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Legrand, Paul, French mime (1816-1998).
Autograph letter signed. Paris, 15. I. 1885.
8vo. 2½ pp. on bifolium. With a newspaper clipping of an obituary for Paul Legrand. Charming letter to his friend M. Jouveau, consoling him over poor treatment by the press and promising to "use his slight credit with competent people", for example at Le Figaro, in the recipient's favour: "C'est avec joie que j'ai reçu votre lettre car j'étais bien inquiet de savoir de vos nouvelles car il est bien triste de penser qu'il y a de certains journaux qui vont tuer un homme sans se préoccuper que ça peut faire de la peine à de vieux amis. Croyez Mon cher Monsieur Jouveau que je vais user de mon mince crédit auprès des gens compétents. Au Figaro par exemple qui est toujours bien veillant pour des situations malheureuses surtout pour vous si connu du monde artistique, je verrais [?] aussi notre société des auteurs dramatiques. Si tout cela peut avoir un résultat heureux croyais [!] sincèrement que cela me sera très agréable [...]". - Paul Legrand studied under the great "Pierrot" Jean-Gaspard Deburau at the Théâtre des Funambules and assumed the famous role upon Deburau's death in 1846. As Jean-Gaspard Deburau's son Jean-Charles was also engaged to play Pierrot at the Théâtre des Funambules, Legrand left the company in 1853 for the Folies-Nouvelles, where he developed the character and celebrated his greatest successes. - Some browning and foxing. With collector's notes in ink.
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Ravel, Pierre-Alfred, French actor (1811-1881).
Autograph letter signed. Together with two portraits. [St Petersburg, ca. 1865-1868].
8vo. 5¾ pp. on bifolia. With a lithographed and a wood-engraved portrait, both clipped and pasted on cardboard with handwritten identification "Ravel". Charming and insightful letter to a friend, possibly to Eugène Labiche, reporting extensively on successful premieres at the famous Mikhailovsky Theatre in St Petersburg and on his Russian journey in general. Ravel describes the reception of four vaudeville plays: "Le capitain", probably Charles Voirin's "Le capitain Roland", "Le caporal et la payse", "Les ressources de Jonathas", both written or co-written by Voirin, and Jules Moinaux's "Le café de la rue de la lune". Despite the apparent success of the first premiere, Ravel felt he was received "very well but somewhat coolly", speculating that he was judged harshly as "the man who earns seventy thousand francs". He must also get used to Russian theatrical customs: "They listened to me with devotion, with pleasure, but without much laughter, although it seems that in the boxes, in the foyers and in the corridors, it was said, after the piece, 'that is an actor who has a lot of talent', which is the Russian idiom" (transl.). With respect to the "Caporal", Ravel refers to the actors Charles-Edme Vernet, Louis Leménil, and Julien Deschamps who had apparently played the role in St Petersburg before, summing up the evening: "Asked to return to the stage after the first scene of the captain, a bit coldly but with politeness, asked to return to the stage with a lot of vigour at the end of the play; asked to return to the stage twice after the caporal". When Ravel, after the performance, complains to a Russian friend referred to as "the general", he tells him: "In one month, my dear, you will be the actor beloved by the court and the high society". - The reception of "Jonathas" and "Le café de la rue de la lune" was much more to Ravel's liking: "Second debut: a completely different thing this time [...] Even at my entrance the reception is not the same; I was confronted with an audience that did not ask for more; Jonathas shook them, touched them, made them dance in their seats, and with the Rue de la Lune, I kept them until half past midnight, which seems strong considering that the people are used to leaving at eleven and never stay for the last piece". In view of this triumph, the general corrects his prognosis: "I believe, my dear, that you will not take a month". - Concerning his journey, Ravel is not too impressed: "Russia is not an extraordinary country except during the ice season; St Petersburg is a city without any particular mark: St Isaac's Cathedral; a beautiful river, the Neva; voilà, that's it. My life here? I am very bored, and concerning the interior of the theatre I shall not say a word, I want neither to humiliate you nor carry you away by my accounts with ideas of luxury that you might regret later". - Despite the apparent success, Pierre-Albert Ravel's engagement at the Mikhailovsky Theatre is hardly recorded. The most recent piece performed by Ravel in St Petersburg was Moinaux's "Le café de la rue de la lune" from 1862. From 1863 onwards, Ravel's star in Paris began slowly to sink due to changing audience tastes. He started touring the French province and abroad, including London in 1867, returning to Paris in 1868 to perform at the Gymnase. St Petersburg was probably part of this international tour. - The recipient of the letter is clearly connected to the Parisian vaudeville theatre, specifically the Théâtre du Palais-Royal, where Ravel had played for twenty years, including the plays mentioned in the letter. Eugène Labiche was the most important vaudeville author connected to the Palais-Royal and a friend of Ravel's. Since Ravel sends greetings to an Adèle, the name of Labiche's wife, it might be speculated that the recipient was none other than the great playwright. - Traces of folds. Somewhat stained with minimal tears to the folds of the second bifolium.
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[Bothmer, Carl von].
Betrachtungen und Einfälle über die Bauart der Privatgebäude in Teutschland. Augsburg, Conrad Heinrich Stage, 1779.
Folio (245 x 378 mm). (4), 44, (2) pp. MWith engraved title vignette and 60 (21 folding) engraved plates showing horizontal and cross sections of residences. - (Bound with) II: Schübler, Johann Jacob. Acht Tabellen von der alten Civilbaukunst. Nuremberg, Christoph Weigel, 1783. (4) pp. With 8 engraved plates. Contemporary half calf with brown marbled covers and gilt-stamped spine label. Coloured paper pastedowns. First edition, reprinted as late as 1824. A rare, spirited and pointedly witty discussion of the architecture of private residences from an enlightened point of view: "Whoever has read Tristram Shandy may gladly call building my hobby-horse; though I should regret it if my sections were not more useful than Uncle Toby's fortifications and sieges on the bowling green" (cf. p. 5). Taking aim against the imitation of Renaissance and southern European architecture, the author ridicules the "symmetromania" of classicism and makes a plea for practical, modern building styles. "[Bothmer's] ironic voice puts him outside the serious, tradition-bound tone of most architectural treatises. Given his advocacy of buildings never much included in serious treatises, Bothmer can only write as someone who does not belong to the architectural profession [... He] has something of the know-nothingism of the healthy bourgeois, albeit in the context of the Enlightenment drive to eliminate prejudice and to encourage independent thought [...] Bothmer [was] writing for an educated, nonaristocratic class that had never made the grand tour but had encountered instead only regional examples of classical buildings" (Purdy, p. 42f.). - II: Bound with Bothmer's work is the last original edition of "Acht kurtzgefasste Tabellen, in welchen die antique Architectur enthalten" ("Eight concise tables containing the classical architecture"), first published in 1732 by the Nuremberg architect Johann Jakob Schübler (1689-1741), who was in his time much read by theoreticians and practicioners alike. The 24 profiles on eight plates show mouldings, pediments, bases and capitals. Rare; OCLC lists a single copy (at the Getty Research Institute). A reprint appeared in 2017. - Binding a little rubbed, spine-ends bumped, hinges starting. Interior a little browned and spotty; a tear to a single text leaf has been repaired. - From the library of the Piarists of Vác in Hungary with their 18th century handwritten ownership to the title-page, small stamp on verso, and printed Vác shelfmark label to front pastedown. This copy, the only one ever to have surfaced in the trade, was sold at Hartung & Karl's first auction, in 1972, and acquired by the Viennese-born scholar of monuments, Othmar Birkner (1937-2020, with his bookplate on the front free endpaper); it has now re-entered the market from his estate. I: Ornamentstichslg. Berlin 2031. Holzmann/B. I, 6286. D. L. Purdy, On the Ruins of Babel (Ithaca, 2011), p. 42f. VD 18, 14406837. OCLC 311286651. II: OCLC 82265965.
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Salten, Felix.
Gustav Klimt. Gelegentliche Anmerkungen. Buchschmuck von Berthold Löffler. Vienna & Leipzig, Wiener Verlag, 1903.
Small 4to. 45, (1) pp. With (6) pp. of publisher's advertisements. Original printed and illustrated boards. Only edition, rare. Decorative booklet on the life and work of Gustav Klimt, prepared by the Viennese writer Felix Salten (1869-1945), author of "Bambi". Adorned with delicate ornaments in green, black and gold, carried out by Berthold Löffler (1874-1960), a Viennese artist of the Vienna Secession and the Wiener Werkstätte. The work describes Klimt's wide-ranging talents, addresses the fierce criticism levelled against the artist for his non-conventional style, then deemed pornographic, and includes a description of the author's personal favourite painting, "Judith" (1901). - Extremities very slightly bumped.
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Wright, Frank Lloyd.
Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright. Berlin, Ernst Wasmuth, [1910].
1 text volume and 2 portfolios with lithographed plates. Oblong folio (plates and their portfolio, ca. 64 x 40 cm) and folio (text volume, ca. 41 x 32 cm). Text volume: 30, [1], [1 blank] pp.; plus 100 lithographed plates. Text volume with the title printed in gold. With a total of 100 lithographed plates over 2 portfolios: 72 plates numbered I-LXIV, printed on gray or white paper and mostly printed in brown, some in gray, gray & white or brown & white, one in gold (plate I), one in colour (plate LXIV) and one plate is folding (plate LX), and 28 overlays, printed in brown on tissue paper. Each plate is embossed with Wright's blindstamp. Kept loose, as issued, in the original two portfolios (64 x 41.5 cm), both dark blue half cloth with the original publisher's printed grey wrappers over boards with all white ties present. Both portfolios and text leaves are kept in a larger, later beige half cloth portfolio (ca. 65 x 43 cm) with brown paper sides, three protective flaps and white ties. Extremely rare first edition, of the complete collection of plates prepared from drawings made by master architect Frank Lloyd Wright (1867-1959) at his Oak Park Studio, illustrating seventy buildings and projects completed between 1893 and 1909. It is the first major publication by one of the true innovators of modern architecture. The work boosted Wright's fame in European architectural circles and influenced key figures in contemporary architecture such as Ludwig Mies van der Rohe, Peter Behrens and Le Corbusier. The plates show perspective views, plans, sections and interior and exterior details. Plate LVI, with an interior view of the living room of the Coonley House, is one of the most important and desirable of the series. Other works represented are the Frederic Robie House, Susan Lawrence Dana House, Ward Willets House, Darwin Martin House, Avery Coonley House, the Larkin Building, and Unity Temple, showing the variety of his buildings. - Although each plate is embossed with Wright's blindstamp, Sweeney notes that he completed the work alongside assistants and collaborators, including Marion Mahony Griffin and Wright's son, Lloyd. A massive undertaking, the work was printed by Ernest Wasmuth. The original plans and presentation drawings had to be lithographed on large stones. The text volume, written by Wright, was printed both in German and in English, containing an essay on his architectural style and a list of the plates. The text part starts with the introduction by Wright, translated into German by Wasmuth, and is dated ''Florenz, Italien, 15. Mai 1910'', followed by an annotated list of plates (pp. 21-30). An English version of the introduction was printed in Chicago by Ralph Fletcher Seymour, dated "Florence, Italy, June 1910". - The edition is scarce due to the fire at Wright's home and studio, Taliesin, in August 1914. The fire destroyed the bulk of the American copies of this portfolio, in addition to much of Wright's other work. Many of the copies intended for the American market were destroyed, for which reason the work was far better known in Europe than in the United States. - Large half beige portfolio worn: a little stained, edges a little worn, head and outer protective flap half loose, bottom protective flap loose but present, linen ties somewhat frayed. Two ties of the second plate portfolio are torn and frayed. Text volume: some plates and the wrappers of both portfolios somewhat foxed, some plates with some occasional marginal tears (never affecting them), overlays a little toned. Overall a complete set with the plates, booklet and the two original publisher's portfolios still in good condition, being Wright's extremely rare magnum opus which secures his status in Europe and being one of the most influential architectural publications of the century. Kruft 210. Robert L. Sweeney, Frank Lloyd Wright: An Annotated Bibliography, Los Angeles, 1978, 87. Thieme-Becker XXXVI, 279.
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Qualtinger, Helmut, Schauspieler und Kabarettist (1928-1986).
Eigenh. Karikatur, bezeichnet "Wachsfigur von H. Qualtinger (Madame Tussaud)". O. O., wohl 1960er Jahre.
1 S. 4to. Papierbedingt leicht gebräunt und im linken Rand gelocht; kleine Randläsuren.
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Qualtinger, Helmut, Schauspieler und Kabarettist (1928-1986).
Eigenh. Karikaturen, dreifach signiert "Helmut". O. O. u. D.
6 SS. auf 3 Bll. Qu.-8vo. Ein Potpourri schrulliger Figuren, darunter Napoleon, Karl Kraus (?), der brave Soldat Schwejk (?), der liebe Augustin, ein Clown und ein Kasperltheater.
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[Wiener Oper].
Gästebuch der Wiener Staatsoper. Wien, 1952-1966.
Brauner Kunstlederband. Über 1500 Einträge. 4to. Das vorliegende Gästebuch der Wiener Staatsoper dokumentiert auf einzigartige Weise das große internationale Interesse, das der Wiedereröffnung der Wiener Staatsoper 1955 und ihrem Betrieb in den folgenden Jahren entgegengebracht wurde. Beginnend mit dem Jahr 1952 erstrecken sich die über 1500 Einträge bis in den Juni des Jahres 1966 und bieten eine reiche Auswahl an Delegationen aus Gesellschaft, Kultur, Wirtschaft, Wissenschaft und Politik bis hin zu Staatsoberhäuptern. So kamen etwa Delegationen von auswärtigen Regierungen, Botschaften und Gesandtschaften, Museen, Universitäten, Theatern und Opernhäusern, Rundfunk- und Fernsehanstalten, der Internationalen Handelskammer, des Imperial Defence Colleges in London u. v. m. - Die mit Abstand prominentesten Persönlichkeiten, die hier zu Besuch weilten, waren der thailändische König Bhumibol Adulyadej, der sowjetische Ministerpräsident und Erste Sekretär der KPdSU Nikita Chruschtschow samt Gattin, der schwedische Ministerpräsident Tage Erlander, der australische Premierminister Robert Menzies, der erste Ministerpräsident Indiens Jawaharlal Nehru und seine Tochter, die spätere Ministerpräsidentin Indira Gandhi, König Gustav VI. Adolf von Schweden, der letzte Kaiser von Abessinien Haile Selassie, der finnische Ministerpräsident Urho Kekkonen nebst Gattin, die Schriftstellerin Sylvie K., der dänische König Frederik IX., die Königin der Niederlande Juliana und ihr Gatte Prinz Bernhard, der deutsche Bundespräsident Heinrich Lübke, der persische Schah Mohammad Reza Pahlavi (2x) und seine Gattin Farah (1x), die thailändische Königin Sirikit und der indonesische Präsident Sukarno. Unter den zahlreichen Architekten, Ministern, Dirigenten, Komponisten, Schauspielern, Regisseuren, Sängern, Musikern, Malern, Militärs, Opern- und Theaterdirektoren finden sich u. a. die Dirigenten Kurt Adler, Karl Böhm, Roy Budden, Michael Gielen, Herbert von Karajan, Berislav Klobucar, Eugene Ormandy, Leopold Stokowski, Hermann Scherchen, Wolfgang Stresemann und Josef Krips, die Komponisten Viktor Keldorfer, Peter Mieg und Egon Wellesz, die Opernregisseure bzw. -direktoren Rudolf Bing, Herbert Graf (2x) und Ernst Ludwig Zirner, die Sängerinnen und Sänger Rosette Anday (3x), Rudolf Christ, Hans Duhan, Helga Gielen-Augsten, Gertrude Grob-Prandl, Hilde Güden (2x), Alfred Jerger, Maria Jeritza, Hildegard Knef, Erich Kunz, Arturo La Porta (und Gattin), Martha Lipton, Josef Metternich, Gianni und Gianna Raimondi, Signe von Scanzoni, Rudolf Schock, Leo Slezak mit Gattin Ingrid und Tochter Johanna, Set Svanholm, Heinz Tietjen, William Wernigk (2x), Giuseppe Zampieri und Silvana Zanolli, die Schauspieler, Tänzerinnen und Regisseure Peggy Ashcroft, John Gielgud, Franz, Hubert, Lilly und Trude Marischka, Brian Rix, Walter Slezak, Otto Tressler, Heinrich Schnitzler, Elspet Rix, Lisl / Elise Temple, Gisela Schock, Adolf Rott, Vittorio de Sica und Erika Slezak, die Pianistin Erna Schifferegger, der Musikwissenschaftler Hans Halm, der Schriftsteller und Dramaturg Erhard Buschbeck, der Dramaturg Hans Demetz, der Fernsehjournalist und Moderator Heinz Fischer-Karwin die Architekten Erich Boltenstern, Clemens Holzmeister, Kunio Maekawa, Yuzo Mikami und Hans Volkart, der Bühnenbildner und Architekturhistoriker Osbert Lancaster, die Bundeskanzler Konrad Adenauer, Leopold Figl (3x), Josef Klaus, Bruno Kreisky (3x), Julius Raab (2x), Bundespräsident Adolf Schärf (7x), die Politiker und Minister Abdullah Al-Khayyal, Fritz Bock, Heinrich Drimmel (2x), David Eccles, Ahmed Naguib Hashem, Eduard Heindl, Felix Hurdes, Udo Illig, Ernst Kolb (2x) Alfred Maleta, Theodor Piffl-Percevic, Kurt Sieveking und Reinhart Waneck (damals 9 Jahre alt), die Maler Akira Tanaka und Oravida Camille Pissarro, die Kardinäle Augustin Bea, Theodor Innitzer und Franz König, die britischen Generäle Theodore McEvoy und Michael West (der damalige Oberbefehlshaber der britischen Truppen in Österreich), der Präsident der Generalversammlung der Vereinten Nationen Alex Quaison-Sackey sowie Fritz und Maria Altmann (die Erbin des Wiener Industriellen Ferdinand Bloch-Bauer, der ihr u. a. 16 Werke Gustav Klimts vermacht hatte), Ella Hepburn van Heemstra (die Mutter von Audrey Hepburn) und John Rockefeller III. Nicht vergessen sei auch Peter Eberhard Steinbauer, Pfarrer von Sulz im Wienerwald, der zeitgleich mit Radbot Ferdinand Erzherzog von Österreich zu Besuch kam. - Das Gästebuch stammt aus dem Besitz von Oberbaurat Dr. Dipl.-Ing. Karl Waska, dem seinerzeitigen Leiter der Gebäudeverwaltung der Österreichischen Bundestheater. Waska war zusammen mit Baurat Dipl.-Ing. Wolfgang Teubner mit der Koordinierung der Planung bzw. der Ausführung der Arbeiten zur Wiedererrichtung der Wiener Staatsoper betraut gewesen, die am 12. März 1945 bei einem Bombenangriff zerstört worden war. Am 5. November 1955 wurde sie mit einer von Karl Böhm dirigierten Aufführung von Beethovens "Fidelio" wiedereröffnet. - Die Kanten etwas berieben, die Ecken angeplatzt; innen jedoch tadellos erhalten.
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Hänsel, Johann-Richard, Regisseur (D. n. b.).
Eigenh. Briefkarte mit U. O. O., 18. I. 1962 [?].
1. S. Qu.-8vo. An Christoph: "Herzlichen Glückwunsch und vor allem ganz herzlichen Dank für deine Mitarbeit. Und toi-toi-toi für heute abend [...]". - Auf Briefpapier mit gedr. Namen.
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[Oper und Theater].
Album mit über 60 eigenh. U. von namhaften Künstlern und Künstlerinnen. Wien und Salzburg, 1945-1958.
61 teils einmontierte Einträge auf 36 Bll. Zeitgenössischer Lederband mit bedrucktem Vorderdeckel. Kl.-4to. Unter den Beiträgern, die bei den Salzburger Festspielen 1950 und in Wien (an der Staatsoper und am Burgtheater) zu sehen und zu hören waren, finden sich Erich Kunz, Raoul Aslan, Ewald Balser, Hedwig Bleibtreu, Maria Cebotari (zweifach), Anton Dermota (dreifach), Maria Eis (zweifach), Dietrich Fischer-Dieskau, Wilhem Furtwängler, Benjamino Gigli, Tito Gobbi (dreifach), Christel Goltz, Josef Greindl, Hilde Güden, Hans Hotter, Daniza Ilitsch, Curd Jürgens, Sena Jurinac, Elisabeth Kallina, Herbert von Karajan, Werner Krauss, Erich Kunz, Fred Liewehr, Wilma Lipp, George London, Emmy Loose, Max Lorenz, Mario del Monaco, Heinz Moog, Edith Obermayer-Paget, Alfred Poell, Karl Ludwig Prückl, Will Quadflieg, Maria Reining, Helge Rosvaenge, Leonie Rysanek, Paul Schöffler, Liselotte Schreiner, Elisabeth Schwarzkopf, Irmgard Seefried (zweifach), Alma Seidler, Albin Skoda, Giuseppe di Stefano, Set Svanholm, Renata Tebaldi, Ludwig Weber, Oskar Werner, Marcel Wittrisch, Else Wohlgemuth und Virginia Zeani. - Ecken und Kanten stellenweise angeplatzt, innen tadellos erhalten.
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Mariot, E[lla] (d. i. Margarethe Naumann), Schauspielerin (geb. um 1850).
Eigenh. Brief mit U. Obermais (Meran), Gilmstraße 100, "bei Frau Pilz", 27. IV. 1892.
1 S. auf Doppelblatt. 8vo. An einen Herrn Steiner zum Kauf von dessen Münchner Ölbildern: "Wollen Sie mir ein Verzeichniß Ihrer Münchner Oelbilder schicken, mit genauester Preis-Angabe? Ich habe die Sachen einer Dame in Wien empfohlen, welche sich neu einrichtet und gerne eine Gelegenheit benützen möchte etwas 'sehr Schönes und Gutes' zu kaufen [...]". - Die gebürtige Dresdnerin Ella Mariot, eine berühmte Schönheit, spielte u. a. in Berlin, Breslau, München und Wien.
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Michel, Wilhelm / Putz, Leo.
Leo Putz. Ein deutscher Künstler der Gegenwart. Leipzig, Klinkhardt & Biermann, [1908].
4to. 56 SS. Mit 75 ein- und mehrfarbigen Tafeln. Originaler Leinenband mit Rücken- und Deckeltitel. Vorderes Innengelenk gebrochen; einige Tafeln gelockert bzw. lose. OCLC 602988787.
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Labiche, Eugène, French playwright (1815-1888).
Autograph letter signed. [Paris, postmark], 13. III. 1874.
12mo. 2 pp. on bifolium. With autograph envelope. To the playwright and librettist Philippe Gille, concerning the publication of a play that Labiche and Galle had co-authored. Labiche informs Gille that he has taken 30 copies for himself and gave one to "a Prussian", although he did not "seem to take the bait". Gille, on his part, should try to profit from his "connections to Vienna" in order "to make something of this little act". In closing, Labiche estimates their not yet satisfactory revenues. The letter in full: "Notre brochure a paru chez Dentu. Faites prendre les exemplaires dont vous aurez besoin. J'en ai pris 30. Je ferai le service du théâtre. J'ai donné aussi une brochure à un Prussien mais il n'a pas l'air de mordre. Voyez donc de votre côté si vous pouvez utiliser vos relations à Vienne pour tirer quelque chose de ce petit acte. - On ne nous joue pas aujourd'hui, je n'ai pas fait le compte, mais il me semble impossible que nous ayons déjà atteint un 5000 francs". - The play in question can be identified as the comedy "Garanti dix ans" (Paris, Dentu, 1874). Philippe Gille (1831-1901) is best known today for his co-authoring the librettos for Léo Delibes' opera "Lakmé" with Edmond Gondinet and Jules Massenet's "Manon" with Henri Meilhac. - On stationery with embossed monogram "EL". Minimally stained.
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Barret, Wilson, manager, actor, and playwright (1846-1904).
Autograph letter signed. [Postmarked: London], 30. VI. 1886.
Oblong 8vo. 1 page (4 lines). With autograph envelope. To the musician Frederick Allan Wilshire (1868-1944) in Bristol with a quotation: "'Would I were young forever' / 'Claudian' [...]". - In 1881, Wilson Barrett took over the recently refurbished Princess's Theatre, where his melodramatic productions enjoyed great success. He stayed there until 1886, when he made a visit to America. The quoted stage play "Claudian", written by Henry Herman and W. G. Wills, was Barret Wilsons first Roman costume play. - On stationery with embossed letterhead of the "Royal Princess's Theatre". Signature slightly waterstained.
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Cisserant, Hippolyte, French actor (1809-1877).
6 autograph letters signed. Paris, 1854-1865.
8vo and 12mo. Together 7½ pp. Three shorter letters in the collection are of a practical nature, asking for or granting theatre tickets. In a letter from 4 May 1858 to the "Association des artistes dramatiques", Cisserant announces his resignation from the committee of the association because of an accident and lack of time. - On 14 July 1862, Cisserant informed a friend that the Odéon cannot hire a Mademoiselle Blainville even though he was impressed by her: "J'ai vue et entendue Mlle Blainville. Je lui trouve des qualités ; elle a du naturel, elle est jolie femme, enfin, j'ai d'elle une bonne opinion!... mais... il n'y a pas de place!". - Finally, Cisserant wrote a charming letter to the famous comic actor and close friend Jean-Marie Joseph Geoffroy, known as Geoffroy. The letter is remarkable, as Geoffroy famously avoided socializing with his colleagues and was decried a misanthrope. However, Cisserant addressed Geoffroy as "Mon Bon Jojo" and writes with great humour about his leg injury that prevented him from meeting Geoffroy. The letter can be dated with respect to the death of Geoffroy's wife Louisa Kersent in 1864, as Cisserant sends greetings her. - Hippolyte Cisserant was a comic actor at the Théâtre du Gymnase and at the Odéon. - The letter from 14 July 1862 on stationery with lithographed letterhead of the Odéon theatre. A letter from 14 September 1854 with embossed monogram. The letter to the "Association des artistes dramatiques" with recipient's note and traces of a collection label. Well preserved.
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David, A., French actor (fl. 1st half of the 19th century).
2 autograph letters signed. N. p. o. d.
8vo. Together 1¾ pp. on bifolia. With autograph addresses. A letter to a M. Laurent suggests that David played at the Comédie-Française for some time, as it is written on stationery of the theatre. In the letter, he asks Laurent to visit him the following day. - The second letter is addressed to the important director Anténor Joly (1799-1852) at the Théâtre Ventadour. David reminds Joly of his promise to "occupy himself with my return to the theatre" and remarks bitterly that "with a bit of kindness and goodwill and, above all, the oblivion of an old grudge" Joly could already have placed him in several performances: "Je crois qu'il est nécessaire que je rappelle a Monsieur Anténor que je suis encore de ce monde et qu'il m'a fait une promesse, celle de s'occuper de ma rentrée au théâtre. Avec un peu de bienveillance et de bon vouloir et surtou l'oublie d'une vielle rancune il aurait certes déjà pu me placer dans une des nombreuses pièces en répétition [...]". - Traces of folds and seal. The letter to Joly with embossed monogram, several tears and stronger browning to the address leaf.
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Ernest, Paul, French actor (fl. 1855).
2 autograph letters signed. Paris and n. p., 23 Nov. and 23 Feb. 1855.
8vo. Together 2½ pp. on bifolia. One letter with autograph address and traces of seal. The letter from 23 February 1855 is addressed to a M. Désir at the Théâtre des Variétés, asking him for two tickets. - In the second letter, dated 23 November with no year, Paul Ernest asks a recipient named Eugène to contact a third person who had offered a job at the theatre to Ernest's cousin: "Je vous serais bien reconnaissant de vous informer auprès de Mr Lannau si la petite place de son contrôle est touours libre et si dans ce cas, il serait toujours possible disposé `la donner a Mr Weber un cousin à moi et un brave graçon qui a déjà été dans le théâtre comme inspecteur [...]". - Paul Ernest is only known in connection with the Théâtre du Vaudeville in Paris, which he directed sometime between 1842 and 1851. - The letter from 23 November on stationery with stamped letterhead "Cercle de Paris". Both letters with bent corners; some browning.
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Lemoine, Adolphe, known as Lemoine-Montigny, French playwright and comedian (1812-1880).
3 autograph letters signed. With a signed note by Alfred Nettement. Paris, 1851-1853.
8vo. Together 3 pp. on bifolia. The note by Alfred Nettement: 1 p. The most curious item in the collection is a letter from 12 July 1851 to the author and journalist Alfred Nettement, who forwarded it to a friend with a signed note of his own. Lemoine politely criticizes a dramatic proverb that Nettement had sent him on behalf of a friend, arguing that it was well written but "would lack effect" on stage. He encourages the author to pusue different subjects for plays and to seek success in the theatre, as he possesses rare qualities: "Je crois cependant qu l'auteur de ce petit ouvrage doit chercher le succès de théâtre. Il a plusieurs qualités qu'on ne rencontre pas toujours, même chez ceux qui réussissent. Il devra réussir, le jour où il sera plus heureux dans le choix du sujet, ainsi que plus sévère et plus complex dans l'étude et la disposition de son plan [...]". Nettement sent the letter to the unidentified author with a similarly encouraging note: "Voici la lettre que je reçois de Lemoine et je la trouve fondée. Je sais que vous deviez travailler pour le théâtre. S'il le dit, c'est qu'il le pense, vous deviez faire très sérieusement une pièce [...]". - On 24 July, Lemoine wrote to a fellow playwright, addressed as "Mon Cher Chef", asking him whether they could change the title of a comedy that was to be performed at the Gymnase two days later from "Chiffons de Madame" to "Toilette de chat". - In a letter dated "Samedi 22" (no year), Lemoine seeks to change tickets for a new play by Émile Augier that had been promised to him by the playwright from one day to another: "Augier me fait dire, en son nom et au votre, que deux fauteuils de Galerie sont à ma disposition pour ce soir, outre son place d'orchestre. Si vous pouvez sans vous gêner, en garderant les deux Galerie pour votre service d'aujourdhui, me donner pour lundi une petite loge, Mme Montigny remettra à la seconde représentation le plaisir d'applaudir le nouvel ouvrage de notre ami Augier [...]". The recipient who is addressed as "mon confrère" was probably the director of the theatre. - Lemoine-Montigny is best known today as a theatre director, having directed the Théâtre de la Gaîté from 1838 to 1844 and the Gymnase from 1844 to his death. - All letters on stationery with embossed or lithographed letterhead of the Théâtre du Gymnase. Traces of folds. Some foxing and browning overall. Occasional minor tears.
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Montalant, Denis-Stanislas, known as Talbot, French actor (1824-1904).
7 autograph letters signed. N. p. o. d.
8vo. Together 6 pp. Correspondence with Alfred de Beauchesne (1804-74), secretary at the Paris Conservatory. The collection includes two letters of introduction for young applicants for the declamation classes at the conservatory, a request for two tickets for a performance, and a letter wherein Talbot asks Beauchesne to pass on two letters, an unspecified response with the remark that "it is, however necessary to see" the actors Jules Boucher, Suzanne Reichenberg, and an unidentified third person. In the longest letter of the collection, Talbot asks Beauchesne to give him the names and addresses of those candidates who did not pass the entrance examination. Apparently, he offered preparatory acting classes. Two letters are dated to 1861 by a collector's hand. This would indicate that Talbot was very active as a teacher well before he left the Comédie-Française in 1873 to start an acting school at the théâtre de la Tour d'Auvergne. - Traces of folds and some browning overall. A letter starting "Je vous serai bien obligé de faire inscrire le petit note ci-contre" somewhat faded.
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Perlet, Adrien, French actor (1795-1850).
3 autograph letters signed. N. p. , 1828-1838.
8vo. 3½ pp. on bifolia. Two letters with autograph addresses. The earliest letter in the collection, dated 16 Mai 1828, was probably written in London to a Frederic le George. Perlet wishes the recipient a swift recovery from an ailment, reports that his son has a fever following a "change of season", and announces that he mailed theatre tickets to him, complaining that he could not send his French servant who still does not remember the way to the theatre although he showed it to him "twenty times". - On 14 November 1834, Perlet announced to a Parisian lawyer named Garot a payment of 4,000 francs for the following day. - The third letter from 8 November 1838 was written to an unnamed mayor in support of "the candidacy" a friend named Colson. A failed enterprise in Nantes is mentioned, although the relation to Colson and the recipient remains unclear. - The comic actor Adrien Perlet performed at the Comédie-Française, the Gymnase, and in London. - Traces of folds and seal. The letter from 1828 with a trimmed corner to the address leaf. Minimal foxing to the letter from 1838.
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[Air France]. - Middle East.
Proche Orient. Paris, Courbet, [1963].
Vintage lithographed poster backed on linen. 1050 x 690 mm. A rare Air France poster, showing an illustration by Guy Georget. - In good condition.
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Kokoschka, Oskar.
Mein Leben. München, Bruckmann, (1971).
339 SS. Mit zahlreichen, teils farbigen Abbildungen auf Tafeln. Gelber Originalleinenband mit rotem Rückentitel und Deckelinitialen in bedr. Original-Umschlag. Gr.-8vo. Erste Auflage. - Vortitel mit ganzseitigem eigenh. Selbstportrait und Widmung: "dem lieben Adolf mit vielen Grüssen | Oskar Kokoschka | 16. 9. 71". - Innen wie außen tadellos erhalten; der Umschlag etwas lädiert.
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Bayle, (William) Bernard, playwright and drama critic (1807-1875).
Autograph letter signed. [London], "Belsize Road", no date.
8vo. 1½ pp. on bifolium. Mounted on backing paper. About theatrical productions of works by Lord Byron: "The Manfred produced at Drury Lane Theatre a few years ago was a revival of Byrons poem with certain omissions and compressions as played at Covent Garden some thirty years previously. My contribution to Drury Lane consisted of my adaptation of Faust which has been printed by M. Lacy [i. e. Thomas Hailes Lacy, 1809-73] the theatrical publisher of the Strand and also of the Doge of Venice a combination of Byrons Tragedy, and that of Casimir Delavigne with some additions of my own but that play has never been published. P.S. The Manfred of Covent Garden was I believe adapted to the Stage by the late Mr Roderick Reynold [...]". - Second leaf slighly trimmed at the lower edge; collector's notes to backing paper.
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Boucher, Jules, French actor (1847-1924).
Autograph letter signed. N. p., 11 June ("Samedi", no year).
12mo. ¾ p. on bifolium. To an unnamed recipient, asking for two theatre tickets: "Voulez-Vous me faire la faveur de deux places pour la représentation de ce soir [...]". - A student of François-Joseph Regnier, Jules Boucher entered the Comédie-Française in 1866 and was elected sociétaire in 1888. - Minimally stained.
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Cecil (Blunt), Arthur, actor (1843-1896).
Autograph letter signed. [London], 26. V. 1890.
8vo. 2 pp. on bifolium. Mounted on backing paper. To a Miss Frith: "Many thanks for your kind note. I will enclose my letter to Miss Edwards in one to Miss Philp asking her to forward it. What a jolly party we had last night. I haven't danced so much for Ages. Please tell your mamma I will lose not time in redeeming my character in her eyes [...]". - Beginning of the 1880s Arthur Cecil joined the company at the Royal Court Theatre, later became co-manager there, and in 1890 played the title role in the play "The Cabinet Minister" written by Arthur Wing Pinero. - With collector's note to backing paper and embossed vignette of the "Garrick Club".
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Grassot, Paul, French actor (1800-1860).
Autograph letter signed. N. p., 29. VII. 1845.
8vo. 1 p. Mounted on cardboard. To a Madame Fassiati, asking her to leave a theatre box that had been promised to Grassot by a M. Ballard to the carrier of the letter if there is a performance: "Je prie la bonne Madame Fassiati de remettre au porteur du présent, la loge que Ballard a promis de mettre à ma disposition pour aujourd'hui, si l'on joue [...]". - Paul Grassot spent his entire acting career at the Théâtre du Palais-Royal. He was famous for his eccentric performances, hoarse voice, and buffoonish pantomime. - On stationery with embossed letterhead. Traces of folds. Somewhat stained.
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Lafontaine, Henri, French actor and novelist (1826-1898).
2 autograph letters signed. N. p. o. d.
8vo. Together 2 pp. One letter mounted on cardboard. Both to ask for theatre tickets, one addressed to a director: "Pouvez-vous me donner une loge pour ce soir? Si oui, merci, si non, merci encore et votre artiste toujours". - Henri Lafontaine performed on all the important stages of Paris, including the Comédie-Française, where he had his debut in 1856 and was elected sociétaire in 1863. However, Lafontaine was not satisfied with the roles that were given to him at the Comédie, and so he left the theatre in 1871 together with his wife Victoria, an equally acclaimed actor, and returned to changing engagements, starting off with a successful production of Victor Hugo's "Ruy Blas" at the Odéon in 1872. - With recipient's notes. Some browning.
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Lloyd, W., actor (dates unknown).
Autograph letter fragment signed. No place or date (first half of 19th century).
Oblong 16mo. 1 page (2 lines). Mounted on backing paper. Clipped from a letter: "Yrs respectful[l]y [...]". - With collector's note to backing paper.
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Mackay, Charles, actor (1787-1857).
Autograph letter (fragment). No place, 24. VI. 1833.
4to. 1 page. Mounted on backing paper. A letter of consolation: "I have to acknowledge the receipt of yours this morning. I was aware some time ago of the mishap in your family, and I know too well that all consolation is useless, time alone can heal such wounds. Either of the periods you propose will suit me, let me know which as soon as convenient. And that the allwise disposes of the destinies of Men, may give you strength to bear your affliction [...]". - The letter cut at one corner. Slight brownstaining, with collector's note in ink.
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Méliès, Georges, French illusionist and film director (1861-1938).
Autograph letter signed and monogrammed. Paris, 21. XI. 1928.
8vo. 4 pp. on bifolium. Charming and insightful letter to Auguste Drioux in Lyon, publisher of the magic magazine Passez Muscade, thanking him for the most recent issues and promising an article on Robert Houdin's illusion "le Décapité récalcitrant" from 1890. Méliès mentions that he is currently very busy, as he was taking care of his gravely ill daughter Georgette and restoring some of Robert Houdin's automatons that he had donated to the Musée des Arts et Métiers in Paris: "Je suis obligé de nettoyer tout cela, et de remettre les têtes, mains, costumes, peintures et dorures en bon état. Il y a pas mal de travail, car tout ce matériel est resté 5 ans dans un endroit assez humide, et il en a souffert. Mais une fois retapé il n'y paraîtra plus, et il pourra affronter l'éternité dans les vitrines du Musée... à moins qu'il ne soit, un jour, détruit par un incendie". - The ominous remark that a fire could destroy the museum seems to be an allusion to Méliès' destruction of his own negatives, film sets, and costumes after he lost his legal battle with Pathé over his Montreuil studio in 1923. Méliès praises the performance of Drioux's fellow magicians from Lyon at a banquet by the Chambre syndicale du Cinema that was probably held in his honour. In a postscript he reports that the politician Édouard Herriot, who had also been present at the banquet, apologized to him for not being able to award Méliès with "the famous red ribbon" anymore, having lost his post as Minister of Culture a few days earlier. However, Herriot promised to put in a good word for Méliès with his successor, also alluding to the possibility that he might get a job in the insurance of the movie industry "Mutuelle du Cinéma," possibly as the director of its retirement home. This prospect gave Méliès hope to be able to finally escape his "dreadful Montparnasse prison": "Il avait promis, pour moi, le fameux ruban rouge, à la demande de Brézillon. Mais c'est bien ma veine, il venait de perdre sa place de ministre 5 jours auparavant. Il a été charmant avec moi, s'est excusé d'avoir été contraint de se 'débarquer' lui-même, ce sont ses propres expressions, mais m'a promis son appui [...] auprès du nouveau Ministre de l'Instruction publique et des beaux arts. [...] En tous cas, j'ai su qu'il est question de me donner une situation intéressante dans l'état major de la Mutuelle du Cinéma; peut-êtrela direction de la maison de retraite. Inutel de dire que cela ferait fort bien mon affaire, en me libérant de mon affreuse prison de Montparnasse". - Following his bankruptcy in 1925, Méliès and his second wife Jehanne d'Alcy barely made a living with a small candy and toy stand in Gare Montparnasse. Around this time Méliès, who had been slipping into oblivion since 1913, was slowly rediscovered and recognized as a film pioneer by journalists and enthusiasts such as Auguste Drioux. Despite the renewed interest and official recognition like the award of the Legion of Honour, Méliès' financial situation improved little. While the post as director never materialised, Méliès, his wife, and his granddaughter received a place in the retirement home in Orly in 1932.
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Pagnol, Marcel, French novelist, playwright, and filmmaker (1895-1974).
Autograph letter. Monte Carlo, [1951].
4to. 1 p. To an employee named Marti with instructions for Pagnol's relocation to Monte Carlo, questions of accounting, and concerning the impossibility of a film production in Monaco: "Pour le déménagement, laisse les tapis, un secrétaire, des lampes. Tino veut à tout prix refaire les plans mauvais, il est très emballé, il est prêt à tout [...] Je voudrais maintenant terminer la comptabilité totale - mais je m’aperçois que ton compte ne figure nulle part. Où est-il ? Que gagnes-tu ? Combien as-tu touché ? [...] Les studios de Monaco ne permettront pas, pour le moment, de faire un film tout entier. Les histoires des trains sont terribles. On peut seulement y faire des décors de secours, louer des costumes et du personnel. Les trains de marchandises où les locomotives seules passent à n’importe quelle heure". - In 1951 Marcel Pagnol moved to Monaco, following an invitation of his admirer and friend Prince Rainier III. The family stayed until 1954. - The note "Autre lettre oubliée" points to an autograph copy. On stationery with embossed letterhead. Minimal browning.
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Prout, Ebenezer, musical theorist (1835-1909).
Autograph lettercard signed. [Postal stamp: London, 29 Aug. 1887].
Oblong 8vo. ¾ page. With autograph envelope. To the musician Frederick Allan Wilshire (1868-1944) in Bristol: "I have only just returned home to find your letter awaiting me. I beg to enclose my autograph [...]". - With collector's note to envelope in ink, the envelope somewhat foxing.
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Rosa, Carl, stage impresario (1842-1889).
Autograph letter signed. [London], 25. VI. 1886.
8vo. ½ page (5 lines) on bifolium. With autograph envelope. To the musician Frederick Allan Wilshire (1868-1944) in Bristol: "Sincerely Ys / Carl Rosa". - On embossed monogrammed stationery with slight ink offsetting.
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Rousby, Clara, actress (1848-1879).
Autograph letter signed. Leamington, 6. V. 1872.
(Oblong) 8vo. 3 SS. Mounted on backing paper. To a Miss Frith about a certain letter and discussing Rousby's recovered health: "I only received your note & should have replied at once had I not waited until I got all my things together in hope of finding the letter you allude to among them. Having searched without finding it, I fancy I must have left it with my brother in London, anyhow it is quite safe, for I preserved it with the intention of handing it over to Mr. Fiddes at some future time. You will be glad to hear that I have been much stronger since I recovered from my severe illness at Bristol, & that we are enjoying a most profitable & agreeable tour [...]". - On mourning paper with embossed monogram and collector's note to backing paper.
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Scott-Siddons, Mary Frances, actress and dramatic reader (1844-1896).
Autograph signature. No place or date.
Oblong 12mo. 1 page (1 line). Mounted on backing paper. Slightly browned in places due to seeped glue.
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Templeton, John, tenor (1802-1886)).
Autograph letter fragment signed. No place or date.
Oblong 12mo. 1 page (2 lines). Mounted on backing paper. Clipped from a letter: "Yours very truly / John Templeton". - In 1832 Templeton appeared as Raimbaut in the first British performance of Meyerbeer's "Robert le diable", and he became Maria Malibran's leading tenor. - With collector's note to backing paper and old glue residue.
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Wickes, R., actor (dates unknown).
Autograph letter fragment signed. No place or date.
Oblong 16mo. 1 page (2 lines). Mounted on backing paper. Clipped from a letter: "I am very truly yours [...]". - With collector's note to backing paper.
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[Photographie - Joseph Beuys, Keith Haring, Gerhard Richter, Günther Uecker]. Mebusch, Heinz Günter, deutscher Photograph und experimenteller Künstler (1952-2001).
"Reise zum Planeten Ars". 199 Portraitphotographien, davon 185 eigenh. von den portraitierten Künstlern signiert. Verschiedene Orte, 1979-1992.
199 Gelatinesilberabzüge auf Barytpapier, auf leichten Karton aufgezogen. Je ca. 265:179 mm, Papier ca. 293:208 mm. Lose in Original-Holzkassette. 1 von 25 numerierten Exemplaren, durchgehend von den Portraitierten signiert und vom Photographen bezeichnet. Bedeutende Sammlung von annähernd 200 Künstlerportraits von u. a. Joseph Beuys, Fernando Botero, Arno Breker (2 x), Paul Flora, Ernst Fuchs, Karl Otto Götz, Keith Haring, Jörg Immendorff, Loriot, Heinz Mack, Georg Muche, Meret Oppenheim, Gerhard Richter (2 x), HA Schult, Roland Topor, Günther Uecker, Tomi Ungerer, Wolf Vostell, Dondi White, Shizuko Yoshikawa u. v. m. - Heinz-Günter Mebusch, ein Schüler von Otto Steinert, einem der bedeutendsten deutschen Photographen der Nachkriegszeit, war in mehr als 40 Ländern Europas, Afrikas und Amerikas tätig. Sein zeitlich längstes Projekt und zugleich die umfangreichste Werkreihe sind die zwischen 1978 und 2000 entstandenen Portraits von über 200 Künstlern, die in enger Zusammenarbeit mit den Portraitierten entstanden sind. Eine etwas geringere Zahl von Arbeitsabzügen, meist mit zusätzlichen Signaturen (und einmal auch mit einer Übermalung des portraitierten Künstlers Ford Beckman) versehen, entstand in den Jahren von 1979 bis 1992 unter dem Arbeitstitel "Reise zum Planeten ARS" in einer Auflage von 25 Stück. Die hier vorliegenden Abzüge sind größtenteils (185 von 199) eh. von den Portraitierten signiert, tragen die Nummer 22 (von insgesamt 25) und werden in einer aufwendig gestalteten Holzkassette präsentiert; weiters sind alle Abzüge verso handschriftlich bezeichnet und mit dem Fingerabdruck des Photographen versehen; einige wenige sind irrtümlich mit 22/24 oder 22/23 numeriert. - Heute weitgehend in Vergessenheit geraten, war Mebusch mit allen bedeutenden Künstlern seiner Zeit bekannt, bespielte zahlreiche Ausstellungen (u. a. Costa Rica, Luxemburg, "Was ist Kunst" in der Fotogalerie Wien, "Polytoxicomania" in Hollywood, "Schatzsuche" im Kunstmuseum Düsseldorf, Goetheinstitute San Francisco 1998, Biennale di Venezia 1999), war Lehrbeauftragter an der Folkwangschule in Essen und organisierte und kuratierte Kunst- und Foto-Projekte (darunter das Beuys-Festival 1991 in Düsseldorf). Im documenta Archiv - das, wie auf dessen Homepage zu lesen ist, "seit den 1990er Jahren ein bedeutendes Konvolut von über 200 hochqualitativen fotografischen Künstlerportraits" von Mebusch besitzt - war zuletzt im Sommer 2018 eine kleine Auswahl davon zu sehen: "In starker Nahsicht bestechen die Kopf- bzw. Brustportraits durch den intensiven, direkten Blick der Künstlerinnen und Künstler". Vollständig in der Originalkassette wie vorliegend selten, das einzige im Auktionshandel der letzten Jahrzehnte nachgewiesene Vergleichsexemplar umfasste um 20 Portraits weniger. - Detaillierte Verlistung auf Anfrage.
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Ibsen, Henrik, Norwegian playwright (1828-1906).
Portrait photograph with autograph inscription signed. N. p., 5. XII. 1898.
12mo (109 x 168 mm). 2 lines. Beautiful print of Ibsen's portrait from ca. 1891 by the German photographer Julius Cornelius Schaarwächter mounted on cardboard. Inscribed on verso to a close friend in German: "Von deinem Freund". - With a small water spot and minor pinchfolds affecting the signature. Traces of former mounting.
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Harris, Thomas, theatre manager, proprietor of Covent Garden Theatre (fl. 1800).
Autograph letter fragment signed. N. p. o. d.
Oblong 16mo. ½ page (2 lines). Mounted on backing paper. "Ever truly Yours - T. Harrris". - Some brownstaining.
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Spira, Camilla, Schauspielerin (1906-1997).
Collage mit den eigenh. U. von Gisela von Collande, Trude Hesterberg, Erna Sellmer und Camilla Spira. O. O., 1951.
4to. Eine Collage aus vier montierten Dessousmodellen, mehreren Zeitungsüberschriften und den Köpfen der vier beliebten Künstlerinnen, die umseitig einem Werner ihren eigenhändigen Neujahrsgruß zusenden und als "Die Vierer-riege" unterzeichnen. - Stärkere Gebrauchsspuren.
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Mildred R. Donoghue
Language Arts: Integrating Skills for Classroom Teaching
Paperback Like New. Ships from publishers directly but must allow a minimum of 20 - 25 business days shipping time.
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KOYAMA Fujio,
Ceramiche Orientali
Con 174 tavole in nero e a colori applicate . Cm 34x26,5. pp. 408. . Ottimo (Fine). . . . Il libro è ''giapponese'' non soltanto nello spirito, ma anche nelle illustrazioni che si riferiscono soprattutto alle collezioni giapponesi. I pezzi sono sconosciuti ai collezionisti occidentali e la documentazione, per gran parte inedita, è di notevole valore anche per l'eccezionale perfezione delle riproduzioni a colori.
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LIVERANI Giuseppe,
La maiolica italiana sino alla comparsa della porcellana europea
Con 83 tavole a colori applicate e 53 illustrazioni in bianco e nero. Indice degli artisti, delle botteghe e delle officine . 4to. pp. 268. . Ottimo (Fine). . Seconda edizione (2nd Edition). .
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TOESCA Pietro (Schede a cura di),
Miniature italiane della fondazione Giorgio Cini dal Medioevo al Rinascimento
Presentazione di Giuseppe Fiocco. Con 79 tavole in nero e una tavola a colori applicata . 8vo. pp. 66. . Ottimo (Fine). . Prima edizione (First Edition). .
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DALLI REGOLI Gigetta,
Miniatura pisana del Trecento
152 tavole in nero e 12 a colori . 8vo. pp. 236. . Ottimo (Fine). . Prima edizione (First Edition). .
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VIALE FERRERO Mercedes
Arazzi italiani
Con XXXVIII illustrazioni applicate n.t. e 82 grandi tavole a colori applicate . 4to. pp. 266. . Molto buono (Very Good). . . .
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LIVERANI Francesco, BOSI Roberto,
Maioliche di Faenza
25 tavole a colori e illustrazioni in nero . 4to. pp. 98. . Molto buono (Very Good). . . .
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JERI Alfredo,
Mascagni
Con 17 tavole . 8vo. pp. 178. . Buono (Good). Fioriture leggere. Sovracoperta sciupata ai margini (Some light yellowing. Some chipping and nicks around top and bottom of dust jacket). Seconda edizione (2nd Edition). .
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PLAISIR DE FRANCE,
Styles Regionaux - Architecture, mobilier, decoration. Normandia, Bourgogne, Pays de L'Ouest, Pa
Numerose illustrazioni in nero e colori. Senza data, pubblicazione degli anni '70 . 4to. pp. 200. . Molto buono (Very Good). . . .
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