239 résultats
1915réf. 2788431915. unbound. very good. Signed 1915 Columbia Records release #A - 1855 one of the earliest comedy releases ever put on phonograph discs featuring a skit titled "Trust Scene" boldly etched into the dead wax and partly on the record labels: "Joe Weber - Lew Fields." The B side of this record has mechanically etched signatures of the performers. Very good condition. Immensely popular Polish-Jewish comedy team who at the height of their stage success opened up their own Broadway venue in 1896 and booked some of the greatest talent of the early 20th century. Included in this roster are Gallagher and Sheen The Marx Brothers Ted Healy and his Three Stooges Jimmy Durante and W.C. Fields. They are also credited with recording some of the earliest known comedy phonograph records between 1912 and 1915. unknown
1915réf. 2788431915. unbound. very good. Signed 1915 Columbia Records release #A - 1855 one of the earliest comedy releases ever put on phonograph discs featuring a skit titled "Trust Scene" boldly etched into the dead wax and partly on the record labels: "Joe Weber - Lew Fields." The B side of this record has mechanically etched signatures of the performers. Very good condition. Immensely popular Polish-Jewish comedy team who at the height of their stage success opened up their own Broadway venue in 1896 and booked some of the greatest talent of the early 20th century. Included in this roster are Gallagher and Sheen The Marx Brothers Ted Healy and his Three Stooges Jimmy Durante and W.C. Fields. They are also credited with recording some of the earliest known comedy phonograph records between 1912 and 1915. unknown books
1762réf. 4516Chez Duchesne 14,5 x 22 Paris Edition Originale 1762 Plaquette in-8, reliure demi-vélin de l'époque, plats cartonnés papier caillouté, dos lisse, titre noir, gravure de Soliman II en frontispice signée Gravelot - Lemire, [4]-102 pp., suivies de deux pages de privilège et de deux pages de "Catalogues des pièces des comédies française et italienne, parodies et opéra comiques qui se vendent détachées". Bandeau gravé en tête de l'épitre dédicatoire au Maréchal de Richelieu. Edition originale de cette célèbre pièce de Favart (Paris 1710 - Belleville 1792) "représentée pour la première fois par les comédiens italiens ordinaires du roi le 9 avril 1761 et remise au théatre le 19 décembre de la même année" où Mme Favart sa femme joue le rôle de Roxelane, et et qui fut représentée sous le titre des "Trois sultanes". Petite salissure à l'angle extérieur du frontispice, bon intérieur. (EvC143) PHOTOS NUMERIQUES DISPONIBLES PAR EMAIL SUR SIMPLE DEMANDE-DIGITAL PHOTOGRAPS MAY BE AVAILABLE ON REQUEST. Livre
1762réf. 4516Chez Duchesne 14,5 x 22 Paris Edition Originale 1762 Plaquette in-8, reliure demi-vélin de l'époque, plats cartonnés papier caillouté, dos lisse, titre noir, gravure de Soliman II en frontispice signée Gravelot - Lemire, [4]-102 pp., suivies de deux pages de privilège et de deux pages de "Catalogues des pièces des comédies française et italienne, parodies et opéra comiques qui se vendent détachées". Bandeau gravé en tête de l'épitre dédicatoire au Maréchal de Richelieu. Edition originale de cette célèbre pièce de Favart (Paris 1710 - Belleville 1792) "représentée pour la première fois par les comédiens italiens ordinaires du roi le 9 avril 1761 et remise au théatre le 19 décembre de la même année" où Mme Favart sa femme joue le rôle de Roxelane, et et qui fut représentée sous le titre des "Trois sultanes". Petite salissure à l'angle extérieur du frontispice, bon intérieur. (EvC143) PHOTOS NUMERIQUES DISPONIBLES PAR EMAIL SUR SIMPLE DEMANDE-DIGITAL PHOTOGRAPS MAY BE AVAILABLE ON REQUEST. Livre
Mm 155x210 Due volumi di agine rispettivamente XIV-631+713, fioriture ad un paio di carte del primo volume, astuccio editoriale. Opera in ottime condizioni. Spedizione in 24 ore dalla conferma dell'ordine.
réf. 18981comédie-vaudeville improvisée en un acte, composée en cinq heures, dans la grande salle de l'hôtel de ville de Toulon, sur un sujet fourni par le public. Toulon. Aurel. 1829. In-8 (22x13). 24 pages. Demi-basane modeste de l'époque.
Mm 125x210 Collana "Numero Rossi"- Testo a cura di Sandro Bajini. Due volumi in copertina rigida, sovraccoperta originale, 673 + 651 pagine con tavole in nero in apertura di entrambi i volumi. Copia in ottime condizioni; spedizione in 24 ore dalla conferma dell'ordine.
2001réf. 51983Archeophone, 2001. ARCH 9004 CD CD
réf. 33409Paris: Chez Le Fuel n. d. 1st edition. Ca 1817. Bound in beautiful color printed silk onlays same design to front & back affixed to gold boards with floral motif panel affixed to spine. AEG. Slipcase also with color printed silk onlays. General wear to silk panels. One engraving protrudes slightly. A Very Good copy in a rubbed slipcase with 1 cm seam splits at slipcase opening. 4 209 5 pp. Printed by Didot. Engraved title with vignette. Illustrated with 8 full-page copperplate engravings. 1817 calendar at rear with engraved headpieces by Bosselman. 18mo in 6s. 4-5/8" x 3" 11.8 cm x 7.7 cm. Quite scarce work compiling divers French theatrical pieces from 1792-1815. OCLC locates 4 cc worldwide with KVK adding a 5th. at the time of cataloging Chez Le Fuel hardcover books
1937réf. 221321937. African AmericanTheaterLiterature Payton Lew. Did Adam Sin Also Stories of Negro Life in Comedy Drama and Sketches. Los Angeles: Lew Payton 1937. First edition. 132 pages. Original yellow wrappers printed in red and brown featuring an abstract graphic of a seated classical figure and a prominent red question mark in the background. A scarce self-published collection of dramatic sketches. Did Adam Sin represents a significant contribution to African American theatrical literature during the Harlem Renaissance's waning years. Written by actor playwright and vaudeville veteran Lew Payton the book offers seven stage-ready works that explore the lives struggles and humor of Black Americans in the early 20th century. Titles include A Bitter Pill Two Sons of Ham and Who Is De Boss blending satire pathos and social commentary with vernacular expression and period-specific concerns. Lew Payton began performing as a child in West Virginia and came of age as an entertainer during the height of Black vaudeville. Here Payton archives both the legacy of African American popular performance and his personal experience in street parades cakewalk acts and Hollywood film roles. The introduction recounts Payton's early experiences with minstrel circuits and his Los Angeles school for Black stage actors. This context situates the collection not only as literature but as pedagogical tool and cultural preservation. The plays foreground the racial dynamics resilience and humor of Black life offering roles that resist the demeaning stereotypes endemic to Hollywood and white theater. Contemporary scholarship increasingly cites Did Adam Sin for its historical value and its intervention into the politics of representation in American drama. Minor edge wear and light toning to wrappers; interior clean and bright; spine uncreased. Overall very good condition. A scarce and important work in the canon of African American theater notable for its authorship self-publication and its insight into Black performance culture during the interwar period. unknown
réf. 3025La Haye, chez P.F. Gueffier, 1768 - in-8, 487 pp., Vol 2. - rel. bas. brune, airs notés pour les opéras comiques (qqs trous de vers sans atteinte au texte, dos cassé)
1877réf. 112589Paris, G. Charpentier, éditeur 1877 La couverture porte le titre : Théâtre. 6 volumes. In-12 demi chagrin rouge, dos à 4 faux- nerfs soulignés pointillés dorés. Encadrés de caissons ornés de motifs dorés. 18,5 cm sur 12. Deux portraits en frontispice+441+table-445-table-473-table-453-table-449-table-XXVIII-413pp-table. Rousseurs importantes sur la majorité des volumes. Tome 2 ouvrage touché par l’eau. Coins de la reliure émoussés, Sinon Bon état d’occasion.
1936réf. 1196751936 A Paris, Guillemot et De Lamothe - 1936 - Editions limitée à 1200 exemplaires nominatifs, n° 468 imprimé à l'attention de Mme Marcelle Crouet - 3 volume petit in-8 (environ 19 x 12 cm), demi basane bleu nuit; dos à 3 nerfs sautés avec titre, nom de l'auteur, tomaison ainsi que caissons et fleurons dorés - 315 p. + 268 p. + 316 p.
1857réf. 37444Auxerre Imprimerie, librairie et lithographie Ch. Gallot s.d. [1857] prospectus in-8 en feuille
1858réf. 37453Auxerre Typographie Ch. Gallot s.d. [1858] prospectus in-8 en feuille
1859réf. 37638Auxerre Typographie Ch. Gallot s.d. [1859] prospectus in-8 en feuille
1904réf. 98971904 Paris, Librairie Théatrale, 1904; in-8°, demi-chagrin rouge de l'époque, dos à nerfs, titre doré; 160pp.
1902réf. 220121902. Minstrelsy Archive of minstrel sheet music and ephemera documenting the role of blackface performance and racial caricature in American popular music during the late 19th and early 20th centuries. Josephine My Jo. Words by R.C. McPherson; music by Jas. T. Brymn 1902 appears alongside a group of minstrel and ragtime-era compositions and a touring advertisement for Culligan and Morgan's Alabama Minstrels establishing a concentrated record of how African American identity was constructed marketed and circulated as commercial entertainment. These materials are tied to vaudeville circuits Tin Pan Alley publishing and traveling minstrel troupes including works associated with Lew Dockstader's Minstrels. Brymn an African American composer who later led the 350th Field Artillery Regiment Band during World War I represents the constrained presence of Black musicians working within a white-dominated industry reliant on the mass acceptance of racist tropes and widely disseminated caricatured imagery and dialect performance. Archive consists of 9 items: 8 pieces of large-format sheet music and 1 minstrel tour poster dating from 1897 to approximately 1900-1915. Sheet music titles include Josephine My Jo 1902; Melissy: A Melody of Dark Town Admiration by Joseph B. Carey 1897 issued as a supplement to the San Francisco Examiner; and additional titles including Any Rags by Thos. S. Allen Smoky Mokes Bunch O' Blackberries By the Watermelon Vine Lindy Lou Whistling Rufus by Kerry Mills and Your Dad Gave His Life for His Country as performed by Lew Dockstader's Minstrels. Sheet music measures approximately 11" x 14" and retains staple-bound or disbound formats with illustrated covers. The poster for Culligan and Morgan's Alabama Minstrels printed in Ohio with illustrations by the National Press and Engraving Company of Chicago measures approximately 10.5" x 27" and survives in multiple separated sections. Across the archive cover imagery employs exaggerated racial caricatures "Darktown" themes and blackface performance conventions reflecting the visual and commercial strategies through which minstrel entertainment was promoted to national audiences. General toning edge wear and chipping present across the sheet music with occasional fragility to bindings; poster is brittle with losses and separation along folds and margins. The advert poster is separated into three pieces with text largely preserved but overall in poor form. Archive in overall good condition. The grouping provides direct primary source evidence of how blackface and minstrelsy operated as a popular form of entertainment and music production while also documenting the limited participation of African American composers within that structure and the broader transition from minstrel traditions into ragtime-era popular music. unknown
réf. 0266005853.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1928réf. 244319New York: National Vaudeville Artists Fund. Poor with no dust jacket. 1928. Hardcover. Spine is mostly detached along the edges some chipping to the upper end. Book is now in a clear plastic cover which protects and holds the spine. Covers have heavy edge and corner wear and moderate rubbing. The binding is cracked and basically the book is in 2 halves. . National Vaudeville Artists Fund hardcover
1925réf. 64700New York NY: Harper & Brothers 1925. 8vo. 8 264 pp. Frontisp. numerous photo plates. Red publisher’s cloth gilt lettering front cover & spine minor shelfwear slight dustsoiling w/ d.j. cover art of Cohan w/ initials RJ front cover minor chipping head & foot of spine couple minor closed tears edgewear old paper repair to spine on verso still a VG/VG- copy w/ former ownership marking on front pastedown. First edition stated of this anecdotal memoir by the famed actor playwright singer dancer and producer offering a vivid picture of the Vaudeville and Broadway Theatre circuit in the closing years of the Gilded Age into the Progressive Era through World War I when he became known as “the man who owned Broadway” and his adaptation of the Earl Derr Biggers “Seven Keys to Baldpate” mystery was a long-running hit and later silent film. Very scarce in original dustjacket. Harper & Brothers, hardcover
1899réf. List2923Portland Oregon 1899. Two double-sided clippings measuring approximately 7 ½ x 4 ¾ inches both put together with tape. Slightly wrinkled and toned; excellent. Matilda Sissieretta Jones 1869–1933 was an African-American opera singer from Portsmouth Virginia. She studied at the Providence Academy of Music and the New England Conservatory in Boston. At the start of her career Jones sang solo or in small groups touring North and South America the Caribbean and Europe. Jones’ talent was renowned; she was the first Black artist to sing at Carnegie Hall and she performed for multiple US presidents and the English royal family among many other accomplishments.1 In 1896 she formed Black Patti’s Troubadours—Jones was given the nickname “Black Patti” by a critic after famed Spanish opera singer Adelina Patti. The Troubadours would perform comical vaudeville and minstrel skits without Jones followed by Jones performing her “operatic kaleidoscope” of musical excerpts. Offered here are two magazine clippings—based on the advertisements these were printed in Portland Oregon—promoting two Black Patti’s shows: “A Rag Time Frolic at Ras-Bury Park” and “Jolly ‘Coon’-ey Island”. The latter was written by Ernest Hogan a musician widely credited with creating the ragtime genre; he would become the first African-American performer to produce and star in a Broadway show 1907’s The Oyster Man. Jones’ kaleidoscope pieces include excerpts from Faust Pirates of Penzance and others; both shows also feature an audience-judged cakewalk. Of interest to scholars of M. Sissieretta Jones and African-American entertainers at the turn of the century. 1 “Jones M. Sissieretta ‘Black Patti’” in Africana: The Encyclopedia of the African and African American Experience ed. Anthony Appiah and Henry Louis Gates Basic Civitas Books 1999 1064. unknown
1955réf. 120663Paris, Librairie d'Amérique et d'Orient 1955 In-4 27 x 18 cm. Broché, couverture grise, auteur & titre en noir sur le dos et le premier plat de couverture, XXVIII-157 pp., notes bibliographiques en pied de page, table des matières.Exemplaire en bon état.
réf. c5169Editions du Bélier, 1943 ; grand in-8°, broché, couverture rempliée blanche illustrée en couleurs; 145pp.,1f.nch. Illustré en couleurs de dessins dans le texte ou à pleine page par R. Peynet.
réf. 19506Les Productions de Paris, 1964. 18 x 21, 416 pp., nombreuses illustrations en N/B et dessins en rose, cartonnage d'édition illustré, très bon état.
