52,862 results
1974ref. 41518Bologna: Arnaldo Forni Editori 1974. Oblong folio. Loose in full red cloth folder with cloth ties titling gilt to spine. Violino: 1f. recto title verso blank 2ff. textual commentary by Alberto Colzani 1f. recto facsimile of original title verso blank 13ff.; Violoncello: 1f. recto title verso blank 13ff. 1f. recto colophon verso blank. Printed on rectos only. Slightly worn; split at spine. Bibliotheca Musica Bonboniensis Sezione IV N. 144. Arnaldo Forni Editori unknown books
1972ref. 41514Rome: Editrice Bibliopola Vivarelli & Gulla 1972. Oblong folio. Original dark brown cloth-backed publisher's boards. 158 pp. facsimile of original manuscript 1f. recto colophon verso blank. Contains works by Alteriis Bertoni Besozzi Boninsegna Cervellini Chiarini Galuppi Gasparini Legato Lucchese Maggi Marcello Pavona Pazzi Sarti Sassone Serafico Spergher Tarsi Tartini Valle etc. Binding slightly worn. Minor browning. [Editrice Bibliopola Vivarelli & Gulla] unknown books
1974ref. 41526Bologna: Arnaldo Forni Editore 1974. Folio. Loose in facscicles in full red cloth folder with ties. 1f. recto title verso blank iii "Premessa" by Alberto Colzani i blank; Violino primo: 1f. recto title verso blank 26 pp. 1f. blank; Violino secondo: 1f. recto title verso blank 26 pp.; Basso: 1f. recto title verso blank 24 pp. 1f. recto contents verso blank 1f. recto colophon verso blank. Contains sonatas by Bettinozzi Giovanni Andrea Alberti Giuseppe Alberti Farne Laurenti ManfrediniMazzolini Prandi Sandoni Torelli and Vitali. Facsimile of the work published in Bologna in 1706. Biblioteca Musica Bononiensis Sez. IV N. 143. Arnaldo Forni Editore unknown books
1880ref. 41617Boston Cambridge: Houghton Mifflin and Company; The Riverside Press 1880. Full dark green cloth with illustration of Jubilee Hall at Fisk University to upper titling to spine gilt dark brown endpapers 1f. recto blank verso frontispiece 1f. recto title verso printer's note iii-viii 122 preface index to music pp. 123-243 music. With occasional illustrative plates. With photographic frontispiece portrait of the Fisk Singers with caption identifying each. Binding quite worn rubbed and bumped. Browned. The Fisk Jubilee Singers composed of nine singers and a pianist were organized in 1871 as a means of raising funds for Fisk University a newly-established college for freed slaves. The group toured throughout the United States and Europe performing arrangements of spirituals as well as anthems popular ballads and operatic selections. Houghton, Mifflin and Company; The Riverside Press unknown books
1907ref. 41615Leipzig: Breitkopf & Härtel 1907. Large octavo. Original dark olive green publisher's printed wrappers. 1f. recto title verso blank 1f. recto dedication verso blank 1f. recto preface verso blank 1f. recto contents verso blank. 338 pp. With index. Wrappers considerably worn and detached. Browned; signatures separated. Breitkopf & Härtel unknown books
1925ref. 239021925. Women's same sex intimacy vernacular photo archive circa 1925 to 1935 documenting social scenes in which women kiss embrace pose as couples and move between conventionally feminine dress and masculine coded work and leisure clothing. The most direct photographs show women kissing while seated together outdoors holding one another closely and staging a playful courtship tableau with one woman kneeling before another. These photographs date from an interwar period in which relationships between women could be intensely present in private life while remaining difficult to name publicly. Laws and public attitudes toward nonconforming sexuality grew harsher in the early twentieth century and fear of arrest family rejection loss of employment or housing and violence led many people to conceal aspects of their identities; during the same period municipal ordinances in numerous American cities criminalized appearing in public in clothing deemed inappropriate to one's sex. Photo archive of 20 silver gelatin vernacular photographs ranging from approximately 2.5 x 3.5 to 2.5 x 4.5 inches United States c.1925 to 1935. The photographs repeatedly depict women in pairs and small groups across rural domestic and recreational settings. One pair sits closely together in the grass and kisses; another woman wraps both arms around a seated companion and kisses her; two women stand pressed together in bathing attire; and another pair clasp hands and lean backward from one another in a playful outdoor pose. A particularly theatrical image shows a woman dressed in trousers or knickerbockers kneeling before a standing woman and gesturing upward in a scene resembling a marriage proposal or courtship performance. Several women wear neckties loose trousers knickerbockers overalls boots collared shirts and cropped hairstyles clothing that carried masculine associations during the period while other images show the same social world in dresses cloche style hats tailored coats skirts and bathing suits. Three women in work clothes pose together outdoors; another stands in a cultivated field wearing trousers and high boots; a woman carrying a basket of produce appears in similar clothing; and a mixed group gathers beside railroad tracks. Leisure scenes show women swimming reclining on blankets or grass embracing in gardens and yards and posing with arms around one another. One photograph captioned "Hank" on the verso depicts male to female cross dressing extending the archive's record of gender play beyond the women's masculine coded presentation. Several prints retain black paper album corners or mounting remnants from earlier album placement while other versos carry numerical stamps and later pencil notations. The archive belongs to a period when older forms of socially tolerated female companionship increasingly collided with emerging medical legal and popular definitions of homosexuality as a distinct and stigmatized identity. By the late 1920s and 1930s women whose relationships clothing or public behavior departed from heterosexual and feminine conventions faced growing scrutiny even as queer social worlds became more visible in cities such as New York. Performers including Gladys Bentley made female masculinity and desire for women conspicuous within Harlem nightlife appearing in men's formalwear and openly directing flirtation toward women while outside those exceptional public settings same sex relationships were more often preserved through private domestic life friendship networks and personal photographs. This group records that private register: not a single ambiguous embrace but repeated scenes of kissing coupled posing physical affection mock courtship masculine coded dress and cross dressing across a twenty photograph social record. Light to moderate surface wear occasional creasing and silvering remnants of album mounting at several corners. Overall in good condition. A concentrated visual record of women photographing same sex intimacy gender nonconforming presentation and private social bonds during the interwar years. unknown books
ref. 41409Oblong quarto. Half mid-brown cloth with marbled boards decorative cut paper label blank to upper. With "L von Harten" or "von Harten" in contemporary manuscript to front free endpaper and some titles. Includes music by several obscure composers and some unusual lithographic imprints. Contents: - Carafa Michele 1787-1872 Duett für Sopran und Tenor. "Sempre più t'amo -" "Immer neu fühl' ich" . Pr. 5 gr. Hamburg: Aug. Cranz 1831. i title 2-5 i blank pp. Text in Italian and German. Engraved. "From 1814 he developed into one of the most prolific opera composers of his day." Julian Budden in Grove Music Online - Auswahl vorzüglicher Duetten für zwei Singstimmen mit Begleitung des Piano=Forte. No. 3. Hamburg: Joh. Aug. Böhme PN 2537.3 ca. 1835. i title 2-5 i blank pp. Text in Italian and German. Engraved. - Kuhlau Friedrich 1786-1832 Die Albissinn und die Nonne. Ein Wechsesgesang . gedichtet und herausgegeben von Theodor von Kobbe. Dem Herrn oberschenk Staatsrath von Beaulieu-Marconnay Grosskrruz gehorsamst zugeeignet. Bremen in Commission bey J.A. H. Schröter Wwe. Eigenthum des Verlegers Zum Besten einiger Nothleidenden. Lithographie von G. Töntzen in Bremen ca. 1830. 1f. recto title verso "Zueignung" i music i blank pp. Text in German. Lithographed. "Together with C.E.F. Weyse he was the foremost representative of the late Classical and early Romantic periods in Denmark." Gorm Busk in Grove Music Online - Beethoven Ludwig van 1770-1827 Nachruf obituary für's Piano-Forte. Preis 4 Ggr. IIte. Auflage. Celle: A.H. Oetling. i title 2-3 i blank pp. Text in German commencing "O Du hach der sich alle meine Wünsche lenken." Lithographed. Tear to title repaired. - Miltitz Carl Borromäus von 1781-1845 Cas Lied der Hirtin. Gedichtet und mit Begleitung des Pianoforte in Music gesetzt für Madame Anna Milder . No. 66. Pr. 4. Gr. Dresden: der Meser'schen Kunst-u. Musikalien-Handlung ca. 1835. i title ii music i blank pp. Text in German. Lithographed. - Reinicke L.C. Schwanen-Lied. Es wohnen zwei Schwäne im See etc: mit Piano=Forte oder Guitarre . Pr. 4 Gr. Hamburg: A. Cranz ca. 1835. i title 2 music 3 text to verses 2-6 i blank pp. Text in German. Engraved. - Weber Carl Maria von 1786-1826 Fuenf ausgewaehlte kleine Lieder mit Beglet6ung des Pianoforte oder Guitarre . Pr. 12 Gr. Leipzig: Friedrich Hofmeister PN 588 ca. 1830. i title 12 pp. Text in German. Lithographed. "A seminal figure of the 19th century he influenced composers as diverse as Marschner Mendelssohn Wagner Meyerbeer Berlioz and Liszt." Michael C. Tusa in Grove Music Online - Journal d'Apollon No. 71. Portrait Charmant. Romance. Musique et Accompagnement de Piano ou Harpe. A La Haye imprint abraded ca. 1830. i blank 2 music i blank pp. Text in French. Smaller format. Engraved. - Marschner Heinrich 1785-1861 Der Templer und Die Jüdin. Grosse romantische Oper in Drei Aufzügen . Vollständiger Klavierauszug vom Komponisten. No. 4. Lied des Narren Wamba. Leipzig: Friedrich Hofmeister PN 1468_3002 ca. 1840. i title 2-3 music i blank pp. Text in German. Engraved. With contents and brief publisher's catalogue to title. Marschner "was the most important exponent of German Romantic opera in the generation between Weber and Wagner." A. Dean Palmer in Grove Music Online - Meyerbeer J. Giacomo 1791-1864 Robert der Teufel Robert Le Diable. Romantische oper von Scribe und Delavigne. Deutsch bearbeitet von Dr. M.L. Langenschwarz . Erleichterter Clariverauszug. No. 9. Duett. Du rendez-vous; Sie kömmt hieher. Pr. 12 gr. Hamburg: J.A. Böhme . Aug. Cranz ca. 1835. i title 48-50 57-59 i blank pp. Text in German and French. Lacking pp. 51-56. "The most frequently performed opera composer during the 19th century linking Mozart and Wagner." Matthias Brzoska in Grove Music Online - Meyerbeer As above No. 12. Duett. Nun Alice komm hieher; Mais Alice qu'as tu donc Pr. 6 gr. Ca. 1835. i title 74-79 i blank pp. Text in German and French. - Alles ist Schein! Gesellschaftslied: Flimmert das Gold so Lacht uns das Leben. Mit Begleitung von Pianoforte oder Guitarre. Pr. 4 gr. Hamburg: Aug. Cranz. i title 1 unnumbered i blank pp. Text in German. Incomplete. Engraved. - Methfessel Albert 1785-1869 Zwei Gesänge aus der Oper der alte Feldherr oder der Kriegeszug nach Norden mit Beleitung des Piano=Forte oder der Guitarre . IIte. Auflage. Celle: H. Oetling. i title illustrated with a scene from the opera i music i text to verses 2 and 3 i blank pp. Text in German. Lithographed. - Huldigung der Freunde. Eine Sammliung Ausgewählter Mode=Tänze Für das Pianoforte. Is. Heft. No. 2 . Pr: Rthlr. 3 gr. Fest Walzer aus Olimpia von Spontini; Geschwind Walzer aus Olimpia von Spontini. i title 4-5 i blank pp. Leipzig: bei H.A. Probst PN 1666 ca. 1830. Engraved. With Frankfurt a/m in der Fischer'schen Musik=Verlags=Handlung. Zeil D. 211 auch wahrend der Messe in der Braunfels Galerie No. 21.22. overpaste to foot of title. - Körner G. F. fl. 1790-1810 Trois Sonatines Pour le Forte=Piano . Oevre! IX. 16 Ggr. Hambourg: chéz A. Cranz. 1f. recto title verso blank 14 i blank pp. Engraved. - Bornhardt Johann Heinrich Carl 1774-1843 Leichte Variazionen für Aufänger auf dem Fortepiano über das Favoritliedchen: Einsam wandelt dein Freund im Frühlingsgarten etc. . Pr. 4 ggr. Hamburg: August Cranz. i title 2-4 pp. Text in German. Engraved. - Pleyel Ignace 1757-1831 VI Sonates pour le Pianoforte . Oeuv. XV. Pr: 12 Gr. Livr. III. Leipsic: Fred. Hofmeister PN 472. i title 2-13 i blank pp. Lithographed. - Bremer neue Tänze. Louisen Walzer. Breman: I.G. Stock. 1f. recto music verso blank. Engraved. - Puverstoffel Höpser aus den Bürgern in Wien. Bremen: I.G. Stock. 1f. recto music verso blank. Lithographed. - Guenther T. Märsche des Bremisch-Hanseatischenb-Feld-Bataillons nebst einigen Tänzen für das Piano-Forte . Liv. 2. Pr. blank. Bremen: T. Günther. 1f. recto title verso blank 11 i blank pp. Engraved. Binding worn rubbed and bumped; endpapers worn browned and slightly chipped with somewhat crude musical notation in pencil. Some wear browning foxing and dampstaining; some leaves trimmed affecting ownership signature. unknown books
1969ref. 95677T'ai-pei: I wen yin shu kuan 1969. Reprint of the Weng copy of 1262 containing 32 volumes plus two Tables Contents. Incomplete but otherwise near fine. Volumes 1-24 only of 32 volumes plus 2 Table of Contents volumes. String-bound volumes 36 cm. in three han a pegged Chinese book box or chemise. Press run was limited to 150 copies. OCLC locates one copy Nelson- Atkins Museum of Art. Laid in is a 1985 letter from the President ot the China Institute in America to R. Gordon Wasson about the vqalue of this set in 1985. Wasson was a former owner but not the individual from whom we bought these volumes. The missing fourth han which had gone astray before this set reached us from a subsequent owner presumably contained volumes 25-32 and the two Tables of Contents volumes. Su Shi was an important and at least twice banished Song Dynasty scholar and poet. The 1262 printing contained 42 volumes plus the two Tables of Contents vols. The Weng copy lacking 10 volumes seems to be or have been in 1969 regarded as the most complete surviving set. I wen yin shu kuan unknown books
1599ref. 41148Brixiæ Brescia: Apud Vincentium Sabbium 1599. Quarto. Full contemporary vellum with manuscript titling to spine. 1f. recto verso blank p. 3 dedication p. 4 "Tabula" 5-143 i blank pp. Printed in red and black. Typeset throughout. With decorative woodcut initials and woodcuts of religious scenes at head of each chapter. Title with large oval woodcut device incorporating saints and Latin motto "Ecclesiæ Brixiani Advocata Defensores." Includes ca. 35 pages of neumatic musical notation on red 4-line staves scored for solo voice. With 17th and 18th century annotations to front pastedown canceled "M. A" M. Dona . F. B. and front free endpaper in two hands: the first "Ego Carolus Fontana . 1699" and the second Barthoi Campagnola Archipbri sta Caecilia Verona dono Antonij Piccoli Verone Archibri Terrentiani Brixien Diacesis die 10 Feris 1734." Annotation to verso of rear free endpaper "L h P. Ego Carolus Fontana de Rsa Pa habita Gambar 1699." Binding worn soiled and stained with a few minor tears to edges and spine; remnants of early vellum ties. Moderate foxing to title; occasional light foxing minor soiling dampstaining and small stains; mispagination from p. 57. OCLC 1 copy only at the Sistema Bibliotecario Ticinese in Switzerland. OPAC SBN 1 copy only at the Biblioteca di Studi Giuridici e Umanistici in Milan. Apud Vincentium Sabbium unknown books
1890ref. TK0365Zurich: ca.1890-1900. 1890. Folio. 11 x 14 inches. Original half black leather gilt-rules black cloth covers; neatly restored with black cloth and some internal tabs joints made strong. Very good. A splendid selection of full-sized original photographic prints each showing Switzerland and both its natural and charming surroundings both cities and monuments. / Many of the photographic prints in this album are signed with the name of Ed. Schroeder & Cie. Zurich. / The images shows scenes of Amsteg Andermatt Axenstrasse et la Gallerie Bellinzona Brunnen Chamonix Fluelon Furka Geneve Gorge du Trient Goeschenen La Flegere Lausanne Lucern Martigny Mont Fleury Monte Rosa Montreux Ouchy Pisse vache Rheinfall Riederhorn Riffelhaus St. Gervais Seelisberg Urner Vevey Wassen and William Tell's chapel. There is a splendid two-panel panorama of the Swiss Alps some of them being a panorama de la Flegere. Some plates show the glacier formations of the time now all gone. ca.1890-1900. hardcover books
ref. 40413Folio. Full dark red calf with elaborate tooling gilt incorporating floral motifs to margins of boards "À Marie" gilt to upper spine in decorative compartments gilt blue silk endpapers. Preserved in a quarter dark red morocco clamshell box with matching dark red silk boards raised bands on spine in decorative compartments gilt with titling gilt. 1f. recto title verso notes on performance 1f. recto dedication verso blank 48 i contents. Watermark of a crown above a shield with fleur-de-lis and the name H BLUM. Text in French. Dedication reads: "À Marie / L'Amour d'abord médita cel hommage: / C'est l'amitié qui vous l'offre en ce jour. / Que l'amitié le recoive à son tour: / Ce sentiment de tout me dédommage." A finely executed calligraphic manuscript containing French songs set for voice piano and violin. The pieces appear to be original arrangements of contemporary and earlier songs. Contents: No. 1. Romance À Madme. La Marquise De L'Ese Imitée de la chanson De Monterif Elle m'aima cette Belle Aspasie No. 2. Romance À Madame Cr. . air ancien No. 3. Lai De Bliomberis Voyez Bliomberis Nouvelle de M. De Florian No. 4. Couplets À Melle. De Lum No. 5. Couplets Allégoriques Àk Mdme. De G. . Parodiés Sur un Rondeau de Mr. Pleyel No. 6. Paul Et Virginie. Romance. Paroles de Mr. Doigni Du Ponceau No. 7. Romance À Nice No. 8. Couplets À Nice No. 9. Les Adieux De Némorin. Voyez Estelle par Mr. De Florian No. 10. Autre Romance d'Estelle No. 11. Romance À Melle De Ranc .Tom Et Lucy Romance historique À Marie. L'anecdote qui fait le sujet de cette Romance à été inseee dans le Courier de L'Europe au mois de Juillet 1779 Binding somewhat worn and rubbed; minor loss to spine and corners; upper detached; hinges split. Some minor foxing staining soiling and showthrough; some signatures loose; upper outer corner of title with contemporary signature crossed out and thus indecipherable. A very attractive and elegantly presented manuscript overall. unknown books
1709ref. 40499Paris 1709. FEUILLET and DEZAIS Chorégraphie ou l'art de décrire la dance par caractères figures et signes démonstrifs avec lesquels on apprend facilement de soy-même toutes sortes de dances. ouvrage très utile aux maîtres à dancer et à toutes les personnes qui s'appliquent à la dance. Par Mrs. Feuillet et Dezais Maîtres de Dances. Prix: . Paris: Chez le Sr. Dezais Ruë de Bussi Faubourg St. Germain à la Cour Impériale . Avec Privilége du Roy 1713. 1f. recto title verso blank i dedication "A Monsieur Pécour Pensionnaire des Menus Plaisirs du Roy et Compositeur des Balets de l'Académie Royale de Musique de Paris" ii Préface i "Extrait du Privilege du Roi" 95 i blank pp. Engraved throughout. The revised fourth edition of this seminal work first published in 1700. RISM Écrits Imprimés p. 314 2 copies only of all editions in the U.S.: one of the first 1700 edition at the NYPL and one of the present edition at the Library of Congress. Beaumont p. 72. De Moroda 938. Schwartz and Schlundt 21. This edition not in Cortot Hirsch or Malkin. "A rather less known choreographer is Jacques Dezais. He lived in the first half of 18th century and regarded himself as a follower of R. A. Feuillet. In 1726 he published a collection of dances named Premier Livre de Contre-Dances à Quatre à six & à Huit. Unfortunately the publication was lost when the famous Anna-Amalie Library in Weimar burned in 2004." earlydance/news/8138-les-cotillons-de-jacques-dezais Bound with: FEUILLET Recueil de Dances Composées par Mr. Feuillet Maître de Dance. Paris: Chez l'Auteur rue de Bussi Faubourg St. Germain à la Cour Imperiale Avec Privilége du Roy 1709. 1f. recto title verso blank 84 pp. Engraved throughout. Contains 18 dances in Feuillet notation with melody for each at head as follows: - Le Rigaudon de la Paix pp. 1-2 - 2e Rigaudons pp. 3-7 - Gigue à deux Gigue de Roland pp. 8-11 - Entrée a deux Rigaudon pp. 12-16 - Autre Entrée a deux Rigaudon pp. 17-20 - Sarabande pour femme Sarabande pp. 21-24 - Sarabande pour homme Sarabande pp. 25-28 - Sarabande Espagnole pour homme Sarabande Espagnole pp. 29-32 - Folie d'Espagne pour femme Folie d'espagne pp. 33-38 - Canary à deux Canary pp. 39-40 - Gigue pour homme Gigue pp. 41-44 - Entrée pour homme pp. 45-48 - Autre entrée pour homme entree pp. 49-52 - Entrée grave pour homme pp. 53-59 - Entrée d'Apolon Entrée Apolon pp. 60-66 - Balet de neuf Danseurs entre graue pp. 67-72 - Canary pp. 73-74 - second canary p. 75-84 with pp. 77-84 folding First published in 1700. Little and Marsh 1709-Feu p. 103 for a list of editions and issues see 1700-Feu. De Moroda 938. This edition not in Malkin Niles & Leslie Schwartz & Schlundt or RISM "All but one of the dances in Feuillet's collection are solos or duets ranging from easy to difficult; the single exception is a piece for eight dancers and a soloist - the only known example in Feuillet notation of a French ballet entry for more than two persons." Little and Marsh p. 91. Bound with: FEUILLET Recueil de Dances Composées par M. Pecour Pensionnaire des menus Plaisirs du Roy et Compositeur des Balets de l'Academie Royale de Musique de Paris et mise sur le Papier par M. Feuillet. Maître de Dance. Paris: Chez l'Auteur rue de Bussi Faubourg St. Germain à la Cour Impériale Avec Privilege du Roy 1709. 1f. recto title verso blank 72 pp. Engraved throughout. Contains 15 dances in Feuillet notation with melody for each at head as follows: - la Bourée d'Achille Bourée pp. 1-3 - menuet pp. 4-11 - La Mariée la Mariée pp. 12-21 - le Passepied passepied pp. 22-23 - 2e. Passepied pp. 24-31 - la Contredance Gigue pp. 32-36 - le Rigaudon des Vaisseaux Rigaudon pp. 37-39 - 2e. Rigaudon pp. 40-42 - la Bourgogne Courant pp. 43-44 - Bourée pp. 45-46 - Sarabande pp. 47-48 - PassePied pp. 49-53 - la Savoye Bourée pp. 54-61 - la Forlana la Forlana pp. 62-67 - la Conty Venitienne pp. 68-72 First published in 1700. Little and Marsh 1700-Péc p. 93. De Moroda 1341. This edition not in Malkin Niles & Leslie Schwartz & Schlundt or RISM. "Pecour's Recueil was bound and sold with Feuillet's Chorégraphie and Feuillet's Recueil . for a survey of editions and issues see comments under 1700-Feu. This collection contains a variety of pieces for ball dancing in vogue in 1700; many of them are quite difficult. According to the preface to Feuillet's Chorégraphie Pécour himself went over the proofs to eliminate errors in notation." Little and Marsh p. 93. Louis Guillaume Pécour 1651-1729 was an important French dancing-master and choreographer. He worked closely with celebrated royal choreographer Pierre Beauchamp 1631-1705 Louis XIV's personal dancing master. Octavo. Full dark brown mottled calf with raised bands on spine in decorative compartments gilt dark brown title label gilt. Binding worn rubbed and bumped with some abrasions; head of spine joints and edges chipped with minor loss; endpapers slightly worn soiled and foxed. Occasional minor signs of wear soiling and foxing; several titles very slightly cropped. Very good copies overall of all three works. Feuillet was a highly important French choreographer dancing-master and author. "He worked at the court of Louis XIV. His fame rests on his Chorégraphie a book describing a system of dance notation that was used in Europe throughout the 18th century. He probably did not invent the system himself although he said he had but derived it from the original work of Pierre Beauchamps Louis XIV's personal dancing-master. Unlike previous methods which describe movement verbally and use letters to refer to the sequence of steps Feuillet's system is a track notation. It represents symbolically not only the steps of the dancer with his turns leaps and slides but also the floor pattern in which he is to travel. The dance music is printed at the top of the page and the steps are marked off in a manner corresponding to the structure of the music. . The publication of the Beauchamp-Feuillet notation meant that specific dances could easily be distributed throughout Europe. It also added to France's pre-eminence in the world of dance. Today the system makes it possible for scholars to study some of the dances in use in the late 17th and early 18th centuries an important period for the development of the classical French ballet style and technique." Meredith Ellis Little in Grove Music Online "With the invention of his dance notation system in the eighteenth century Raoul-Auger Feuillet revolutionized the dance world. Published in 1700 his Chorégraphie . was conceived as a self-teaching device not a way of preserving dance. Yet owing to its immense popularity throughout Europe even today a large body of theatrical and ballroom dances from that period in both printed and manuscript forms can still be found in most archives. . Chorégraphie was reprinted three times in thirteen years translated into English by John Weaver in 1706 and appeared in various "improved" versions in France Germany Spain and Portugal. Voltaire 1751 ranked the invention among the "achievements of his day" and Denis Diderot 1763 devoted ten pages to the subject in his Encyclopédie." International Encyclopedia of Dance Vol. 2 p. 588. An extraordinary presentation of three of the most important early choreographic works all major factors in confirming France's preeminence in the world of 18th century ballet. unknown books
1860ref. 40254France 1860. Oblong quarto 191 x 238 mm. 2 pp. of a bifolium notated in black ink on 8-stave rastrum-ruled paper with embossed border. Text in French. With "de Susanne pour sa Maman" to upper outer corner of first page of music. With light vertical fold. The text commencing with the line "Accepte! ces Roses nouvelles" is drawn from "Compliments en prose et en vers: pour souhaiter la nouvelle année et les fêtes à ses père mère oncles tantes frères soeurs grand'papa grand'maman parrain marraine amis." Jules Rostaing under the pseudonym Mme. J.-J. Lambert 1858. A charming gift from a daughter to her mother. unknown books
1928ref. 95491Paris: Paul Geuthner 1928. Hardcover. Very Good. folded facsimiles 2 prelimanary pages 7 folding facsimiles printed on both side iv 231p. Contemporary 1/2 leather. 25 cm. Includes Tibetan text transliteration and French translation. Annales du Musee Guimet; 37. Paul Geuthner hardcover books
1713ref. 39799Padova: Stamperia del Seminario . Appresso Giovanni Manfrè 1713. Small quarto. Modern half faux vellum with marbled boards. 1f. recto fine full-page woodcut verso blank 1f. recto title with fine large woodcut device verso blank 5-164 vii Index i blank pp. With numerous woodcut musical examples. With a striking full-page woodcut to preliminary leaf depicting a book of plainchant on a cantor's lectern and a large woodcut illustration of a Guidonian hand on folding plate between pp. 34-35. Binding very slightly worn. Light uniform browning; slightly cockled; occasional foxing to margins. A very good crisp copy overall. Second edition of the work first published in 1698. Cortot p. 79 1698 edition. Gregory-Bartlett p. 97 1698 edition. Hirsch I p. 66 1698 edition. RISM Écrits p. 330 one copy only in the U.S. An important treatise on ecclesiastical chant. Stamperia del Seminario ... Appresso Giovanni Manfrè unknown books
ref. 39101Quarto. Full mid-tan mottled calf with coat of arms gilt to both boards raised bands on spine in decorative compartments gilt marbled endpapers. With occasional decorative woodcut initials and head- and tailpieces throughout. 1. DESTOUCHES Andre Cardinal 1672-1749 Le Carnaval et La Folie Comedie-Ballet representée par l'Academie Royale de Musique pour le premiere fois. Le troisième Janvier 1704. Remise au théâtre Le seizième May 1719. Le treizième Juillet 1730. Le septième Août 1738. Et le Mardi onziéme Juin. 1748. Nouvelle Édition Prix XXX. Sols. Paris: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel & Fils 1748. 1f. recto title verso "Les Paroles de Monsieur de la Motte. La Musique de Monsieur Destouches." 1f. cast list 5-51 i approbation and imprint. With manuscript paraph to title. Named cast includes: - "Acteurs Chantans dans les Choeurs" for the Côté du Roi performance Mlles. Dun Toulou Delorge Larcher Cazeau Rosalie Le Tourneur Duperey and Grimiaux and Messrs. Lefebre Le Page C Laubertie Fel Bourque Duchênet Rochette and Gratin; and for the Côté de la Reine performance Mlles. Cartou Masson Gondré Rôllet Delâtre Lablotiere Daliere Victoire Hery and Folliot and Messrs. S. Martin Le Mesle Bellanger Levasseur Belot Chapotin Favier and Le Roy - "Acteurs du Prologue" Mlle. Romainvile; Messrs. Person Le Page and de la Tour - Dancers Mlle. Puvigné in Hebé; Mlles. Lyonnois Courcelle and Thieri in Les Graces; Messrs. Devisse Caillez Laval Feuillade and Mion; Mlles. Dazenoncourt Briseval Minot and Puvigné in "Jeux & Plaisirs." A pupil of Campra Destouches achieved considerable success as a composer of stage music. His Isse was greatly admired by King Louis XIV. "Le carnaval et la folie is one of the first examples of a lyric comedy in France." James R. Anthony in Grove Music Online 2. CAMPRA André 1660-1744 Monteclair Bourgeois and Rameau Fragmens de Differens Ballets Représentés par l'Academie Royale de Musique Le Mardi 10 Séptembre 1748. Prix XXX. Sols. Paris: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel & Fils 1748. In a prologue and 3 acts. - 1f. recto title verso "Les Paroles de M. Danchet. La Musique de M. Campra." 3-4 cast list 5-8 "Prologue des Amours de Venus" Named cast includes: - "Acteurs Chantans dans les Choeurs" for the Côté du Roi performance Mlles. du Toulou Delorge Larcher Cazeau Rosalie Folliot Le Tourneur and Grimiau and Messieurs Lefebvre Le Page C. Laubertie Fel Bourque Duchênet Rochette and Gratin; and for the Côté de la Reine performance Mlles. Cartou Masson Gondré Rôllet Delâtre Lablotiere Daliere Chesdville Hery and Duperey and Messieurs S. Martin Le Mesle Bellanger Levasseur Belog Chapotin Favier and Le Roy - "Acteurs du Prologue" Mlle. Romainville Jacquet and Met - Dancers Mlles. Imblot Sauvage Parquet Amedée Carville Devaux Bellot L. and Bellot C; Mrs. Le Febvre Laurent Laval Caillé Feuillade and Bourgeois; Messieurs Le Lievre and Devisse. Campra was a leading figure in French theatrical and sacred music in the early 18th century. With: MONTECLAIR Michel Pignolet 1667-1737 1 Les Soirées de l'Eté tirées du ballet Des Festes de l'Eté: Le Paroles d de M. Pellegrin. La Musique de M. Monteclair. 2 cast list 3-22 pp. Named cast includes: - Actors Mlles. Coupée and Chevalier and Messieurs Person de la Tour and Le Page - Dancers Mlles. Camargo Lyonois Thierry Dazenoncourt Sauvage Beaufort and Briseval; Mrs. Dupré Dumay Matignon Hamoche and Caillé; Monsieurs Tessier and Levoir "Although not prolific Montéclair wrote in most of the genres cultivated during the early 18th century in France excepting only the keyboard. He was one of the most versatile of the generation between Lully's death 1687 and Rameau's advent as a stage composer 1733; composers of this 'préramiste' period are often described as 'imitators of Lully' but Montéclair and Campra are among those who influenced Rameau's dramatic music. In his stage works Montéclair was particularly sensitive to the dramatic function of orchestral colour. His operatic scores are much clearer than those of his contemporaries in giving directions for specific instruments like the off-stage horns 'played very softly to simulate the hunt in the distance' in the second entrée of Les festes de l'été Montéclair added that 'if no cors de chasse are available oboes and violins may play the following and remain in the orchestra'. In the same work a 'Prélude à trois basses' introduces the first scene of the third entrée where the main roles are sung by basses; the prelude to the second scene whose main roles are sung by sopranos is scored for violins and violas without continuo. The parts enter in reverse order and the melodic material is derived from the earlier prelude ex.1. Les festes de l'été and Jephté both contain an a cappella chorus and the former has a large-scale double chorus - an operatic counterpart to the choruses in Lalande's grands motets." James R. Anthony in Grove Music Online With: BOURGEOIS Thomas Louis 1676-1750 or 1751 1 L'Estime tiré Des Amours Déguisés. Les Paroles de Monsieur Fuzelier. La Musique de Monsieur Bourgeois. 2 cast list 3-14 pp. Named cast includes: - Actors Mlles. Fel Jacquet and Gondré; Messieurs de Chassé Poirier and Person - Dancers Mlles. Dallemand Thieri St. Germain Minot Sauvage Briseval and Himblot; Mrs. Dupré Lany Devisse Lyonnois Dumat Matignon Hamoche Laval and Feuillade; Mr. Doumoulin. A French composer and singer best known for his contributions to the 18th century French cantata Bourgeois also wrote ballets and divertissements. With: RAMEAU Jean-Philippe 1683-1754 1 Pigmalion Acte de Ballet. La Musique de Monsieur Rameau 2 cast list 3-10 1f. approbation and privilege "Rameau was one of the greatest figures in French musical history a theorist of European stature and France's leading 18th-century composer. He made important contributions to the cantata the motet and more especially keyboard music and many of his dramatic compositions stand alongside those of Lully and Gluck as the pinnacles of pre-Revolutionary French opera." Graham Sadler and Thomas Christensen in Grove Music Online 3. RAMEAU Les Festes de l'Himen et de L'Amour; ou Les Dieux d'Egypte Ballet Héroïque Donné à Versailles le quinze Mars 1747. Et Représenté pour la premiere fois par L'Academie Royale de Musique le Mardi 5 November 1748. Prix XXX. Sols. Paris: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel & Fils 1748. 1f. recto title verso blank 3 half-title with "La Poëme est de M. de Cahusac. La Musique de M. Rameau. La Danse de M. Laval Compositeur des Ballets du Roi." 4 cast list 5 synopsis 6 cast list 7-58 1f. privilege. With manuscript paraph to title. Named cast for the Prologue includes: - "Acteurs Chantans dans les Choeurs" for the Côté du Roi performance Melles. Dun Tulou Delorge Larcher Cazeau Rosalie Le Tourneur Dupereyand Grimiaux and Messieurs Lefebvre Le Page C. Laubertie Fel Bourque Duchênet Rochette and Gratin; and for the Côte de la Reine performance Mlles. Cartou Masson Gondré Rôllet Delâtre Lablotiere Daliere Victoire Hery Folliot and Messieurs S. Martin Le Mesle Bellanger Levasseur Belot Chapotin Favier and Le Roy. - "Acteurs du Prologue" Mlles. Coupée and Romainveille; Mr. Poirier - Dancers Mlles. Carville Courcelle and St. Germain in Les Graces; Mlles. Puvignée Dazenoncourt Himblot and Briseval and Mrs. Laval Laurent le Lievre and Bourgeois in Jeux et Plaisirs; Mlles. Minot Beaufort Thierry and Sauvage in Vertus. Named cast for the Premiere Entrée includes: - "Acteurs Chantans" Mlles. Chevalier and Gondré; Monsieur Jeliote - Dancers Mlles. Puvignée Derseuille Chevrier Masson Hutte St- Germain Courcelle Thiery Minot Dallemand Belnot C. Parquet Devaus Amedée Camargo Dazenoncourt Beaufort Belnot L. and Belnot C.; Mrs. Dupré F. Barrois Hamoche Mion Matignon Dumay Laval Dupré Feuillade Caillé le Liévre and Laurent; Messieurs Lany and Dumoulin Named cast for the Seconde Entrée includes: - "Acteurs Chantans" Mlle. Romainville; Messieurs le Page De la Tour and Albert - Dancers Mlles. Lyonnois Amedée Devaux Sauvage L. Belnot and C. Belnot; Mrs. Laval Matignon Dumay le Lievre Hamoche Feuillade Lyonnois Mion Laurent and Bourgeois; Messieurs Lyonnois and Dupré Named cast for the Troisieme Entrée includes: - "Acteurs Chantans" Mlles. Fel Coupée and d'Aliére; Messieurs Jeliote Person Poirier and Lamarre - Dancers Mlles. Camargo Dallemand Puvignée Lyonois St. Germain Courcelles Thiery Puvignée Desnoncourt and Minot; Mrs. Lany Dumoulin Tessier Laval Hamoche Caillez Feuillade Dumay and Dupré; Monsieur Device First Edition. Sonneck p. 500 editions of 1765 and 1778 only. 4. RAMEAU Platée Ballet Bouffon representé par L'Academie Royale de Musique pour le Carnaval De mil sept cent quarente!neuf. Le Mardi quatre Fevrier de la même année. Prix XXX Sols. Paris: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel & Fils 1749. 1 title 2 "Les Paroles de Monsieur Autreau. La Musique de Monsieur Rameau." 3-4 cast list 5-55. 1f. approbation and privilege. With manuscript paraph to title. Named cast include: - "Acteurs Chantans dans les Choeurs" for the Côte du Roi performance Mlles. dun Tulou Delorge Larcher Cazeau Rosalie Le Tourneur Deperey and Grimiaux and Messieurs Lefebvre le Page C. Laubertie Fel Bourque Duchênet Rochette and Gratin; and for the Côté de la Reine performance Mlles. Cartou Masson Rôllet Lablotiere Daliere Victoire Hery Folliot s. Martin Le Mesle Bellanger Levasseur Bellot Chapotin Favier and Le Roy - "Acteurs du Prologue" Mlles. Cartou Chesdeville Coupée and Rozalie; Messrs. Poirier Person De Lamare - Dancers Mlles L. Belnot C. Belnot Desiré Lyonnois Briseval Dazenoncourt Imblot Parquet and Amedée; Mrs. Laval Caillé Monservin Le Lievre Laurent Hamoche Bourgeois and Milon; Monsieur Lany - "Acteurs du Ballet" Mlles. Jacquet Fel and Coupée; Messrs. De la Tour Le Page Person Poirier and DeLamare - Dancers Mlles. Lany Courcelle St-Germain Thiery Minot Beaufort Sauvage Dallemand Carville Devaux L. Belnot C. Belnot Lyonnois Dallemand Desiré Dazenoncourt and Briseval; Mrs. Dumay Dupré Matignon Feuillade le Lievre Laval Hamoche Bourgeois Laurent and Mion; Me. Dourdet; Messrs. Lyonois Dupré Monservain Tessier Dumoulin Devise and Lany First Edition of the second version. 5. SALOMON Joseph-François 1649-1732 Medée et Jason Tragedie Representée par L'Academie Royale de Musique pour la premiere fpois. Le vingt-quatrième jour d'avril 1713. Reprise le premier de May 1727. Et le vingt-deux Novembre 1736. Remise au Théâtre le Jeudi 20 Février 1749. Prix XXX Sols. Paris: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel & Fils 1749. 1 title 2 "Les Paroles de Monsieur Pellegrein. La Musique de Monsieur Salomon." 3-4 cast list 5-64 i approbation and privilege. With manuscript paraph to title. Not in Sonneck. A French composer and organist "Salomon's operas Medée et Jason and Théonoé are in the tradition of Lully and Campra." Guy Bourligueux in Grove Music Online Binding somewhat worn rubbed and bumped; minor loss to head and tail of spine; slightly shaken; hinges partially split. Minor internal wear; edges slightly browned; occasional foxing; two leaves loose. Very good crisp wide-margined copies overall. unknown books
1977ref. 37181Genève: Minkoff Reprint 1977. Hardcover. Very Good. 3 volumes. Octavo. Boards. 1900 pp. Minkoff Reprint hardcover books
1740ref. 36711London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head illustrating the song with music and text below set for voice and figured bass with a separate part for flute. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark. Slightly worn; minor browning to edges; inner edge frayed; minor dampstaining; slightly creased. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36706London 1740. Unbound. Very Good. 4 leaves with large elaborate vignettes to heads illustrating the song with music and text below set for voice and figured bass. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark; ca. 392 x 247 mm. 15.45" x 9.75" sheet size. Slightly worn; minor browning to edges; minor soiling and dampstaining; inner edges slightly frayed; small tears to edges. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming group of engravings. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36713London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head and engraved tailpiece illustrating the song with music and text set for voice and figured bass. Signed in the plate by the engraver G. Bickham. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark. Slightly worn; inner edge frayed; minor dampstaining; slightly foxed. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36747London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head illustrating the song with music and text below set for voice and figured bass with a separate part for flute. Signed in the plate by the engraver G. Bickham junr. Ca 326 x 200 mm. 12.75" x 7.85" plate mark. Slightly worn; minor soiling and dampstaining. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36699London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head illustrating the song with music and parallel text in Italian and English below set for voice and figured bass with a separate part for flute. Signed in the plate by the engraver Bickham jun. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark. Slightly worn creased and dampstained; minor browning to edges. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36701London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head illustrating the song with music and text below set for voice and figured bass with a separate part for flute. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark. Slightly worn; minor soiling and dampstaining; small stain to upper left just touching image; small tears to margins; small "x" to upper left corner. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36715London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head illustrating the song with music and text below set for voice and figured bass with a separate part for flute. Signed in the plate by the engraver G. Bickham junr. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark Slightly worn; minor browning to edges. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books
1740ref. 36723London 1740. Unbound. Very Good. 1 leaf with a large elaborate vignette to head illustrating the song with music and text below set for voice and figured bass with a separate part for flute. Scroll embellishment at the foot. Signed in the plate by the engraver G. Bickham jun. Ca. 326 x 200 mm. 12.75" x 7.85" plate mark. Slightly worn; minor browning to edges ; inner edge frayed; light dampstaining; slight chipping. From the second edition of Bickham's monumental work first published in 1737-1739. BUC p. 107. RISM BII p. 245. "Bickham 1706-1771 was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer first issued in fortnightly parts each containing four plates from January 1737 to December 1739. The 200 plates are songs headed and surrounded with pictorial embellishments illustrative of the song . and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody engraved by Benjamin Cole." Frank Kidson et al. in Grove Music Online. A charming engraving. The Musical Entertainer is considered one of the finest 18th century illustrated books. Complete copies of this monumental work are exceptionally rare. unknown books