61 résultats
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
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
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
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
180940434Bonn: Chez N. Simrock PN 609 1809. Oblong folio. Quarter black leather with gilt rules mid-brown cloth boards spine in compartments gilt with titling gilt marbled edges. 1f. recto title verso cast list 3-149 pp. Text in French and German. Engraved throughout. <br /> <br /> With contemporary signature of former owner "Mappes" to upper outer corner of free front endpaper with handstamp of August Kuby in Munich below; "Amalie Mappes" to upper outer corner of title.<br /> <br /> Binding worn rubbed bumped and slightly stained. Occasional soiling; small ink stains browning and foxing to blank margins; small loss to lower outer corner of p. 27. First Edition. Hopkinson p. 41 40F. Wotquenne 40. RISM G2753 and GG2753 no copies in the U.S. <br /> <br /> Iphigenie en Aulide was first performed in Paris at the Opéra on 19 April 1774. <br /> <br /> "Judging from contemporary accounts such as the memoirs of Mannlich the several months of rehearsals for Iphigénie en Aulide must have been quite a spectacle with the irascible 60-year-old composer struggling to reform the bad habits of the singers and players of the Académie Royale to teach them his new opera. However the première of Iphigénie en Aulide in April 1774 was a triumph but the run of performances was interrupted by the death of Louis XV a month later. All the theatres closed and during the period of mourning Gluck quickly revised Orfeo ed Euridice and made a French version of the opera with a translation of the text by Pierre Louis Moline." Jeremy Hayes in Grove Music Online. Chez N. Simrock [PN 609] unknown
1840008068Strasbourg: Emile Simon Fils 1840. First Edition. Quarter Morocco. Marbled paper pastedown on boards. Very Good. Colorful 1840 three day celebration of the unveiling of a statue to Johann Gutenberg which occurred on June 24 through the 26th 1840. This stunning color plate book is almost entirely devoted to the endless parade organized for the event that proceeded during the second day or the 25th -- based on the dates given in the plate captioning. In this parade each of many professions had its own contingent and dressed and carried a sometimes impressive prop reflecting on the profession. From the vast number of paraders it would seem that virtually everyone in Strasbourg was an active participant. Oblong folio 32 by 53 cm. 48 hand-colored plates with five of the plates with fold-outs and thus extra long. Fold-out plates are counted as two plates in the enumeration which thus goes up to the number 53. In complete form this book is scarce. Outside of France and Germany the only hard copy showing on OCLC First Search is at the Morgan. It isn't clear to us whether the copies in Europe are commensurate but at most there may be half a dozen copies. No copies found in commerce on the date of this listing. Contemporary morocco spine moderately rubbed and scratches on the paper pastedown. Leaves age toned with deeper age toning affecting the fold-out plates. Occasional foxing with perhaps two plates with a considerable amount. A very short closed tear or two. Some shake to the binding as typical in such an extreme oblong book. Emile Simon Fils unknown
1891013212New York: Banks & Brothers 1891 580 pp.; HB. Pages: clean ivory tight; eps toned a.e. tanned t.e. dusty front hinge starting. Cover: leather 5 raised bands gilt titles to the 1 remaining of 2 spine blocks; substantial shelfwear esp extremities leather scuffed and worn. The original real deal. Banks & Brothers hardcover
1859231958Ed Bote & G. Bock Berlin 1859. Hardcover Leinen Großformat Die Jahresangabe ist ungefähr. Zustand: keine Beschädigungen eine Namenseintragung. Rücken Ecken Kanten gut. Innen braunfleckig. Ed Bote & G. Bock, Berlin, hardcover
1893346471893. Verh. Berl. Ges. Anthrop. 1893. - Redigirt von Rud. Virchow. - Berlin von A. Asher & Co. 1893 8° 658 pp. zahlr. Abbildungen 26 Taf. Halbleinenband. unknown
1891346361891. Verh. Berl. med. Ges. 21 1890. - Hrsg. von dem Vorstande der Gesellschaft. - Berlin Gedruckt bei L. Schumacher 1891 8° XLV 3 192; 2 328 pp. orig. Broschur.; unaufgeschnittenes Expl. Erste Auflage "Separat-Abdruck aus der Berliner klinischen Wochenschrift" Ausführlicher Vorträge gehalten in der Berliner medicinischen Gesellschaft. "Themistokles Gluck 1853-1942 studierte Medizin in Leipzig und Berlin wo Rudolf Virchow und Bernard von Langenbeck seine Lehrer wurden. Schon als Student arbeitete er unter Langenbecks Leitung an Problemen der Nervennaht und der Nervenregeneration. Seine erste Arbeit auf diesem Gebiet wurde mit dem '1.Staatspreis der Berliner Universität' ausgezeichnet. Von 1878 bis 1884 war er Assistent bei Langenbeck und von Bergmann 1836-1907. Als letzter Schüler Langenbecks habilitierte er sich 1882. 1890 wurde er chirurgischer Chefarzt an das Kaiser und Kaiserin Friedrich-Krankenhaus berufen. Gluck wurde nicht nur durch seine Arbeiten zur Nervenregeneration bekannt sondern ebenso durch seine frühen Versuche zur Implantationschirurgie und durch richtungsweisende neue Operationsmethoden in der plastischen Chirurgie. - cf.H.P.Schmiedebach R.Winau Rudolf Häring Erste Operationen Berliner Chirurgen 1817-1931 p.195 It is of historical interest to note that atempts at fixatng a prosthesis date back to 1890 when Gluck in a lecture to the German Medical Society discussed the use of bone glue or cement to fasten ivory devices." -cf. Nas Ser Eftekhar Principles of total hip arthroplasty p.4 unknown
1890288451890. BKW 27/19. - Berlin August Hirschwald 12. Mai 1890 4° pp.421-440 feine Broschur. Erstdruck! Ausführlicher Vortrag gehalten in der Berliner medicinischen Gesellschaft am 30.April 1890. It is of historical interest to note that atempts at fixatng a prosthesis date back to 1890 when Gluck in a lecture to the German Medical Society discussed the use of bone glue or cement to fasten ivory devices." -cf. Nas Ser Eftekhar Principles of total hip arthroplasty p.4 unknown
1893346121893. BKW 30/51. - Berlin August Hirschwald 18. December 1893 4° pp.1233-1260 feine Broschur. Erstdruck! unknown
1896346511896. DMW 22/38. - Leipzig Georg Thieme 17. September 1896 pp.603-618 feine Broschur. Erstdruck! unknown
1880345821880. Arch. klin. Chir. 25. - Berlin Verlag von August Hirschwald 1880 8° IV 952 pp. Holzschnitte 14 lith. Taf. Leinenband d.Zt. Erstdruck! "Bei der Häufigkeit mit welcher Tumoren der Haut einen lappigen Charakter annehmen wie. z.B. das Fibroma molluscum einen rein polypösen Habitus zeigt ist die ungemeine selten Erscheinung reiner Fibrome der Cutis in dieser Form auffällig. Herr Geheimrath v. Langenbeck hatte die Güte mir bei Gelegenheit eines kürzlich in der Klinik operirten Falles zwei vor langen Jahren beobachtete analoge Fälle zur Publication zu übergeben." Th. Gluck unknown
1897346601897. Wien. med. Wschr. 47/45. - Wien Moritz Perthes 6. November 1897 4° Sp.2081-2119 Broschur. Erstdruck! Versammlung Deutscher Naturforscher und Aerzte zu Braunschweig. Abgehalten vom 20.-25. September 1897. - Originalbericht der W.M.W. Sketion für Chirurgie. unknown
1895346171895. BKW 32/28. - Berlin August Hirschwald 1895 4° pp.601-624 feine Broschur. Gesellschaft der Charité Aerzte. Sitzung vom 7.März 1895. unknown
1893694241893. Verh. Berl. med. Ges. 24 1893. - Berlin Gedruckt bei L. Schumacher 1894 8° XLII 250; 389 pp.; mit Abbildungen Halbleinenband d.Zt.; St. verso Tit. Erste Auflage! Verhandlungen der Berliner medicinischen Gesellschaft aus dem Gesellschaftsjahr 1983. Separat-Abdruck aus der Berliner klinischen Wochenschrift. Hrsg. von dem Vorstande der Gesellschaft. Themistocles Gluck 1853-1942 Chirurg. unknown
1894346841894. BKW 31/ 7. - Berlin August Hirschwald Montag den 12. Februar 1894 4° pp.153-184 feine Broschur. Erstdruck! unknown
1897346201897. BKW 34/43-45. - Berlin August Hirschwald 1897 4° pp.929-996 feine Broschur. unknown
1890148091890. BKW 27/3233. - Berlin August Hirschwald 11. und 18. August 1890 4° pp.721-764 feine Broschur. Erstdruck! "Themistokles Gluck 1853-1942 studierte Medizin in Leipzig und Berlin wo Rudolf Virchow und Bernard von Langenbeck seine Lehrer wurden. Schon als Student arbeitete er unter Langenbecks Leitung an Problemen der Nervennaht und der Nervenregeneration. Seine erste Arbeit auf diesem Gebiet wurde mit dem '1.Staatspreis der Berliner Universität' ausgezeichnet. Von 1878 bis 1884 war er Assistent bei Langenbeck und von Bergmann 1836-1907. Als letzter Schüler Langenbecks habilitierte er sich 1882. 1890 wurde er chirurgischer Chefarzt an das Kaiser und Kaiserin Friedrich-Krankenhaus berufen. Gluck wurde nicht nur durch seine Arbeiten zur Nervenregeneration bekannt sondern ebenso durch seine frühen Versuche zur Implantationschirurgie und durch richtungsweisende neue Operationsmethoden in der plastischen Chirurgie. - cf.H.P.Schmiedebach R.Winau Rudolf Häring Erste Operationen Berliner Chirurgen 1817-1931 p.195 unknown
1882345951882. Arch. klin. Chir. 26. - Berlin Verlag von August Hirschberg 1882 8° VI 1011 pp. Holzschnitte 16 lith. Taf. Portrait von B.v.Langenbeck Pappband der Zeit. Frist Edition! "In 1881 Foulis reported on 27 recorded cases of total laryngectomy. Half of these patients died of pneumonia and other infections within the first week after surgery. Another 25% died of tumor recurrence within ten months. In the same year Gluck recommended that in laryngectomized patients the bottom of the pharynx be completely sewn up in order to obviate the greatest hazard of laryngectomy aspiration pneumonia. By the beginning of the 20th century Gluck reported the mortality of laryngectomy being just 8.5%. This is extremely low considering the major problems that occurred in those days with anesthesia wound infection and shock. For example in 1906 the mortality rate for radical neck dissections was still 13%." "Gluck's modification of the surgical technique of laryngectomy in 1881 - closure of the pharyngostoma in order to decrease the risk of aspiration pneumonia - ruled out internal reed mechanisms. After all the trachea was completely severed from the pharynx in these patients. Accordingly a pneumatic mechanical voice source was devised by Stork in l877 following Czermak's lead. It was based on a similar yet external metal reed connected by an external tube with the patient's tracheal cannula and the sound conveyed into the mouth by another external tube. Between 1892 and 1918 this external pneumatic mechanical voice source was further refined by Hochenegg Gluck Gottstein Tapia Onodi and Stockman. Respectively their modifications consisted of a pair of bellows for a patient that was unable to exhale with sufficient strength a reed concealed in the patient's nose or upper denture an inflatable cuff for the tracheal cannula a reed connected to the tracheal cannula by way of a side butt to make non-phonatory breathing easier and a battery-powered compressor as air supply for the reed. In the 1920s MacKenty together with two scientists of the Western Electric Company Fletcher and Lane developed an external pneumatic mechanical voice source that was soon superseded by the Western Electric No° 2 type larynx. It comprised a soft-rubber tracheal pad to strap over the tracheostoma a flexible tube a slightly curved bronze reed in a silver cylinder and a mouthpiece attachable to this reed box . It was successfully marketed from 1930 to 1959 by the Western Electric Company and the Bell Telephone Laboratories: 5500 No° 2 type larynges were sold." "The first electrolarynx was devised by Gluck in 1910 and comprised an Edison type portable phonograph connected with a telephone receiver in the patient's nose or mouth. On the cylinder of the phonograph a vowel produced by a singer had been recorded. The electric current from the phonograph was converted by the telephone receiver to sound which was propagated in the buccal cavity air. There the representation of the singer's voice was given the timbre belonging to the patient's vocal tract. For demonstration purposes Gluck not only used a recorded vowel but also a phonograph containing a Waltz." Marein van der Torn : A sound-producing voice prosthesis. ACADEMISCH PROEFSCHRIFT Utrecht 2005 See - Gluck T.: Flüstersprache und Phonationsapparate. Berliner klinische Wochenschrift 36 1899 pp.215-216. Gluck T.: Patienten mit Totalextirpation des Pharynx Larynx und Oesophagus denen eine künstliche Stimme durch einen automatisch arbeitenden Apparat geliefert wird. Berliner klinische Wochenschrift 47/1 1910 pp.33-35. Gottstein G.: Pseudo-Stimme nach Totalexstirpation des Larynx. Archiv für die klinische Chirurgie 62 1900 pp.126-46. Tapia A.: Presentacion de un laringuectomizado hablando con un sencillisimo aparato artificial. Revista Espanola de Laringologia 5 1914 pp.48-55. Onodi A.: Ergebnisse der Abteilung für Hör- Sprach- und Stimmstörungen und Tracheotomierte vom Kriegsschauplatz. Monatsschrift für Ohrenheilkunde 52 1918 p. 85. Riesz R.: Description and demonstration of an artificial larynx. Journal of the Acoustical Society of America 1 pp.273-9. unknown
1891346061891. BKW 28/48. - Berlin August Hirschwald 23. November 1891 4° pp.1141-1156 feine Broschur. unknown
1883345891883. Arch. klin. Chir. 28. - Berlin Verlag von August Hirschwald 1883 8° VI 931 pp. Holzschnitte 10 lith. Taf. Halbledereinband der Zeit. unknown
