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140941961New York: Granary Books 1992. Signed Limited First Edition. Fine. First edition. An artist's book containing drawn and painted images by Timothy C. Ely set against text written by Terence McKenna with typography by Philip Gallo. From a limited edition of only 75 copies signed by McKenna and Ely. Of those 75 there were 55 numbered copies and 20 hors commerce copies lettered G-Z and this is copy letter O. Pages printed letterpress on Rives BFK in pairs on single leaves wrapped around and pasted onto thick card stock and adorned with original watercolor paintings by Ely; sewn binding with brass rods securing textblock to black embossed paper-covered boards with decorative brass piece affixed to upper board housed in original black cloth chemise case with printed paper title label to spine. Fine. In 1991 McKenna visited an exhibition at Granary Books featuring Ely's work and this collaboration would result. A fantastic push and pull of Gallo's refined typography set against Ely's abstract watercolor offering a visual landscape for the eye to wander perfectly paired with McKenna's text on broad themes such as art language history and nature. Granary Books unknown
164414139Lisboa: Pablo Craesbeck 1644. 198x145mm. 7¾x5¾". Lisboa Pablo Craesbeck s.a 1644. En 4º menor 198 x 145mm. 4 78 pp. 1 lámina plegada. 4 diagramas tipográficos a toda página. Pergamino del siglo XVIII guardas delanteras renovadas. Primera edición de altas cotizaciones en el mercado y considerable rareza especialmente completo de su lámina. Palau le asigna erroneamente fecha de 1641 pero es imposible porque las licencias son de 1644. La Biblioteca Nacional consigna fecha de 1644 y esa fecha consignamos nosotros. En el catálogo de la Biblioteca Nacional tienen sólo un ejemplar y no mencionan la lámina plegada posiblemente les falte; CCPB registra sólo otros dos ejemplares en España. Fuera de España OCLC consigna sólo el ejemplar de la Harvard Library. En la Biblioteca Nacional de Portugal hay sólo un ejemplar que he consultado y se encuentra en muy malas condiciones con graves pérdidas de texto además tampoco tiene la lámina. Esto da idea de la extraordinaria rareza del libro posiblemente por la mala calidad del papel que se utilizó para la impresión. El capitán Antonio Gallo natural de Santa Cruz de Zarza Toledo quien sirvió en los ejércitos españoles por espacio de 32 años manejó gloriosamente la espada y consagró su pluma al aprovechamiento de su profesión en los que aprendió el oficio de soldado y el de cabo y sargento grados por donde ascendió a capitán. Este<em> Regimiento Militar que trata de como los soldados se han de governar</em> junto con su <em>Destierro de Ignorancias</em> 1639 es el antecesor y fuente de inspiración de las Ordenanzas Militares de Carlos III publicadas ciento treinta años después y de las ordenanzas de otros paÃses. Según el investigador José Antonio GarcÃa Albares del autor destaca su sentido del deber junto con su gran humanidad hasta el punto que gran parte de sus escritos podemos llamarles lección de convivencia cien por cien válida para la vida civil. En la revista <em>Armas y Letras</em> del Ayuntamiento de Madrid año VII nº 126 30 de enero de 1926 dicen del autor: "Desde la plaza de soldado llegó al empleo de Sargento mayor; en treinta y dos años de afanosa vida mereció la estimación de los superiores y el aprecio de los subordinados; los campos de batalla le dejaron como recuerdo honrosas cicatrices en el rostro y en la mano derecha". Antigua restauración al verso de la portada sin afectar; papel tostado ligera mancha de agua en el margen superior en algunas hojas a mitad del volumen numerosas apostillas marginales manuscritas del siglo XVII o XVIII. Aun estos defectos podemos considerarlo un buen ejemplar pues fue impreso en papel de mala calidad que se ha amarronado lo que explica la enorme rareza de este libro tan importante. Pablo Craesbeck paperback
1876019848Mexico: Gallo & Co. Very Good. 1876. First English Edition. Hardcover. First English language edition of Baz and Gallo's "History of the Mexican Railway." Illustrated with 34 chromolithographed plates; all are clean and bright. Also includes a folding map titled "Plan and Profile of the Mexican Railway and Former Project of Colonel Talcott C. E." Although references do not specify the number of plates that should be present comparisons of other auction records show that this volume is complete. Brown cloth boards with quarter leather binding; gilt lettering on front board; decorative black leather spine with gilt lettering and designs. Rebound using the original cloth and leather spine; new pastedowns and endpapers. In much better condition than most examples of this publication. The plates map and text block are very clean with light foxing and toning and minor offsetting from plates; boards have light wear and soiling and minor scratching. This volume was commissioned to celebrate the completion of the Veracruz - Mexico City railroad line. The stunning lithographs were created by the famous Mexican lithographer Hesiquio Iriarte along with lithographers S. Hernández A. Orellana F. Poceros Adolfo R. Sánchez and J. Villasana. The beautiful illustrations depict scenes along the railway through rugged country city streets and small villages. A fabulous acquisition that is unusual in such nice condition. ; Folio 13" - 23" tall; 211 pp . Gallo & Co. hardcover books
1876115940Mexico: Gallo 1876. First. hardcover. good. Transl. by George F. Henderson. Complete with chromolithograph half-title folding map and 32 tinted lithograph plates. 211pp. folio orig. cloth; spine ends and corners worn; two very small holes in front cover which create holes to p. 69 with no loss of text but slightly affecting several plates. Mexico: Gallo 1876. First Edition in English.<br/><br/> Handsomely illustrated with scenes of railroad tunnels bridges stations and an aerial view of Mexico City. History of the construction of the Mexican Railway from Veracruz to Mexico City. Palau 25914.<br/><br/> Gallo unknown books
1876115940Mexico: Gallo 1876. First. hardcover. good. Transl. by George F. Henderson. Complete with chromolithograph half-title folding map and 32 tinted lithograph plates. 211pp. folio orig. cloth; spine ends and corners worn; two very small holes in front cover which create holes to p. 69 with no loss of text but slightly affecting several plates. Mexico: Gallo 1876. First Edition in English.<br/> <br/> Handsomely illustrated with scenes of railroad tunnels bridges stations and an aerial view of Mexico City. History of the construction of the Mexican Railway from Veracruz to Mexico City. Palau 25914.<br/> <br/> Gallo unknown
187668892Mexico:: Gallo & Co. Editors 1876. First edition in English. publisher's gilt-lettered cloth. There is some very light marginal staining to a few of the plates; a few small chips to the original cloth; tight and sound. . Folio. Added color lithographic title page; plus 32 including one present in two copies tinted lithographic plates; folding map. Translated into English by George F. Henderson. Gallo & Co. Editors, hardcover
18760041461876 Paris, J. Rothschild, 1876. Petit in-folio (288 X 362) demi-chagrin vert lierre, dos cinq nerfs, fleuron doré dans les compartiments, auteur et titre dorés, nom de l'éditeur en queue, tranches dorées (reliure de l'époque); (1) f. blanc, (2) ff. de faux-titre et titre imprimé en rouge et noir, frontispice, 140 pages, 45 planches couleurs hors-texte sous serpente, (1) f. blanc. Quelques rares rousseurs, principalement aux serpentes, trois taches sur le cuir du plat supérieur, sans gravité.
173365591733. 1st Edition . Soft cover. Very Good. Illustrated with 7 tipped-in folded engraved plates; woodcut initials. 8vo. Modern beige wrappers. Messina li 13 Settembre 1773. First Edition. 20 pages. A rare work on the ancient Theater in Taormina Sicily. A fine copy with clean engraved folding plates. Scarce paperback
400643 volumes. Folio. 18th century quarter mid-tan calf with marbled boards with dark red leather title labels gilt to uppers.<br /> <br /> CORELLI<br /> Opera Prima Secunda Terza Quarta. XII Sonatas of three parts for two Violins and a Bass with A Thorough Bass for ye Organ Harpsichord or Arch Lute Engrav'd from ye Score and Carefully Corrected by ye best Italian Masters . No. 364 365 366 367. London: Printed for I. Walsh servt. to his Matie. at ye Harp & Hoboy in Katherine Street near Somerset House in ye Strand ca. 1740.<br /> <br /> Violino primo: 1f. recto blank verso frontispiece portrait engraving of Corelli by Van de Gucht after H. Howard 1f. recto title verso blank i blank 24; 1f. recto title verso blank i blank 18; 1f.recto title verso blank i blank 25; 1f.recto title verso blank i blank 16 pp.<br /> Violino secondo: 1f.title iblank 24 1f.title iblank 18; 1f. title iblank 25; 1f.title iblank 16pp. <br /> Violoncello: 1f. recto title verso blank i blank 24; 1f. recto title verso blank i blank 18; 1f. recto title verso blank i blank 25; 1f. recto title verso blank i blank 16 pp.<br /> <br /> The separately printed organ/harpsichord part lacking in all four sets; in the second and fourth books the bass parts are however described as "Violone o cimbalo" and include figured bass lines for each sonata. Early pencil markings to violin parts.<br /> <br /> A total of 48 sonatas comprising Opp. 1-4. <br /> <br /> Smith & Humphries 413 416 420 and 424. Hirsch III 160. BUC pp. 217 218 219 and 220. RISM the 1735 printings: C3673 C3711 C3755 and C3788.<br /> <br /> Together with:<br /> GALLO Alberto fl. 1730-40 Op. 2<br /> Twelve Sinfonie or Sonatas in 4 Parts for Two Violins a Tenor with a Bass for the Violoncello & Harpsichord. Compos'd in an easy and pleasing Stile . Opera 2da. London: Printed for I. Walsh in Catharine Street in the Strand 1754. With "Numb. XXVIII." printed at head of title.<br /> <br /> Violino primo: 1f. recto title verso blank 12 pp.<br /> Violino secondo: 1f. recto title 1 blank 2-11 pp.<br /> Cembalo/Violoncello: 1f. recto title verso blank 1 blank 2-10 pp.<br /> Lacking the tenor viola part<br /> <br /> Marx p. 93 nos. 116 137 and 159. Smith & Humphries 666. BUC p. 359. RISM G260 no copies in the U.S. <br /> <br /> Little seems to be known about Alberto Gallo other than that he was a Venetian composer active in the 18th century.<br /> <br /> Together with: <br /> FRITZ Gasparo Gaspard Kasper 1716-1783 Op. 1<br /> Sei Sonate a Quatro Stromenti a Violino Primo Secondo Alta Viola Cembalo o Violoncello. Dedicate A.S.E. Francesco Grevile Baron di Brooke . Opera Prima. London: Printed for John Johnson in Cheapside ca. 1742<br /> <br /> Violino primo: 1f. recto title verso blank 1 dedication 2-9 1 blank 11-16 pp. <br /> Violino secondo: 1f. recto title verso blank 1 blank 2-14 pp.<br /> Basso: 1f. recto title verso blank 1 blank 2-11 pp.<br /> Lacking the alto viola part<br /> <br /> First Edition. Rare. Not in BUC. RISM F2010 two copies only at the Bibliothèque publique et universitaire de Genève and the Universitetsbiblioteket Uppsala. <br /> <br /> Fritz was a Swiss composer and violinist. "Some of his published works had considerable success and were subsequently reprinted. The three-movement sonatas of op. 1 which Handel judged favourably exhibit sectional contrasts characteristic of the ripieno concerto. In the op. 2 sonatas also in three movements Fritz approached the style of the Turin school with a richly decorated solo line supported by a thematically unrelated bass; some of the final movements are sets of chaconne variations." Jürg Stenzl in Grove Music Online<br /> <br /> Together with:<br /> SAMMARTINI Giovanni Battista 1700-1775 Op. 1<br /> Six Sonatas for two Violins and a Thorough Bass . Opera Prima. London: Printed for and sold by John Cox at the Bass Viol and Flute in Sweetings Alley opposite the East Door of the Royal Exchange ca. 1750.<br /> <br /> Violino primo: 1f. recto title verso blank 12 pp.<br /> Violino secondo: 1f. recto title verso blank 10 pp.<br /> Basso: 1f. recto title verso blank 10 pp.<br /> <br /> BUC p. 919. RISM S676. <br /> <br /> "Sammartini was primarily an instrumental composer and one of the leading writers of concertos and sonatas in England between 1730 and 1750. His printed collections include 24 sonatas for flute and bass 30 trios for flutes or violins 24 concerti grossi four keyboard concertos an oboe concerto 16 overtures and some flute duets and cello sonatas. The tuneful Recorder Concerto in F found in only one source S-Skma has become his best-known work. Hawkins classed Sammartini's instrumental music with that of Corelli and Geminiani. Though his music is rooted in the late Baroque style it also reflects some later trends. There is considerable variety in the number succession and type of movements. . <br /> <br /> His music played a fundamental role in the formation of the Classical style. He was one of the most advanced and experimental composers of the early Classical period and the first great master of the symphony preserving his individuality despite the rise of the Viennese and Mannheim schools. Though the extent of Sammartini's influence is still not fully measured the high quality of his music places him among the leading creative spirits of the 18th century." Bathia Churgin in Grove Music Online <br /> <br /> Together with:<br /> SAMMARTINI Giuseppe 1695-1750 Op. 3<br /> XII Sonate A due Violini e Violoncello e Cembalo se piace Opera Terza Dedicata all'Altezza Reale di Augusta Principessa di Vallia. London: Printed for and Sold by I. Walsh Musick Printer & Instrument maker to his Majesty in Catharine Street in the Strand ca. 1747.<br /> <br /> Violino primo: 1f. recto title verso blank 1 dedication within a fine decorative border engraved by H. Roberts 2-36 pp. <br /> Violino secondo: 1f. recto title verso blank i blank 36 pp.<br /> Violoncello: 1f. recto title verso blank i blank 34 pp.<br /> The violoncello part with figurings<br /> <br /> Smith & Humphries 1330. BUC p. 920. RISM S722.<br /> <br /> Together with:<br /> SAMMARTINI Giovanni Battista Op. 4<br /> Six Sonatas for two Violins with a Thorough Bass for the Harpsicord! or Violoncello . Opera Quinta. London: Printed for I. Walsh in Catharine Street in the Strand 1756<br /> <br /> Violino primo: 1f. recto title verso blank 1 blank 2-12 pp.<br /> Violino secondo: 1f. recto title verso blank 1 2-6 iblank 8-10 pp.<br /> Basso: 1f. recto title verso blank 8 pp.<br /> Bass part with figurings<br /> <br /> Smith & Humphries 1308. BUC p. 919. RISM S678.<br /> <br /> Together with: <br /> SAMMARTINI Giuseppe Op. 6<br /> Six Sonatas For two German Flutes or two Violins with a Thorough Bass for the Harpsicord! or Violoncello . Opera Sexta. London: Printed for I. Walsh in Catharine Street in the Strand ca. 1750<br /> <br /> Violino primo: 1f. recto title verso blank 1 2-15 pp.<br /> Violino secondo: 1f. recto title verso blank 1 2-13 pp.<br /> Basso: 1f. recto title verso blank 1 blank 2-14 pp.<br /> Bass part with figurings<br /> <br /> Smith & Humphries 1327. BUC p. 920 with the date of ca. 1745. RISM S719.<br /> <br /> Early manuscript numberings to margins. <br /> <br /> Bindings somewhat worn and rubbed. Minor internal wear and imperfections. <br /> <br /> In a very good state of preservation overall. unknown
#[59854]Mountainous landscape with a harbor on the right. On the left on a road Tamar and Judah. Tamar seduces her own father-in-law Judah. Inscribed lower left corner 'Iudas nurum suam Thamar comprimit' and bottom right 'Cum privilegio COCK FE.' Print out a series of 14 landscapes with biblical and mythological scenes entitled 'Variae Variarum'. l Etching on paper trimmed on platemark; total:224 x 320 mm; only state. Watermark. Small stains in the sky to the right. Rare. Hollstein 9 Riggs 39 unknown
173582395Basle: Chez Christophe Revis 1735. First edition of Le Coq de Villeray's response to Voltaire's Letters Concerning the English Nation published in 1733. Octavo bound in contemporary calf gilt title to the spine raised bands marbled endpapers. In very good condition. Rare. Voltaire composed his Letters Concerning the English Nation based on his experiences living in England between 1726 and 1729. The volume was first published in English in 1733 and then in French the following year where it was seen as an attack on the French system of government and was rapidly suppressed. The letters concerned Voltaire's views on Anglicanism the Quakers William Penn and John Locke. Chez Christophe Revis hardcover books
173582395Basle: Chez Christophe Revis 1735. First edition of Le Coq de Villeray's response to Voltaire’s Letters Concerning the English Nation published in 1733. Octavo bound in contemporary calf gilt title to the spine raised bands marbled endpapers. In very good condition. Rare. Voltaire composed his Letters Concerning the English Nation based on his experiences living in England between 1726 and 1729. The volume was first published in English in 1733 and then in French the following year where it was seen as an attack on the French system of government and was rapidly suppressed. The letters concerned Voltaire's views on Anglicanism the Quakers William Penn and John Locke. Chez Christophe Revis hardcover
H8RD8098RU6BBerlin 1973. 355 x 26 cm; atlas 54 x 365 cm. Dietrich Reimer Uniform decorated brown cloth. With a total of 185 plates in the text volumes 22 plates in the atlas volume mostly in black and white some in colour and numerous illustrations in text. 6 text volumes and 1 atlas. 29; 62; 53; 29; 32; 89; 80 pp. Reprint of the first edition of a work on archeology in China published in the years 1922-1933 written by the German orientalist and archaeologist Albert von Le Coq 1860-1930. From 1902 to 1914 Le Coq led three of the four German expeditions to the Turfan or Turpan area in Xingjian China. "The principal spoils of these expeditions were literary. Vast numbers of Chinese manuscripts were obtained from every center both secular and religious. Besides securing manuscripts these expeditions examined caves decorated with stucco figures and with frescoes " Couling. The text gives a brief history of the expeditions the different sites they excavated including grottoes and temples which are also shown on some of the smaller illustrations followed by descriptions of the objects shown on the plates. "The civilization thus revealed is a mixture of Persian Indian Chinese Hellenic etc." Couling. All volumes in very good condition.l Cf. Couling pp. 32 578. ABE CAT Art History hardcover
#[60202]Described in Riggs 1977 as 'River Landscape with a barge in the center foreground' as nr. 7 of a series of twelve plates with 'Landscapes with Village Scenes'. Signed on the bottom left:'HBOL' with 'HB' monogrammed and on the bottom right:'H. Cock ex.' In outstanding conditions l Etching and engraving on paper trimmed to platemark remargined in Japanese paper; total without added margins: 224 x 320 mm. State I/2. Watermark on the left: caraffe with two flowers. Collector's mark on the verso in blue ink Bernhard Keller 1789-1 unknown
1992M95241Firenze, Giunti Editore (Libr. Musicale Italiana) 1992 Complete facsimile edition in full-size and full-colour reproduction of the complete original manuscript, publisher's hardcover binding (29x41cm., facsimile of the original binding) with small defect on front board and on lower end of front joint, together with a text volume (290pp. containing studies and commentaries) printed on handcrafted paper and bound in Fabriano paper, Limited edition of 998 numbered copies only ; this is nr. 528/998, protected by a publisher's box (46x32cm., cloth boards with gilt stamping, spine in leather), good condition, interior and texts in very good condition, rare, weight: 12kg., [This 'Squarcialupi Codex' is most probably the finest produced and most refined facsimile of a music manuscript ever. The codex contains an anthology of Italian music compiled in Florence (Firenze) during the first twenty years of the 15th century, with over 300 songs from the 14th till early 15th cy. by famous composers such as Francesco Landini, Andrea dei Servi, Gherardello da Firenze, Donato da Firenze, Niccolo da Perugia, and others. Its name is derived from the previous owner's name Antonio Squarcialupi, Florentine organist 1417-1480, attested by an inscription on the opening leaf. Later on it passed to Giuliano de Medici, then it passed to the Palatine Library and at the end of the 18th cy. it went to the Laurentian Library where it is kept up till present. The magnificent miniatures and illuminations in colour and gold - reproduced in the facsimile as well - were produced in the Florentine scriptorium of Santa Maria degli Angeli around 1410-'15. An indispensable source of early Renaissance music in Italy], M95241
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.
55800Minneapolis: Hermetic Press 1975. Edition limited to 25 copies signed by Gallo; folding brown printed box with the colophon incorporated into the back panel loose in this copy the box containing 11 printed leaves 8 of them with color initials plus another leaf with the red herring wood engraving by Dean Lindblad. The six-color tint blocks for the head of the red herring sheet 3 and the initial "I" sheet 11 were done by overprinting translucent Day-Glo inks by silk screen. An early Minneapolis production by Phil Gallo at the Hermetic Press. This is was Phil's personal copy and he has no more. Hermetic Press unknown
ST19318Saint Paul: The Hermetic Press 2019. COPY "G" OF 26 LETTERED COPIES on 125 gsm Stardream paper and five copies on 110 gsm Plike paper. 245 x 143 mm. 9 3/4 x 5 5/8". 20 leaves. <br/> Original card covers wrapped in a shiny orange chemise upper wrapper with title printed in dark orange. Printed in color throughout. ◆In mint condition.<br/> <br/> An alchemy of typography color words and design this is an impeccably printed work that plays on the word "allotropes"--a term used in chemistry that refers to the different states a particular element may take such as graphite and diamond for carbon. As we admire the vibrant color combinations juxtaposed with shifting letter forms the printer also invites us to consider the science and experimentation inherent to this work using diagrams chemical notations and images that look as if they were taken from under a microscope to provoke our imaginations. The shimmering paper on which the text is printed here and especially the glistening orange cover make a very pleasing impression. The poet/artist/typographer/printer Phillip Gallo has been printing concrete and visual poetry since he founded his Hermetic Press in 1965. His books are in important collections around the world including in the Museum of Modern Art and the Walker Art Center. The Hermetic Press unknown
200639662New. 2006. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED - 35 works catalogued and illustrated. Among the artists represented: Th. Rousseau Corot Delacroix Briant and others. -- with a bonus offer-- . paperback
200639661New. 2006. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED - 35 works catalogued and illustrated. Among the artists represented: Th. Rousseau Corot Delacroix Briant and others. -- with a bonus offer-- . paperback
198566237Electa. New. 1985. Hardcover. 8843511629 . FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in Italian. 228 pp. With 235 ills. 11 col. . 29 x 22 cm. -- with a bonus offer-- . Electa hardcover
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2012105379Verlag Der Buchhandlung Walther Konig. New. 2012. Paperback. 3863351711 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English with portions also in German. 192 pages. -- with a bonus offer-- . Verlag Der Buchhandlung Walther Konig paperback
2015115486cannibal Publishing. New. 2015. Hardcover. 9492081105 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - Text in English and Dutch. -- with a bonus offer-- . cannibal Publishing hardcover
