, Plats abîmés, Dos frotté, Intérieur acceptable. 118 pages de partitions. Premier plat illustré en noir et blanc. Inscription sur la première page blanc. Couverture plastique transparente de protection. Paroles de Moline.. . . . Classification Dewey : 780.26-Partitions
181525656Bonn: N Simrock PN 1125. 1815. Oblong folio. Contemporary marbled boards. 1f. recto title verso blank 3 cast list and table of contents 4-159 i blank pp. Engraved.<br/><br/>Disbound. Boards quite worn; spine lacking. Slightly worn soiled foxed and stained; some corners slightly turned; minor underlining and annotations in red pencil to cast list; early repairs to inner margins of title and table of contents not affecting text; small binder's holes to inner margins. Later edition of the French version. Hopkinson 44C a. <br/><br/>The French version of Alceste to a libretto by Marie François Louis Gand Leblanc Roullet was first performed at the Académie Royale de Musique in Paris on April 23 1776. <br/><br/>"Gluck's revision of Alceste for performance in Paris in 1776 amounts almost to a recomposition. His alterations were far more extensive than those he had made in his Paris adaptation of Orfeo . The French Alceste had a new text by Roullet Gluck's librettist for Iphigénie en Aulide based on Calzabigi's libretto; but alterations to the plot and the order of events led to major differences between the two. The principals at the première of the French version included Rosalie Levasseur Alcestis Joseph Legros Admetus Henri Larrivée Hercules Moreau Apollo and Nicolas Gélin High Priest. At the first Paris performances of Alceste the Act 3 denouement was substantially different from the version familiar today and closer to the Italian original. Gluck and Roullet after much criticism altered the act to incorporate a part for Hercules who has no place in the Italian original. Just as Gluck was arranging more music to enlarge the final divertissement again to please Parisian taste he heard of the death of his adopted daughter Marianne in Vienna; he left Paris and assigned the completion of the divertissement to Gossec. This revised version published in Paris in 1776 is the one that has nearly always been performed subsequently." Jeremy Hayes in Grove Music Online. N Simrock [PN 1125.] unknown books
190028967Braunschweig: Henry Litolff PN Collection Litolff No. 80 1900. Large octavo. Half mid-tan mottled calf with marbled boards raised bands on spine in gilt-ruled compartments titling gilt. 1f. recto title within architectural border verso cast list and contents 3-144 pp.<br/><br/>Binding slightly worn. A tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides Iphigénie en Tauride was first performed in Paris at the Opéra on May 18 1779.<br/><br/>"Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online. Henry Litolff [PN Collection Litolff No. 80] unknown books
190028969London: Novello Ewer & Co 1900. Large octavo. Full dark red blindtooled cloth with titling gilt to upper and spine all edges gilt. 1f. recto title verso blank 1f. recto cast list and argument verso explanation of abbreviations 137 i blank 1f. recto index verso printer's device pp.<br/><br/>Binding slightly worn rubbed and bumped. Some signatures split or partially split. A tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides Iphigénie en Tauride was first performed in Paris at the Opéra on May 18 1779.<br/><br/>"Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online. Novello, Ewer & Co unknown books
189128576London: Novello and Company PN 8146 1891. Large octavo. Original publisher's dark ivory wrappers printed in dark orange. 1f. recto title verso blank 1f. recto argument verso blank 1f. index 135 i printer's' device 1f. publisher's catalogue pp.<br/><br/>Wrappers somewhat worn and torn; portions of spine lacking at head and tail. Minor wear to outer margins of first six leaves. First performed in Vienna at the Burgtheater on October 5 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on August 2 1774 in French to a libretto by Pierre Louis Moline after Calzabigi.<br/><br/>"Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Novello and Company [PN 8146] unknown books
189928620Paris: Choudens PN A. C. 11331 1899. Large octavo. Original publisher's dark ivory wrappers printed in red and black. 1f. recto title verso blank 1f. recto notes on first performance named cast list and contents verso blank 118 pp.<br/><br/>Named cast includes Delna Bréjean-Gravière Eyreams and Chasles. <br/><br/>Wrappers slightly worn browned and chipped; former owner's signature in blue ink to upper. Some edges slightly damaged; handstamps to title; manuscript annotation to second leaf. Choudens [PN A. C. 11331] unknown books
190028577Braunschweig: Henry Litolff PN Collection Litolff No. 82 1900. Large octavo. Half brown calf with marbled boards raised bands on spine in gilt-ruled compartments titling gilt. i title within architectural border 2-3 cast list and contents 4-138 pp.<br/><br/>Binding slightly worn rubbed and bumped. Light uniform browning. First performed in Vienna at the Burgtheater on October 5 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on August 2 1774 in French to a libretto by Pierre Louis Moline after Calzabigi.<br/><br/>"Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Henry Litolff [PN Collection Litolff No. 82] unknown books
190028561Leipzig: C. F. Peters PN 4398 1900. Large octavo. Full black textured cloth titling gilt to spine. i title within decorative border by F. Baumgarten ii note on the work 1 contents 2-178 pp.<br/><br/>Binding worn; small circular label to upper. Some signatures split; handstamps small tear and manuscript annotations to free front endpaper; library handstamps cataloguing notation in manuscript to title; library handstamp to p. 173. C. F. Peters [PN 4398] unknown books
185513808New York: Allen 1855. pamphlet. very good. Original green printed wrappers. 21 pages. Slim 8vo origonal blue printed wrappers; a bit edgeworn and with several dog-eared pages. New York: Edward P. Allen 1855. Very Good.<br/><br/> Allen unknown books
1857042531Munchen: Literarisch-Artistische Anstalt 1857. Hardcover. Good. 8vo - over 7¾ - 9¾" tall. .in Ihrer Echtheit Festgestellt und Erflautert.' Quarter bound in black cloth with decorated boards worn at corners <br/> <br/> Literarisch-Artistische Anstalt hardcover
181525656Bonn: N. Simrock PN 1125. 1815. Oblong folio. Contemporary marbled boards. 1f. recto title verso blank 3 cast list and table of contents 4-159 i blank pp. Engraved.<br /> <br /> Disbound. Boards quite worn; spine lacking. Slightly worn soiled foxed and stained; some corners slightly turned; minor underlining and annotations in red pencil to cast list; early repairs to inner margins of title and table of contents not affecting text; small binder's holes to inner margins. Later edition of the French version. Hopkinson 44C a. <br /> <br /> The French version of Alceste to a libretto by Marie François Louis Gand Leblanc Roullet was first performed at the Académie Royale de Musique in Paris on 23 April 1776. <br /> <br /> "Gluck's revision of Alceste for performance in Paris in 1776 amounts almost to a recomposition. His alterations were far more extensive than those he had made in his Paris adaptation of Orfeo . The French Alceste had a new text by Roullet Gluck's librettist for Iphigénie en Aulide based on Calzabigi's libretto; but alterations to the plot and the order of events led to major differences between the two. The principals at the première of the French version included Rosalie Levasseur Alcestis Joseph Legros Admetus Henri Larrivée Hercules Moreau Apollo and Nicolas Gélin High Priest. At the first Paris performances of Alceste the Act 3 denouement was substantially different from the version familiar today and closer to the Italian original. Gluck and Roullet after much criticism altered the act to incorporate a part for Hercules who has no place in the Italian original. Just as Gluck was arranging more music to enlarge the final divertissement again to please Parisian taste he heard of the death of his adopted daughter Marianne in Vienna; he left Paris and assigned the completion of the divertissement to Gossec. This revised version published in Paris in 1776 is the one that has nearly always been performed subsequently." Jeremy Hayes in Grove Music Online. N. Simrock [PN 1125.] unknown
181241214Berlin: Schlesinger's Buch= und Musikhandlung Unter den Linden No. 34. PN 50 1812. Oblong folio. Contemporary dark brown mottled calf-backed marbled boards with oval label titled in manuscript to upper. 1f. recto title verso blank 3 "Personen" and incipits 4-123 i blank pp. <br /> <br /> Provenance<br /> Noted American harpsichordist Louis Bagger 1926-2024<br /> <br /> Binding worn rubbed and bumped. Very occasional minor soiling to blank lower margins; occasional minor showthrough; small stains to title with small circular publisher's handstamp to inner margin. Hopkinson 46Ca. <br /> <br /> Gluck's work is a tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides's work of the same name. <br /> <br /> "Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online<br /> <br /> It was first performed in Paris at the Opéra on 18 May 1779 "with excellent singers; Rosalie Lavasseur sang Iphigénie Larrivée Oreste Legros Pylade and Moreau Thoas. . The opera had a great success immediately and even Grimm wrote of it - I do not know whether this is melody but perhaps it is something better. When I hear Iphigénie I forget I am at the opera; I seem to be listening to a Greek tragedy with music by Lekain and Mlle Clarion. It was the crowning point of Gluck's career. Guillard had provided an excellent libretto more classical than Goethe's poem less Christian and more ruthless; and Gluck had seized on the contrast between Scythians and Greeks upon the perfectly dramatic figures of Iphigenia and Orestes and had produced a work which both re-created a part of Greek tragedy and at the same time foretold a new world." Cooper: Gluck p. 258. Schlesinger's Buch= und Musikhandlung, Unter den Linden No. 34. [PN 50] unknown
