‎Guerre 14/18‎

‎LEBRETON (Jacques).‎

‎Sans yeux et sans mains.‎

‎Casterman, 1973, in-8°, 268 pp, préface de Louis Rétif, broché, bon état‎

‎Par Jacques Lebreton (1922-2006), pseudonyme de Jacques Beaugé. Au début de la Seconde Guerre mondiale, dès l’été 1940, il s’engage dans les Forces françaises libres à Londres avec son frère Henri, Compagnon de la Libération. Il est spahi au 1er régiment de marche de spahis marocains quand il est très gravement blessé près d’El-Alamein en Libye le 5 novembre 1942 par une grenade dégoupillée et passée par un camarade, il perd ses mains et devient aveugle. Après la guerre, l’auteur rejoint son frère prêtre-ouvrier, puis devient communiste et perd la foi lors de la condamnation du communisme par Rome... Il travaille par la suite dans une association pour handicapés et entame un cheminement spirituel qui le conduit à devenir diacre en 1974.‎

书商的参考编号 : 100435

‎LECANUET (R. P. Edouard).‎

‎L'Eglise de France sous la troisième République.‎

‎Félix Alcan, 1930-1931, 4 vol. in-8°, vii-579, xxv-630, 616 et 735 pp, nouvelle édition, notes, index dans chaque volume, brochés, couv. lég. abîmée au tome 2, bon état‎

‎Complet — 1. Les dernières années du Pontificat de Pie IX (1870-1878) – 2. Les premières années du Pontificat de Léon XIII (1878-1894) – 3. Les signes avant-coureurs de la Séparation : les dernières années de Léon XIII et l'avènement de Pie X (1894-1910) – 4. La vie de l'Eglise sous Léon XIII. — "Ce livre [Les signes avant-coureurs de la Séparation] se rapporte à une période agitée de l'histoire des rapports de l'Eglise et de l'Etat. Après les années du ralliement, ce sont celles de l'affaire Dreyfus, des ministères Waldeck-Rousseau et Combes. L'objet essentiel du livre est la lutte contre les congrégations. C'est une suite d'événements dont l'importance pour les destinées de la France et de la République ne peut guère être exagérée. Parmi les traits dominants qui s'en dégagent, il y a d'abord la volonté très nette des républicains d'assurer dans tous les domaines la suprématie de l'Etat, et en particulier à l'égard de la religion : les uns penchent, sans grande résolution, vers la pacification intérieure ; les autres veulent continuer, par la lutte contre l'Eglise, l'effort d'émancipation de la Révolution. D'autre part, Léon XIII, désireux d'appuyer sur la France la politique de l'Eglise, s'efforce, avec les gouvernements successifs, de pratiquer une politique de conciliation ; mais, à l'intérieur de l'Eglise de France, des désaccords constants empêchent le succès de la politique pontificale et la collaboration avec les modérés. (...) L'auteur est d'une absolue bonne foi et d'une belle indépendance : il n'est que de lire, pour s'en convaincre, les deux chapitres relatifs à l'affaire Dreyfus, où le P. Lecanuet prend nettement parti pour l'innocence de Dreyfus. La documentation est abondante et ordinairement très précise : il y aurait peu d'observations à faire sous ce rapport ; il est bien écrit et composé. C'est une contribution remarquable à l'histoire et de l'Eglise et de la Troisième République." (E. Coornaert, Revue d’histoire moderne et contemporaine, 1931) — "Le quatrième volume de l'œuvre du P. Lecanuet est moins strictement ecclésiastique que son titre ne paraît l'indiquer. L'histoire de la presse catholique, du mouvement social et en particulier de la démocratie chrétienne, de l'Association catholique de la jeunesse française et du Sillon touchent de près à l'histoire politique ; l'exposé des initiatives catholiques en matière d'enseignement, des discussions suscitées par la question biblique, de l'affaire Loisy, des querelles philosophiques autour de l'Eglise et dans l'Eglise, de la controverse dite de l'américanisme sont du plus haut intérêt pour l'histoire des idées. Au fond, la question qui reste posée du commencement à la fin du livre est celle de savoir si et dans quelle mesure l'Eglise s'accordera avec la société moderne, si et dans quelle mesure elle restera elle-même. Comme le pontificat de Léon XIII a correspondu, pour l'Eglise de France, dans tous les domaines, à un effort tout à fait remarquable, mais souvent combattu, même de l'intérieur, par de vives oppositions, le livre offre le plus vif intérêt." (E. Coornaert, Revue d’histoire moderne et contemporaine, 1931) — "«L'Église de France sous la Troisième République : la vie de l'Église sous Léon XIII » du R. P. Lecanuet procure aux gens d'un certain âge le plaisir quelque peu mélancolique de revivre bien des événements, des controverses, des espérances et des déceptions. Il est très intéressant : par connaissance personnelle ou par d'abondantes lectures l'auteur a su bien des choses, il rappelle ou apprend beaucoup à ses lecteurs, et l'un est presque aussi instructif que l'autre. Là est son grand mérite. Le plan est simple et clair : traiter successivement les divers ordres de questions : la physionomie de l'épiscopat ( les évêques sont classés par ordre géographique) ; les œuvres de piété et la vie proprement religieuse ; la prédication ; la presse ; l'enseignement ; la question biblique ; le mouvement philosophique ; l'américanisme ; le mouvement social ; les associations de jeunes. Cette méthode offre le grand avantage qu'elle permet de trouver sans peine les renseignements précis dont on a besoin sur un sujet donné..." (E. Jordan, Revue d'histoire de l'Église de France, 1931) — "Le titre seul de cet ouvrage, comme le nom de l'auteur, disent assez par eux-mêmes l'intérêt puissant qui s'attache à ces pages et l'esprit qui les anime. L'historien de Montalembert n'a pas à se déjuger et les querelles qui peuvent lui être faites ne sauraient atteindre le fond même de son travail. (...) L'histoire que retrace le P. Lecanuet est tout à la fois singulièrement grande et étrangement mesquine..." (Albert Vogt, Revue d'histoire de l'Église de France)‎

书商的参考编号 : 67274

‎LECERCLE (Jean-Pierre).‎

‎Mallarmé et la mode.‎

‎Librairie Séguier, 1989, in-8°, 197 pp, 16 pl. de documents hors texte, biblio, broché, bon état‎

书商的参考编号 : 101382

‎LECHARTIER G.‎

‎Intrigues et diplomaties ? Washington (1914 - 1917). Avec portraits et fac-simil?s.‎

‎Broch?. 303 pages.‎

‎LECLERC (Marc).‎

‎La passion de notre Frère le Poilu. Aquarelles de Grand'Aigle.‎

‎Editions Monceau, 1946, In-4, en feuilles, sous chemise et emboitage cartonné.‎

‎Tirée à 253 exemplaires numérotés, celui-ci sur vélin pur fil Johannot.La phototypie a été exécutée par Georges Duval et les aquarelles par Ferrariello.‎

书商的参考编号 : 12521

‎LECLERC A. ( LE BRUYANT ALEXANDRE )‎

‎DES CHANSONS ... DES VERS ... LA GRANDE GUERRE‎

‎BOIS-COLOMBES E. FALLET 0 Sans date ( années 1920 ) , un volume in-8 broché de 145 pages , couverture illustrée , préface d' Ernest LA JEUNESSE , envoi autographe , la couverture est légèrement défraîchie , autrement bon exemplaire . Bon Couverture souple‎

书商的参考编号 : 007088

‎LECLERCQ (Théodore).‎

‎Proverbes dramatiques.‎

‎P., Sautelet, 1827, 6 vol. in-8°, 417, 416, 393, iii-457, 447 et 454 pp, 3e édition, reliures demi-veau glacé vert olive, dos à 4 larges faux-nerfs guillochés, titres, tomaisons et fleurons dorés, palettes en queue, tranches marbrées (rel. de l'époque), coiffes sup. abîmées, rousseurs éparses, état correct‎

‎Sous la Restauration, Théodore Leclercq (1777-1851) publie les “Proverbes dramatiques”, ces petites pièces n’étaient pas destinées à la scène mais étaient reconnues pour leur finesse dans l’analyse des mœurs. — "On a bien oublié Théodore Leclercq, le « compagnon » de Joseph Fiévée : mais ses “Proverbes” se lisent fort bien encore aujourd'hui, ce sont des témoignages précieux pour l'historien. Ce receveur principal des droits réunis a mené sa vie dans l'ombre de Fiévée, il l'accompagna à Nevers, c'est lui qui faisait les honneurs de la préfecture. Et à Rochecorbon sous la Restauration le couple menait une vie fort tranquille (Auger l'a raconté dans ses souvenirs). Dès 1820, il lit et fait représenter ses “Proverbes”, ils eurent un succès considérable (Sautelet en donna cinq éditions...) : mais il semble bien que Fiévée y ait mis son esprit malicieux et qu'il en soit le co-auteur." (Guy Thuillier) — A propos des “Proverbes dramatiques” de Théodore Leclercq (1823), Stendhal loue cette vive et naïve esquisse de la « société parisienne depuis la Restauration ». (dans le “Courrier anglais”, t. II, p. 84).‎

书商的参考编号 : 119450

‎LECOCQ Charles 1832 1918‎

‎Ali-Baba Opéra-Comique en 3 actes et 8 tableaux de A. Vanloo et W. Busnach. Théâtre de l'Alhambra. Partition Chant & Piano transcrite par Léon Roques. Piano-vocal score‎

‎Paris: Choudens Père & Fils PN A.C. 7764 1890. Large octavo. Plain blue wrappers with manuscript titling in blue ink to upper and spine. 1f. recto title within architectural border verso notes 1f. recto notes on first performance named cast list and contents verso blank 307 i blank pp. Many leaves unopened. Named cast includes Simon-Girard Duparc Cannès Maria Thom Hurbain Dechesne Simon-Max Mesmacker Larbaudière and Chalmin. Quite browned throughout scattered foxing; edges worn with occasional small chips and tears; small oval handstamp to lower margin of title. A re-issue of the first edition. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Choudens Père & Fils [PN A.C. 7764] unknown‎

书商的参考编号 : 28400

‎LECOCQ Charles 1832 1918‎

‎Heart and Hand Le Coeur et la Main. Opera Comique in Three Acts. Translated and Adapted by Theodore T. Barker. Piano-vocal score‎

‎Boston: Oliver Ditson 1883. Quarto. Original publisher's decorative brown wrappers with titling to spine in black marker. 1 title 2 cast list story and contents 3-280 pp. Wrappers slightly worn and chipped; partially detached; "No. 506" in black ink and small label to upper; lower wrapper slightly defective; spine worn with loss to head; joints partially split. Slightly browned; some minor staining. First American edition. Le coeur et la main to a libretto by Nuitter and Beaumont was first performed in Paris at the Nouveautés on October 19 1882. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases. Oliver Ditson unknown‎

书商的参考编号 : 28374

‎LECOCQ Charles 1832 1918‎

‎Janot Opéra Comique en 3 Actes Paroles de M.M. H. Meilhac et Ludovic Halévy. Théâtre de la Renaissance. Partition Chant et Piano Arrangée par Léon Roques. Piano-vocal score‎

‎Paris: Brandus & Cie PN B et Cie 12705 1881. Large octavo. Original publisher's dark pink illustrated wrappers. 1f. recto illustrated title printed in colour verso blank 1f. recto notes on first performance and named cast list verso contents xii 286 pp. Some leaves unopened. With an autograph inscription signed by the composer "Ch. Lecocq" to Vauthier who played Latignasse in the premiere of the work. Named cast includes J. Granier Jolly Vauthier Lary Jeannin Libert Deberg Perrenot Williams Crambade Schamyl Desclauzas Mily Meyer Belliard Rouvroy Lydie Borel Ducouret Panseron Doriani Davenay Roger and Boulard. Wrappers worn and chipped at edges; upper detached; spine faded. Occasional minor foxing; first signature partially detached; publisher's facsimile handstamp to blank lower outer corner of title. First Edition. Janot to a libretto by Meilhac and Halévy was first performed at the Renaissance on January 21 1881. "After a lapse of more than a year caused by illness and domestic problems his career resumed with Janot 1881 Le jour et la nuit 1881 and Le coeur et la main 1882 but these were his last real successes." "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus & Cie [PN B et Cie 12705] unknown‎

书商的参考编号 : 28614

‎LECOCQ Charles 1832 1918‎

‎La Camargo Opéra-Comique en trois Actes Paroles de M.M. At. Vanloo & Ene. Leterrier. Partition Chant & Piano Arrangèe par Léon Roques - Prix net: 15 f. Piano-vocal score‎

‎Paris: Brandus & Cie. PN B. & Cie. 12421 1878. Large octavo. Contemporary dark brown quarter leather with green marbled boards with H. Maquaire subscription information gilt to upper pebbled dark brown paper to lower. 1f. recto title illustrated by G. Fraipont printed in blue verso blank 1f. recto dedication to Zulma Bouffar Camargo in the first performance verso blank 1f. notes on first performance and named cast list verso contents xii 295 i blank pp. Lithographed. Named cast includes Vauthier Berthelier Lary Pacra Libert Deberg Duchosal Tony Urebain Caliste William Desclos Auger Mercier Perrenot Beziat Caillous Z. Bouffar Desclauzas Jily-Meyer Lea d'Asco Piccolo Panseron Ribe Kolb Dianie Vialla Davenay Dortet Z. Bied and G. Piter. Binding worn rubbed scuffed and bumped; front hinge split; small handstamp "152" to lower margin of front free endpaper. Occasional foxing; small publisher's facsimile handstamp to lower margin of title; small tear to upper margin of p. 287 with tape repair. First Edition. La Camargo to a libretto by Vanloo and Leterrier was first performed in Paris at the Renaissance on November 20 1878. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus & Cie. [PN B. & Cie. 12421] unknown‎

书商的参考编号 : 28372

‎LECOCQ Charles 1832 1918‎

‎La Fille de Madame Angot Opéra Comique En 3 Actes Parles de Mrs. Clairville Siraudin & Koning. Partition Chant & Piano Arrangée par Henri Nyens Prix Net 12 F. Piano-vocal score‎

‎Paris: Brandus & Cie. PN B. & Cie. 11801 1873. Octavo. Mid-tan leather-backed dark brown textured paper boards spine in gilt-ruled compartments with contemporary manuscript label. 1f. decorative title by Barbizet dated 1873 1f. named cast list for the Brussels and Paris premieres and table of contents 1f. dedication to Théodore Warnots 269 i blank pp. Lithographed. Title slightly browned and foxed; trimmed at lower margin just affecting publisher's statement. Contemporary signature and publisher's and music seller's handstamps to title; later signature to free front endpaper. Binding slightly worn rubbed and bumped with minor loss to upper. Slightly foxed; some signatures partially detached. First Edition. OCLC no. 4751112. La Fille de Madame Angot was first performed at the Fantaisies-Parisienes in Brussels on December 4 1872. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus & Cie. [PN B. & Cie. 11801] unknown‎

书商的参考编号 : 26627

‎LECOCQ Charles 1832 1918‎

‎La Marjolaine Opéra-Bouffe en 3 Actes Paroles de MM. A. Vanloo & E. Leterrier. Partition pour Chant & Piano Arrangée par Léon Roques. Piano-vocal score‎

‎Paris: Brandus & Cie. PN B. & Cie. 12281 1877. Large octavo. Quarter dark red pebbled cloth with marbled boards titling gilt to spine. 1f. recto title illustrated by L. Denis verso blank 1f. recto notes on first performance and named cast list verso contents 284 pp. Named cast includes Berthelier Vauthier Puget Caliste Hervier Gaussins Valotte Cailloux Robillot Gisors Jeanne Granier Théol Carli Ribe Bied Careine Dianie Andrée Néline Davenay and Dhaucourt. Binding slightly worn rubbed and bumped. Publisher's facsimile signature handstamp to title. First Edition. La marjolaine to a libretto by Vanloo and Leterrier was first performed in Paris at the Renaissance on February 3 1877. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus & Cie. [PN B. & Cie. 12281] unknown‎

书商的参考编号 : 28611

‎LECOCQ Charles 1832 1918‎

‎La Petite Mademoiselle Opéra-Comique en Trois Actes de M. M. H. Meilhac et L. Halévy. Partition Chant et Piano arrangée par Léon Roques. Piano-vocal score‎

‎Paris: Brandus et Cie. PN B. et Cie. 12515 1879. Large octavo. Half dark red leather with dark red pebbled paper boards raised bands on spine in decorative compartments gilt titling gilt marbled endpapers. 1f. recto title illustrated by G. Fraipont printed in brown verso blank 1f. recto notes on first performance and named cast list verso contents viii 278 pp. Named cast includes Berthelier Vauthier Urbain Lary Pacra Libret Caliste Tony Deberg Duchosal Tauffenberger Auger Perrenot Desclos William J. Granier Desclauzas Mily Meyer Piccolo Ribe Dianie and Kolb. First Edition. La petite mademoiselle to a libretto by Meilhac and Halévy was first performed in Paris at the Renaissance on April 12 1879. ". Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Bound with: POISE Ferdinand 1828-1892 La Surprise de l'Amour Opéra Comique en 2 Actes de Ch. Monselet d'après la Comédie de Marivaux. Prix net: 8f. Partition Chant et Piano réduite par Ate. Bazille. Piano-vocal score. Paris: Durand Schœnewerk & Cie. D. S. et Cie. 2364 1877. 1f. recto title illustrated by L. Denis in sepia verso blank 1f. recto named cast list and contents verso blank 122 pp. Named cast includes Galli Marié Irma Marié Nicot and Moblet. First Edition. A French composer specializing in opéra comique Poise's La surprise de l'amour to a libretto by Monselet after Marivaux was first performed in Paris at the Opéra-Comique Favart on October 31 1877. Binding somewhat worn; hinges split. Slightly worn browned and foxed throughout; handstamps to title of the Lecocq; minor damage to pp. 101-102 of the Poise. Brandus et Cie. [PN B. et Cie. 12515] unknown‎

书商的参考编号 : 28607

‎LECOCQ Charles 1832 1918‎

‎La Princesse des Canaries Opéra Bouffe en 3 actes. De Duru et Chivot. Theatre des Folies Dramatiques. Partition Chant et Piano transcrite par Léon Roques. Piano-vocal score‎

‎Paris: Choudens Fils PN A.C. 5797 1890. Large octavo. Red cloth spine. 1f. recto title printed within architectural border verso blank 1f. recto notes on first performance named cast list and contents verso blank 218 223-224 pp. Some leaves unopened. Named cast includes Simon-Girard Jeanne Andrée Dekernel Delannoy Lepers Simon-Max and Bartel. Wrappers lacking; spine somewhat worn and rubbed. Slightly worn; blank corner of title lacking; title and final leaf stained; several upper outer corners slightly soiled. La princesse des Canaries to a libretto by Duru and Chivot was first performed in Paris at the Folies-Dramatiques on February 9 1883. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Choudens Fils [PN A.C. 5797] unknown‎

书商的参考编号 : 28423

‎LECOCQ Charles 1832 1918‎

‎La Trahison de Pan Opéra-Comique en 1 Acte Poème de Stéphan Bordèse. Partition complète Piano et Chant net: 8 francs. Piano-vocal score‎

‎Paris: Max Eschig PN M.E. 725 1912. Folio. Original publisher's peach wrappers illustrated by Clérice Frères and printed in white green and lavender. 1f. recto dedication verso blank 1f. recto title printed in red and black verso blank 1f. recto notes on first performance with named cast list 88 1f. blank pp. Named cast includes Lowelly Tesorone and Ovido. Wrappers slightly worn. First Edition. Le trahison de Pan to a libretto by Bordèse was first performed in Aix-les-Bains at the Casino on September 13 1911. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Max Eschig [PN M.E. 725] unknown‎

书商的参考编号 : 28419

‎LECOCQ Charles 1832 1918‎

‎La Volière Opéra-Comique en 3 actes. De Nuitter et Beaumont. Théâtre des Nouveautés. Partition Chant & Piano transcrite par L. Roque. Piano-vocal score‎

‎Paris: Choudens Père & Fils PN A.C. 7823 1890. Large octavo. Quarter red calf with marbled boards raised bands on spine in decorative compartments gilt titling gilt marbled endpapers. 1f. recto title within architectural border verso notes decorative title i notes 1f. named cast list andn contents 225 i blank pp. Binding slgihtly worn rubbed and bumped. Browned; small tear to blank outer edge of p. 61 with tape repair. First Edition later issue. La volière to a libretto by Nuitter and Beaumont was first performed in Paris at the Nouveautés on February 11 or 12 1888. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Choudens Père & Fils [PN A.C. 7823] unknown‎

书商的参考编号 : 28337

‎LECOCQ Charles 1832 1918‎

‎Le Cœur et la Main Opéra Comique en 3 Actes Paroles de MM. Nuitter & Beaumont. Partition Chant & Piano net 12 f. Arrangée par Léon Roques. Piano-vocal score‎

‎Paris: C. Joubert PN B. & Cie. 12823 1890. Large octavo. Quarter red calf with red pebbled paper boards raised bands on spine in ruled compartments titling gilt. 1f. recto title illustrated by E. Buval verso notes on first performance and named cast list 1f. recto contents verso notes x 252 ii 252bis-252ter 253-278 pp. Named cast includes Berthelier Vauthier Scipioin E. Montaubry Charvet Lauret Dubois Prosper Vaillant-Couturier Élise Clary Felcourt Morianne Lucy-Jane Ducouret Norette Varennes and Eymard; Binding slightly worn bumped and scuffed. Slightly browned; some signatures split or partially split; occasional minor edge chips and tears not affecting music; small circular handstamp to lower margin of title. First Edition later issue. Le coeur et la main to a libretto by Nuitter and Beaumont was first performed in Paris at the Nouveautés on October 19 1882. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. C. Joubert [PN B. & Cie. 12823] unknown‎

书商的参考编号 : 28382

‎LECOCQ Charles 1832 1918‎

‎Le Jour et la Nuit Opéra-Bouffe en 3 Actes Paroles de M.M. A. Vanloo et E. Leterrier. Partition Chant & Piano Arrangée par Léon Roques. Piano-vocal score‎

‎Paris: Brandus et Cie. PN B. et Cie. 12765 1882. Large octavo. Full dark green pebbled flexible cloth boards titling gilt to spine. 1f. recto illustrated title printed in colour verso blank 1f. recto notes on first performance and named cast list verso contents viii 280 pp. Named cast includes Brasseur Berthelier E. Montaubry Scipion Matrat Dacheux Prosper Marguerite Ugalde Juliette Darcourt Piccolo Maurianne Frédéa Lucy-Jane Panot d'Albe Varennes G. d'Oria Jeanne and Charbonnel. Slightly worn; title browned and with handstamps and former owner's signature; second and third leaves detached. First Edition later issue. Le jour et la nuit to a libretto by Vanloo and Leterrier was first performed in Paris at thew Nouveautés on November 5 1881. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus et Cie. [PN B. et Cie. 12765] unknown‎

书商的参考编号 : 28619

‎LECOCQ Charles 1832 1918‎

‎Le Petit Duc Opéra-Comique en Trois Actes Paroles de M.M. Henri Meilhac et Ludovic Halévy. Partition Chant & Piano Arrangée par Léon Roques. Piano-vocal score‎

‎Paris: Brandus et Cie. PN B. et Cie. 12367 1878. Large octavo. Quarter dark red calf with marbled boards spine with decorative gilt rules titling gilt. 1f. recto title within illustrated border by L. Denis printed in light purple verso blank 1f. recto dedication verso blank 1f. recto notes on first performance and named cast list verso contents x 297 i blank pp. Named cast includes J. Granier Vauthier Berthelier Urbain Caliste Elim Bovet Hervier Deberg Desclos Duchosal Desclauzas Mily Meyer Léa d'Asco Piccolo Panseron Ribe Lasselin Dianie and Davenay. Binding slightly worn rubbed and bumped; former owner's signature "Mde. G. G. Carandine" to front pastedown. Light to moderate foxing; some signatures split; handstamps to title. First Edition of the second version. Le petit duc to a libretto by Meilhac and Halévy was first performed in Paris at the Renaissance on January 25 1878. "Settling once again in Paris Lecocq confirmed his international reputation with La petite mariée 1875 and Le petit duc 1878 both of which have remained in the French operetta repertory." "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus et Cie. [PN B. et Cie. 12367] unknown‎

书商的参考编号 : 28609

‎LECOCQ Charles 1832 1918‎

‎Les Cent Vierges Opéra-Bouffe en 3 Actes Paroles de Clairville Chivot & Duru. Partition Chant & Piano Arrangèe par l'Auteur. Piano-vocal score‎

‎Paris: G. Brandus & S. Dufour PN B. et D. 11744 1872. Large octavo. Full red cloth with "Library of Sigmund Romberg" gilt to upper titling gilt to spine. 1f. recto title illustrated title by Jannin & Denis verso blank 1f. recto notes on first performance named cast list and contents verso blank 245 i blank pp. Named cast for the first performance in Brussels on March 16 1872 at the Théâtre des Fantaisies-Parisiennes includes Mario Widmer Jolly Charlier Nardin Durieu Haly Ernotte Rineval Achille Goitte Gentien Delorme Dubouchet Guénin Debeer O. Vallot and Camille; and for the first performance in Paris at the Théâtre des Variétés on May 13 1872 Berthelier Kopp Hittemans Léonce Blondelet Alex. Michel D. Bac Bordier Duval Millaux Van-Ghell G. Gauthier A. Regnault Bessy A. Schneider Argème and Schweska. Ex-library with The Library of The Universioty of California Los Angeles bookplate and "withdrawn" stamp etc. to front pastedown. Binding very slightly rubbed and bumped; spine slightly faded with remnant of label to foot. Minor to moderate foxing; several pages trimmed just touching pagination; small tears to inner margin of title with tape repairs publisher's facsimile signature handstamp to lower margin. First Edition later issue. Les cent vierges to a libretto by Clairville Chivot and Duru was first performed in Brussels at the Fantaisies-Parisiennes on March 16 or 17 1872. "In Brussels where Lecocq lived for several years from 1870 the popular acclaim accorded his operettas Les cent vierges 1872 La fille de Madame Angot 1872 and Giroflé-Girofla 1874 all of which were later produced with great success in Paris and abroad established him as a natural successor to Offenbach." "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Romberg 1887-1951 a Hungarian-born American composer and conductor known particularly for the original operettas he created during the 1920s "worked with such legendary librettists as Oscar Hammerstein II and Dorothy Fields is an important link between Viennese operetta and the mature American musical theatre. Romberg was also an avid collector of musical scores and his personal music library purchased by the University of California after his death contained over 4500 items. Archives of his manuscripts performance materials and orchestral materials are held at the Library of Congress the New York Public Library the Shubert Archive and the University of California." William A. Everett in Grove Music Online. G. Brandus & S. Dufour [PN B. et D. 11744] unknown‎

书商的参考编号 : 28381

‎LECOCQ Charles 1832 1918‎

‎Plutus Opéra Comique en trois Actes Poème de M.M. Albert Millaud & Gaston Jollivet. Théâtre National de l'Opéra-Comique. Partition Chant et Piano Réduite par A. Bazille. Piano-vocal score‎

‎Paris: Brandus & Cie PN B. et Cie. 13083 1886. Large octavo. Half dark brown calf with brown textured paper boards rules and titling gilt to spine. 1f. recto decorative title by L. Denis verso blank 1f. recto dedication verso blank 1f. recto notes on first performance named cast list and contents verso blank 309 i blank pp. Named cast includes Fugère Soulacroix Mouliérast Grivot Belhomme Balanqué Mauguière Sujol Troy Deschamps Patoret Pierron Dupont and Degrandi. Binding slightly worn rubbed and bumped; head and tail of spine frayed. Minor foxing; annotation in blue pencil to front free endpaper; small publisher's facsimile signature handstamp to lower margin of title; small handstamp "232" to lower margin of last page of music. First Edition. Plutus to a libretto by Millaud and Jollivet was first performed in Paris at the Opéra-Comique Favart on March 31 1886. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Brandus & Cie [PN B. et Cie. 13083] unknown‎

书商的参考编号 : 28421

‎LECOCQ Charles 1832 1918‎

‎Rose-Mousse Pièce en Un Acte de MM. André Alexandre et Peter Carin. Répertoire Choudens. Partition Chant et Piano. Piano-vocal score‎

‎Paris: Choudens PN A.C. 13120 1950. Large octavo. Original publisher's dark ivory wrappers printed in dark pink and black. 1f. recto title verso blank 1f. recto notes on first performance named cast list and contents verso contents 49 iii blank pp. Unopened. Named cast includes Simon-May Léon Berton Damorès Marguerite Nell Eugénie Noris Blanche Marcel and de Liry. Wrappers slightly worn; music seller's handstamp to upper. Re-issue from plates of the 1904 edition. Rose Mousse to a libretto by Alexandre and Carin was first performed in Paris at the Capucines on January 28 1904. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Choudens [PN A.C. 13120] unknown‎

书商的参考编号 : 28425

‎LECOCQ Charles 1832 1918‎

‎Yetta Opéra Comique en 3 Actes de Fernand Beisser. Partition Piano et Chant. Piano-vocal score‎

‎Paris: Choudens PN A.C. 12861 1903. Large octavo. Original publisher's decorative wrappers printed in light brown and green with titling in blue to upper and spine. 1f. recto title printed within architectural border verso notes 1f. recto notes verso blank 1f. recto notes on first performance and named cast list verso blank 186 pp. Unopened. With a 4-line autograph inscription signed by the composer "Ch. Lecocq" and dated "11 mars 1903" to Bourgeois who performed the role of Van der Boot in the premiere praising his performance. Small tears to edges of upper wrapper; spine worn with some loss. Some signatures split and partially detached; leaf with inscription glued to facing leaf at gutter slightly obscuring several words of the inscription. First Edition. "Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. An important association copy. Choudens [PN A.C. 12861] unknown‎

书商的参考编号 : 28418

‎LECOCQ Charles 1832 1918‎

‎Giroflé-Girofla Opéra Bouffe en 3 Actes Paroles de M. M. Albert Vanloo & Eugène Leterrier. Droits de reproduction de traduction et de représentation reservés Ent. Sta. Hall. Prix net 10/=. Piano-vocal score‎

‎London: Enoch & Sons PN E & S 82 1874. Large octavo. Full dark green cloth titling gilt to spine. 1f. recto title verso printer's note 1f. recto notes on first performance named cast list and contents verso blank 305 i blank pp.<br/><br/>Named cast incluces Jolly Mario Widmer Paul Ginet Pauline Luigini Delorme Jeanne d'Alby and Marie Blanche.<br/><br/>Binding very slightly worn rubbed and bumped. Former owner's signature "Mrs. Edmund Routledge" to free front endpaper. First English edition. Rare. <br/><br/>Giroflé-Girofla to a libretto by Vanloo and Leterrier was first performed in Brussels at the Fantaisies-Parisiennes on March 21 1874.<br/><br/>"In Brussels where Lecocq lived for several years from 1870 the popular acclaim accorded his operettas Les cent vierges 1872 La fille de Madame Angot 1872 and Giroflé-Girofla 1874 all of which were later produced with great success in Paris and abroad established him as a natural successor to Offenbach."<br/><br/>"Much of Lecocq's music is characterized by a light touch but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph La fille de Madame Angot has remained a classic among operettas and demonstrates Lecocq's abundant flow of pleasing melodies his deft exploitation of rhythm for a lively theatrical effect impressive building up of extended numbers and typically French shaping of phrases." Andrew Lamb in Grove Music Online. Enoch & Sons [PN E & S 82] unknown books‎

书商的参考编号 : 28583