51.417 risultati
1837rif. 41671New York: C.G.Christman No. 404 Pearl St 1837. Folio. 1f. printed on recto only. Catalogue of music published by Christman including Songs by I. Long and Otto Torp; Marches & Quick Steps by L. Krügell A.P. Heinrich and C. Jacobi; Waltzes by Torp Heinrich I.A. Jander L. Herwig and J.B. Dodney; Gallopades & Dances by Heinrich and Krügell; Quadrilles by Long; Duetts by P.K. Weizel; Overturs! by Krügell; Flute Music by J.M. Cambeses and Rossini; The Minstrel for One and Two Flutes; and Instruction Books for Piano Forte Clarinet Flute Violin and Accordeon!. With printed note to foot: "C.G. Christman is constantly Publishing New Music . which with his Catalogue of the New York Circulating Library . makes it worthy the attention of Professors and Amatures! Forign! Music and Musical Instruments Imported direct Piano Fortes Tuned by a first rate Tuner Strings . Musical Instruments repaired Military Bands and Country Merchants supplied on reasonable terms ." Slightly browned; some foxing. An early American music publisher's catalogue; Christman was located at the 404 Pearl Street address from 1837-1851 but the present example is believed to date from his earliest years at that location. Charles G. Christman was a noted American music publisher and instrument maker particularly of flutes for which he held a patent concerning improvements. He was born Prussia in 1799 arrived in New York by 1823 and died in Brooklyn in 1884. [C.G.Christman], No. 404 Pearl St unknown books
1769rif. 41668Newbury-Port: Printed and Sold by Daniel Bailey at his House next Door to St. Paul's Church . Sold also by most Booksellers in Boston 1769. Vol. I. Containing I. A New and Correct Introduction to the Grounds of Musick Rudemental Practical and Technical. II. A New and Complete Body of Church-Musick adapted to the most select Portions of the Book of Psalms of either Versions; with many Fuging Chorus's and Gloria Patri's to the Whole. III. A New and select Number of Hymns Anthems and Canons suited to several occasions; and many of them never before printed; Set by the greatest Masters in the World. The Whole are Composed in Two Three Four and Five Musical Parts according to the nicest Rules; consisting of Solo's Fuges and Chorus's correctly set in Score for Voices or Organ; and fitted for all Teachers Learners and Musical Societies &c. 1f. recto title verso "An Alphabetical Table of Tunes Hymns and Anthems" 3-6 letterpress text 1f. recto blank verso engraved "The Practical Scale of Musick" etc. 1f. recto "Lesson I. the Eight Notes Ascending & Descending" etc. verso blank 9-12 letter press text 96 pp. engraved music. Contains 97 compositions including 16 anthems 1 canon and 1 response for three and four voices a few for two all non-American with 17 in the core repertory. Bound with: The American Harmony or Universal Psalmodist. Containing A Choice and Valuable Collection of Psalm and Hymn-Tunes; Canons and Anthems; with Words Adapted to each Tune. The whole Composed in a New and Easy Taste for Two Three and Four Voices; in the most familiar Keys and Clifts: - Calculated to Promote and Improve this most Excellent Part of Social Worship; and render it both Useful and Delightful; in Quires as well as in Congregations in the Country. By A. Williams Teacher of Psalmody in London. To which is added a Variety of Favourite Hymn Tunes and Anthems; Collected from the Latest and most Celebrated Authors; Carefully set in Score and neatly Engraved. Newburyport: Printed and Sold by Daniel Bayley at his House next Door to St. Paul's Church Newbury-Port: Sold also by Booksellers in Boston 1769. 1f. recto title verso advertisement dated January 5th 1769 1f. "An Alphabetical Index of Tunes" 96 pp. Contains 125 compositions including 6 anthems 1 set-piece 4 canons and 1 Jubilate for three and four voices a few for two most with full text. Includes 1 American composition 123 non-American and 1 unidentified with 25 in the core repertory. With 43 first American printings identified. With 2-1/2 leaves of contemporary manuscript preceding text of Vol. I containing the following tunes for tenor: Westfield; Sandwich; Brookfield; Hartford New; Saint's Peter's; Chester; Lanesborough; Behold the Splender! Hear the Shout; Canterbury; Mear; Cookfield; 19th; South Briton!; Hatfield from Billings; Exeter from Billings; Benington!; Britten! Columbia; and Norrage. With 1f. at conclusion of Vol. II containing the tune "Lenox" in contemporary manuscript to recto verso blank. Early manuscript bookplate of Amos Higby dated 1782 to front pastedown possibly Amos Higby 1758-1836 of Middletown Connecticut. Oblong octavo. Full early dark tan calf with double gilt rules to boards and spine. Binding slightly worn rubbed bumped and abraded; hinges reinforced; rebacked in period style. Slightly worn; browning and foxing throughout heavier to some leaves; binder's holes to inner margins often just touching staff lines or notation; occasional professional repairs to outer margins. In quite good condition overall consistent with use. ASMI 56 all but one recorded copy lacking. Metcalf: American Psalmody p. 13. Not in RISM where only the 6th 7th and 8th editions are citedl Bayley was an important American tunebook compiler and publisher. "He began a prolific career as a compiler by bringing out A New and Complete Introduction 5 edns Newburyport 1764-8 a composite drawn from successful works by other compilers. In 1768 he published Tans'ur's Royal Melody Compleat London 1754-5 and later edns; 2 edns Boston 1767-8 then combined it with Aaron Williams's Universal Psalmodist London 1763 and later edns . His chief contribution was to circulate in New England a large repertory of mid-century British sacred music." Richard Crawford revised by Nym Cooke in Grove Music Online Williams an English psalmodist "published several collections of church music explicitly designed 'for country choirs' of which the most popular were The Universal Psalmodist 6 edns 1763-76 Royal Harmony 1765 and Psalmody in Miniature 3 edns 1770-83. The first comprised the usual didactic introduction psalm tunes plain and florid and anthems. The second was more ambitious intended for Anglican use consisting of 30 anthems including many of the cathedral type some by Purcell Croft Greene and other leading cathedral composers others by Williams himself. This collection was several times reprinted in New England as part of Daniel Bayley's American Harmony. . Williams's psalm tunes and anthems were popular in America well into the 19th century; 'Bangor' is still widely used and 'Psalm 34' was a principal model for the early development of the American fuging-tune." Nicholas Temperley in Grove Music Online. Printed and Sold by Daniel Bailey, at his House next Door to St. Paul's Church ... Sold also by most Booksellers in Boston unknown books
rif. 41678The collection is arranged in two parts as follows: Part I 18th century imprints Many listed in Sonneck: Bibliography of Early Secular American Music Revised and Enlarged by William Treat Upton 39 pieces published in Baltimore Carr; Boston von Hagen; New York Carr Gilfert Mollers Paffs; and Philadelphia Carr Willig. Part II 1801-1825 imprints Many listed in Wolfe: Secular Music in America 1801-1825 Approximately 211 pieces published in Albany Goldberg; Baltimore Carr Cole; Boston Graupner Hewitt Jackson Parker; Brooklyn Jhousbery; New York Christman Dubois & Stodart Geib Gilfert Goodrich Hewitt Riley Paff Sage and Wilson; and Philadelphia Aitken Bacon Blake Carr & Schetky Chalk Jackson Shaw and Willig. All pieces folio disbound with signs of wear consistent with age and use including browning soiling foxing dampstaining and small tears; inner margins slightly ragged and with small sewing holes; occasional repairs and other minor defects. The present collection is of particular interest to early American music history in its reflection of prevailing local musical activities and developing taste. The influence of contemporary musical activities on the London and Paris stages and in private salons is also evident. A full inventory is available upon request. unknown books
rif. 41691A detailed image of an intricate Baroque interior depicting a musical scene incorporating various musical instruments lutes cellos viols and violins a harp a harpsichord wind instruments etc. open books of music a female lutenist with putto birds and a stag with an exterior view visible through classical arches. 309 x 253 mm. Within highly decorative engraved border featuring floral motifs stylized acanthus leaves and columns. Engraved by Austrian printmaker Prenner after the painting by Flemish artist Jordaens in the Imperial Habsburg collection at the Stallburg Gallery in Vienna. With "Ioann Iordan Pinxit" below image with dimensions of original painting to left "Alt. Altitudo height 2.5 Lat. Latitudo width 4.1 unc." Slightly worn browned and soiled; minor creasing at central fold; trimmed to within platemark just touching border; brief manuscript annotations to verso. Henning: Zeugnisse alter Musik Graphik aus fünf Jahrhunderten plate no. 3. Included in Prenner's noted multi-volume work Theatrum Artis Pictoriae published 1728-1733 documenting masterworks in the collection of Holy Roman Emperor Charles VI. While other plates from the series are regularly offered for sale this particular plate is quite rare. unknown books
1870rif. ST20532Portland Oregon: Harris & Holman 1870. FIRST EDITION in Book Form. 235 x 150 mm. 9 1/4 x 6". 624 pp. Publisher's black cloth flat spine with gilt lettering. With a frontispiece etching depicting Astoria in 1811. Errata slip tipped onto final page. A 1980 newspaper article from The Springfield News about William H. Gray's descendants. Graff 1630; Howes G-342; Sabin 28416. Head of spine with minute fraying slight soiling to back cover isolated minor foxing chosen paper stock not as bright as it could be but still a really excellent copy the text clean and fresh and the binding with few signs of use. Originally published as a series of articles in the "Astoria Marine Gazette" between 1865-66 the contents of this volume include chapters on religious proselytizing encounters often of a violent nature with indigenous peoples mountain men the formation of an early government and commercial interests in the area. Originally a carpenter from Utica William Henry Gray 1810-89 joined the party of fellow missionaries Marcus Whitman 1802-1847 and Henry Spalding 1803-1874 and their respective wives Narcissa 1808-1847 and Eliza 1807-1851 on a seven-month 3000-mile journey overland from their homes in upstate New York to Fort Vancouver. Narcissa and Eliza were the first white women to cross the Rocky Mountains. Gray gives a long absorbing account of that trip in the text here. He was later involved with efforts to create a provisional government among settlers of the area. As an historian Gray was widely censured even as he was acknowledged as an important source: Howes says the present work is "undependable and biased but as the product of a pioneer of 1838 it cannot be ignored." This book is easy enough to find but it is normally encountered in rough shape. Harris & Holman unknown books
rif. 41676- Advice to the Ladies. New York: Printed & Sold at J Hewitt's Musical Repository 1803-1807. 1f. recto music verso blank. With text. Wolfe 3676. - Delighted Fancy Hails the Hour. A Favorite Song as sung with the greatest applause by Mr. Darley in the Opera of Hunter of the Alps. New York: Printed & Sold at J. Hewitt's Musical Repository & Library 1807. i blank 2 i blank pp. With flute part to foot of second page of music. With text. Wolfe 3691. - The Favorite Overture to Blaise and Babet Adapted for the Piano Forte. New York: Printed & Sold at J. Hewitt's Musical Repository & Library 1807-1810. 4 pp. Wolfe 2400. - The Hag in a Corner. A Favorite Irish Air. Composed & Arranged as a Rondo. New York & Boston: J. Hewitt 1810. 3 i blank pp. Wolfe 3717. "One of the first rondos on a popular tune." Bunker Clark: The Dawning of American Keyboard Music p. 71. - The Soldier's Dream. Written by T. Campbell author of the Wounded Hussar - Poor Dog Tray &c. &c. New York: Printed & Sold at J. Hewitt's Musical Repository 1804. i blank 2 i blank pp. With flute part to foot of second page of music. With text. Wolfe 3780. - A Sonata. Composed and Dedicated to Miss M. Mount . Price 50 Cents. New York: Printed & Sold at J. Hewitt's Musical Reposetory! & Library 1809. i title 2-6 pp. Wolfe 3781. This sonata together with Hewitt's three solo piano sonatas of Op. 5 "represents the beginning and end of published classical keyboard sonatas in the United States." Bunker Clark p. 8. Disbound with small binder's holes and tears to inner margins. Slightly worn browned and soiled; some margins slightly frayed. James Hewitt was an "American musician of English birth and father of a large musical family. He made a significant contribution to musical life in the new nation through his active engagement as a composer music publisher merchant and orchestra conductor in New York Boston and other American cities between 1792 and 1825. . Hoping to better his fortunes in 1792 he sailed on the Bristol to America where he and some of his fellow passengers were recruited by the Old American Company a theatrical troupe active in New York. Upon his arrival he advertised himself as a "professor of music from the Opera House Hanover Square and Professional Concerts under the direction of Haydn Pleyel etc. London" . From 1792 until the end of March 1808 he was conductor of the orchestra of the Old American Company at the Park Street Theatre . He also operated his own musical repository where he gave lessons and sold musical instruments and music composed by himself and others. . Hewitt published . approximately 167 of his own compositions. These extant works include 75 instrumental and 92 vocal compositions and stage works largely ballad operas many making use of American patriotic and popular tunes. His music is well structured and pleasant and is on a par with that of his English brethren such as Kelly Shield and Stephen Storace and of the American composers Alexander Reinagle Benjamin Carr and Gottlieb Graupner. . In keeping with many emigrant professionals Hewitt was an influential figure in the musical culture of his time effectively instigating an extension of the London stage. His position as conductor of the Park Street Theatre orchestra and many others gave him a key role in the musical life of New York. His publishing endeavors figured in the rapid growth of music trades in the city where English popular music and American patriotic songs were the mainstays of sheet music sales. In Boston his activities included business dealings with Carr from whom he purchased a music shop in 1797 and Graupner." John W. Wagner revised by Kimberly Greene in Grove Music Online. unknown books
1821rif. 41674Philadelphia: Printed for B. Carr 1821. Folio. Disbound. i title 2-16 music. Engraved throughout. Contains: - Mark my Alford. Written by Mrs. Melmoth to the following French Airs and sung by her in the Children of the Wood. Arranged for these numbers. Philadelphia: Printed for B: Carr - Auld Lang Syne. Arranged with an easy Accompaniment. The Castilian Maid. With an easy Accompaniment - The Knight Errant. Arranged with an easy Accompaniment by B. Carr. Philadelphia: Printed for B Carr - The Tyrolese Song. 12 Cents - Blue Ey'd Mary. Price 12 Cents. Philadelphia: Printed for B. Carr - Come rest in this bosom. Written by T. Moore Esqr. Baltimore: published & Sold by T. Carr Music Store 78-1/2 Baltimore Street - The Minstrel Boy. Price 12 cents. Baltimore: Printed for J Carr. - Nature's Holiday Arranged with an easy Accompaniment. Philadelphia: Printed for B. Carr - A Rose Tree - Mercy - Robin Adair - The Robin Redbreast - The Blue Bell of Scotland - Bounding Billows - An easy Arrangement of What is All the World to Me! A Favourite Hymn - Nina. Price 12 Cents. Philadelphia: Printed for B. Carr - Two Hymns. The Fount of Even Blessing - The City of Zion With "No. 69 of Carr's Musical Miscellany in occasional numbers - Copy right secured according to law" to head of first page of music. Quite worn; browned; tears to many pages including title somewhat crudely repaired with early paper tape occasionally affecting text or notation; portions of some blank margins lacking. Wolfe 1627 3 copies only. Carr was an important American composer tenor organist and publisher of English birth. "He emigrated to Philadelphia no later than July 1793 where he opened a music shop selling instruments and sheet music. From February to July 1794 he worked as a composer and arranger for Philadelphia's New Theatre and he made his stage début in Philadelphia on 22 September with the Old American Company. He accompanied the Old Americans back to New York in December 1794 remaining active with them as both performer and composer until January 1797; from early 1795 until August 1797 he operated a New York shop similar to his Philadelphia enterprise. In late 1797 he returned permanently to Philadelphia involving himself in so many aspects of the city's musical life that he became known as the 'Father of Philadelphia Music'. A prominent teacher of singing and the piano he also served as organist and choirmaster at St Augustine's Catholic Church 1801-31 and at St Peter's Episcopal Church 1816-31. In 1820 he was one of the principal founders of the Musical Fund Society of Philadelphia. . His setting of Scott's Hymn to the Virgin 1810 is generally considered the finest early American song. . Among Carr's 85 sacred works his Voluntary 1801 has been praised as the most significant organ composition from early America." Stephen Siek in Grove Music Online. Printed for B. Carr unknown books
1806rif. 41672Dedham: Printed and Sold by H. Mann; who executes music printing of all kinds on reasonable terms 1806. Quarto. Sewn. i title within oval ornamental border 2-32 pp. Typeset throughout. With contents to head of page 2. Contains 27 pieces most with text some instrumental as follows: - Address to a Tuft of Violets. A New Song. Written by H. Mann. Music by O. Shaw - Bonaparte's Grand March - Gen. Abercrombie's March - Tink a Tink - Tears that Exhale. A Favourite Song Sung by Master Walsh in the Prisoner composed by T. Andrews - O Listen to the Voice of Love - Drink to Me only. A Favorite Glee. Composed by Dr. Jackson - Felton's Gavot. With Variations - Poor Emma. A Favorite New Song - Air by O. Shaw - Unmoved I'll Brave the Stormy Sea. Sung by Miss Brett - The Persian Maid. Composed by W.E. Heather. Words by G. Walker - Poor Richard - Adieu My Liberty - 'Tis Only No Harm To Know It You Know. A New Song. The Poetry by J.O. Keefe Music by William Shield - Bonny Doon. A Favorite Scotch Song - Storace - New Century Hornpipe - The Miller's Daughter. A Favorite Song. Composed by Mr. Hook - London. Composed by T. Swan - A Favorite Rondeau - She Lives in the Valley Below. A New Song Composed by Mr. Hook - Resignation. A New Song Composed by O. Shaw - I owe You One. A Favorite Song Sung by Mrs. Seymour in the Sixty Third Letter - A Favorite March in the Demolution of the Bastille - The Cottage in the Grove. A Favorite New Song - Hymn. Composed by O. Shaw Slightly worn and browned; upper outer and lower inner corners stained; some corners slightly frayed and creased. Wolfe 7884. OCLC 36038853 2 copies only. Shaw was a noted American composer compiler teacher singer organist and publisher. "After accidental eye damage leading to blindness he undertook musical studies with John L. Berkenhead Gottlieb Graupner and Thomas Granger about 1800. In 1805 he established himself as a teacher of the piano and organ in Dedham Massachusetts where he began to issue his music in collaboration with Herman Mann. Moving to Providence in 1807 Shaw became a central figure in the city's musical life as organist organizer of bands and composer of songs odes anthems and marches for patriotic and civic occasions. . Shaw sought to improve the quality of local sacred music co-founding the Psallonian Society and provided inspiration to the founding of the Boston Handel and Haydn Society in 1815 frequently participating in its early performance. His tenor voice was described as sweet simple and natural; his performances of his own compositions were said to be remarkably affective. Mary's Tears There's nothing true but heav'n and All things fair and bright are thine were particularly popular establishing him as a leader in the development of American song. Shaw taught the piano and singing throughout his career and conducted singing schools in the early decades of the 19th century Lowell Mason was among his pupils. He also instructed his own children who later served him as amanuenses. His pedagogical compositions include many easy keyboard pieces two instructional books for the piano 1811 1831 and a compilation of ensemble music For the Gentlemen 1807 which was one of the earliest American printed instrumental tutors by a native composer." Bruce Degen in Grove Music Online Mann was an important early 19th century American publisher especially of hymns and secular songs based in Dedham Massachusetts. Printed and Sold by H. Mann; who executes music printing of all kinds, on reasonable terms unknown books
1820rif. 41670New York: Engraved Printed & Sold by E. Riley 23 Chatham Street 1820. Octavo. Disbound. 1f. recto title verso blank 16 pp. Engraved. Uncut. Worn browned and foxed; sewing holes and small tears to blank inner margins; small tear to blank lower margin of pp. 5/6; signatures separated. OCLC 35105397 one copy only lacking title. Not in Wolfe. Riley was a musician music teacher musical instrument maker and music engraver publisher seller and composer. He emigrated to New York in 1805 or 1806 and was one of the most active of the early New York music publishers. Wolfe p. 735. Engraved, Printed & Sold by E. Riley, 23 Chatham Street unknown books
1827rif. 41675Providence: Published by the Author No. 70 Westminster St 1827. Folio. Disbound. i blank 2-3 i blank pp. With fine engraving to head of title by J.R. Penniman depicting nesting birds. Slightly browned; small binder's holes and tears to inner margins; lower outer corners slightly dampstained. Wolfe 7927 variant without Boston imprint at foot of page 2. Shaw was a noted American composer compiler teacher singer organist and publisher. "After accidental eye damage leading to blindness he undertook musical studies with John L. Berkenhead Gottlieb Graupner and Thomas Granger about 1800. In 1805 he established himself as a teacher of the piano and organ in Dedham Massachusetts where he began to issue his music in collaboration with Herman Mann. Moving to Providence in 1807 Shaw became a central figure in the city's musical life as organist organizer of bands and composer of songs odes anthems and marches for patriotic and civic occasions. . Shaw sought to improve the quality of local sacred music co-founding the Psallonian Society and provided inspiration to the founding of the Boston Handel and Haydn Society in 1815 frequently participating in its early performance. His tenor voice was described as sweet simple and natural; his performances of his own compositions were said to be remarkably affective. Mary's Tears There's nothing true but heav'n and All things fair and bright are thine were particularly popular establishing him as a leader in the development of American song. Shaw taught the piano and singing throughout his career and conducted singing schools in the early decades of the 19th century Lowell Mason was among his pupils. He also instructed his own children who later served him as amanuenses. His pedagogical compositions include many easy keyboard pieces two instructional books for the piano 1811 1831 and a compilation of ensemble music For the Gentlemen 1807 which was one of the earliest American printed instrumental tutors by a native composer." Bruce Degen in Grove Music Online John Ritto Penniman 1782-1841 was a noted Boston-based artist; in addition to his work as a painter he engraved the official seal of the city of Boston in 1822. A fine example of early American illustrated sheet music. Published by the Author, No. 70 Westminster St unknown books
1808rif. 41669Boston: Published and sold by G. Graupner at his Music Store No. 6 Franklin Street PNs 213-216; 259-262; 465-468; 469-472 1808. Folio. Disbound. 16 pp. Contains 33 dances with performance instructions to foot of each as follows: The Italien Monfrina; Return from a Cruise; Caro Dolce; Mother Goose; Calabria; Ap Shenkin; Michael Weggins; Hit or Miss; The Lane of Sweet Erin; No. 2: The Constitution Frigate!; The Sailors Hornpipe; Caller Herring; The Rout; Smash the Windows; Morgiana; the Successfull! Candidate; No. 3: Prime or Six in a Coach; The Lads of Ayr; Verona; Circassian Dance; The Cottage Dance; The North Tower; Hibernian Dance; The Minstrel's Waltz; The Villagers Dance; No. 4: Voulez vous Danser Mademoiselle; Lady Burdett; The Comet; The Favourite Guarache Dance; Morgiana in Spain; Miss Tilney Longs Waltz; The Tank; and Julias Cottage. Worn browned and foxed; small chips and tears to margins; signatures loose. Wolfe 1993; 1994A; 1995; 1996. Published and sold by G. Graupner at his Music Store, No. 6 Franklin Street [PNs 213-216; 259-262; 465-468; 469-472] unknown books
1806rif. 41673Boston: Printed and Sold by G. Graupner at his Musical Repository No. 6 Franklin Street 1806. Folio. Disbound. 1f. recto title verso blank 40 pp. Engraved throughout. With "Where may be had the latest and best Publications of Europe and America Also Clementi's new patent Piano Forte's superiour! to any others yet known together with a general Assortment of Music and Musical Instruments on the best Terms. Piano Fortes to let and tuned at the shortest Notice. As a Suplement! to the above Work may be had progressive fingered Lessons selected from the best Composers" to foot of title. Worn; some foxing; uniform light browning heavier to some leaves; most leaves/signatures detached; chips and tears to many blank margins; tears to numerous leaves; small embossed decorative circular stamp of the Essex Institute to upper outer corner of title. First Edition. Rare. Wolfe 3202 one complete copy only. OCLC 20911441. Graupner was an important early American musician teacher publisher and music seller of German origin. He began his career as oboist in a military regiment in Hanover travelling to London in ca. 1788 where he was first oboist in the orchestra for Haydn's 1791-1792 concerts. His first known musical activity in America was as a member of the City Theatre Orchestra in Charleston South Carolina where he performed an oboe concerto on 9 November 1795; he then moved to Boston where he was associated with the Federal Street Theatre as of January 1797. "During the early decades of the 19th century he became Boston's leading music publisher and dealer selling music and instruments on consignment from other dealers and engraving and printing much music and instructional material himself. He was leader of the Philharmonic Society throughout its existence 1809-24 and was a charter member of the Handel and Haydn Society in 1815. Graupner's influence on the musical life of Boston was considerable because of the variety and scope of his activities through a long career." Douglas A. Lee in Grove Music Online. Printed and Sold by G. Graupner, at his Musical Repository, No. 6 Franklin Street unknown books
1805rif. 36825Dedham MA: H. Mann for the Author 1805. Oblong octavo. Contemporary leather-backed blue/gray paper-covered wooden boards. 1f. recto title printed within decorative border verso copyright iii Preface dated "New-Canaan Con. October 1805" iv "To the Teachers of Music and Choristers in the United States: v-xi "Concise Rules of Psalmody" xii "Musical Dictionary" xiii-xv "List of Subscribers" xvi 17-95 printed music i index pp. The list of subscribers includes persons resident in New Canaan Norwalk Wilton Winchester Weathersfield Ridgbury and Colebrook Connecticut; Dedham Massachusetts; and New York. Signature of "J.I. Miller Ghent N.Y. Jan. 24 1883" and "Property of Emma M. Sherman Ghent N.Y." in pencil to front pastedown. Contains 67 compositions 65 American including one anthem four set-pieces and one canon by Austin Capt. S. Belknap S. Capen A. Ellis S. Hanford G. Holbrook O. Holden S. Holyoke Ingalls W. Janes S. Jenks O. King A. Knapp Rev. C. Lee Madan A. Munson Newcomb S. Raymond T. Swan S. Way Dr. Wetmore and R. Wilcox with 34 identified first printings. Binding worn with paper lacking to both boards wood lacking to upper portion of lower board; hinges cracked; endpapers lacking. Somewhat worn browned and foxed; some dampstaining; vertical crease to title; portion of final leaf lacking with loss of several measures to recto "Resolution" and text to verso "Index to the Music". Third edition. ASMI 289. Jenks a composer and tunebook compiler taught singing-schools in New England and New York state and developed a network of both pupils and fellow teachers whose compositions he went on to publish. The Delights of Harmony contains his Sorrow's Tear 1804 perhaps the earliest American setting of a poem by Thomas Moore as well as his Evening Shade and North Salem both of which are still frequently performed by southern shape-note singers who preserve the singing-school tradition. "Stephen Jenks' music is representative of the type of music being written at that time in rural New England America a cappella and an interest in melodic writing. However his music contains striking harmonic progressions unusual dissonances and cross relations. In "Weeping Nature" The Delights of Harmony 1804 for example Jenks seems to revel in the clash of the E major / minor chord or in the song "Sorrow's Tear" filled with cross relations between C sharp / C natural. Although many of these result from his use of modal harmony and as previously mentioned strong melodic writing for the individual parts his use of these relations is not simply random they are used to express the text being set." Wikipedia. H. Mann for the Author unknown books
1925rif. 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
1900rif. 206431900. Unidentified photographers Palestine stereoview archive ca. 1900-1930 documents religious geography pilgrimage activity and daily life in Palestine during the late Ottoman and British Mandatory periods supporting research into colonial visual culture Western educational media and representations of the Holy Land. The archive reflects the widespread use of stereoscopic imagery in classrooms and lecture circuits where photographic views of biblical sites and contemporary inhabitants were circulated to shape Western understanding of the region. The images foreground Christian pilgrimage locations while also incorporating local populations and landscapes offering a layered record of how Palestine was visually interpreted for foreign audiences in the early twentieth century. Twenty-one albumen stereoview photographs primarily produced by Keystone View Company and Underwood & Underwood depicting locations across Palestine including Jerusalem Bethlehem Nazareth and surrounding regions. Views include the Mount of Olives pilgrims walking along the Via Dolorosa the Garden of Gethsemane and the village of Siloam Silwan. Landscape images show the plains of Jericho the Sharon plain and the hills of Samaria with visible architectural ruins including freestanding stone columns. Several images depict daily activity including a Samaritan woman drawing water from Jacob's Well a cattle drive moving through the Valley of Hinnom and individuals traveling mountainous terrain with pack animals. Interiors and urban edges are suggested through narrow streets and clustered buildings. Many mounts include printed captions on the verso in multiple languages. One Keystone stereoview dated 1909 describes the view from the Mount of Olives overlooking Jerusalem referencing the Valley of Jehoshaphat the Golden Gate and the city's religious divisions. Another caption provides a descriptive overview of Jerusalem's population industries and urban conditions framing the city for an արտաքին educational audience. Produced during a period of transition from Ottoman to British control the archive reflects how Palestine was mediated through commercial photography for Western consumption particularly emphasizing biblical associations and pilgrimage routes while presenting local populations within ethnographic and orientalist frameworks. The stereoview format itself functioned as both entertainment and instruction reinforcing spatial and cultural narratives through three-dimensional illusion. Light edge wear and minor surface handling consistent with use; images remain clear with well-preserved contrast. Overall in very good condition. unknown books
1870rif. 202721870. Early photographs of African Americans produced during the decades following emancipation provide important visual documentation of Black life during the Reconstruction and early Jim Crow eras. Portrait photographs and vernacular images from the late nineteenth century capture African Americans navigating newly won freedoms while confronting the economic and social constraints that defined the post slavery United States. Such photographs often record moments of labor travel and self presentation reflecting both the aspirations and realities of African American life during a period of profound social transformation. This small photographic archive dating from the 1870s through the 1890s preserves rare images of African American men during the generation immediately following the end of slavery. Archive of four original photographs including two tintypes and one albumen print measuring approximately 2.25 x 3.25 inches to 4.5 x 6.5 inches. The most visually complex image an albumen photograph dating from the late 1890s depicts a Black man and a young boy standing on railroad tracks behind a caboose where four white men are also present. The African American man wears a hat and carries a large sack across his back while the boy holds a basket filled with produce suggesting a scene connected to travel commerce or railroad labor in the expanding transportation networks of the late nineteenth century. The presence of the caboose and railroad workers situates the photograph within the rapidly developing rail infrastructure that reshaped the American economy during the post Civil War period. The remaining photographs consist of tintype portraits of African American men dressed in the formal attire of the late nineteenth century including bowler hats vests and tailored suits. One sitter is photographed wearing a three piece suit and holding a cane while another poses beside a table while holding his hat in hand. Portrait photography played an important role in African American communities during the decades after emancipation as newly freed individuals asserted dignity respectability and personal identity through formal portraiture. At the same time vernacular photographs such as the railroad scene record the economic realities and labor environments in which many African Americans worked during the late nineteenth century. Together these photographs document African American presence within both public labor landscapes and private studio portraiture during a formative period in the history of Black life in the United States. Four original photographs including tintypes and an albumen print measuring approximately 2.25 x 3.25 inches to 4.5 x 6.5 inches. One photograph with clipped corners; otherwise images clear and well preserved. Overall condition very good. unknown books
rif. 18258Albumen photo of women doing factory work. C. 1890s. Measures 9 x 7 inches. Photo shows 4 women working over a large industrial machine two on either side so they face one another. 2 wear dark smocks over their dresses sleeves rolled to the elbows as their hands work the machine. Their hair is tied back and eyes turned downward focused on the work. A man in vest and shirtsleeves stands behind them presumably supervising their progress. The 1800s saw new job opportunities for women on factory floors providing independence previously unavailable. The working conditions were often harsh with women receiving one half to two-third of male wages and working up to sixteen hours a day six days a week. The women in this image appear to be in a basement room a small gas light hanging from the ceiling and stone walls visible behind them lined with a jumble of boxes. The Female Protective Union was established in 1850s in order to improve workplace conditions for women. Sunning to image but details and expressions still clear. Small 1-inch surface tear to side of image does not affect subjects or important details. Overall very good condition. unknown books
1999rif. 509287New York: Warner Books 1999. Hardcover. Fine/Fine. First edition. 415pp. Fine in a fine dust jacket. Advance review copy with publisher's material laid in. Warner Books hardcover books
1823rif. 160841823. Preston John Howard. Autograph letter to his daughter Sarah November 29 1823 records a father's detailed expectations for his daughter's education including independent composition disciplined study reading comprehension and instruction under a female tutor. Addressing Sarah as "My dear child" Preston praises a letter she had sent to her brother after learning that "you had not only written it but composed it." His distinction between copying or assisted writing and original composition shows his attention to Sarah's intellectual development while his references to her "Cousin and Tutoress" identify a woman responsible for her instruction. Preston John Howard. November 29 1823. Autograph letter signed three pages folded from a large sheet with the fourth page retaining the original stampless address panel. Preston urges Sarah to "profit every Day by the kind and good instruction of your Cousin and Tutoress" adding "you must never esteem anything too difficult which you are set to do." He places disciplined education above social rank: "If you were the King's Daughter you would have to learn in patient submission; and how much more ready should you be to do so in your situation in Life!" Preston then addresses reading noting that he and Sarah's mother had "always been glad to see your fondness for reading" but instructing her to "understand and remember what you read-as it is not the quantity of reading but duly improving it which is the thing to be desired-and that makes it of real worth." He closes by assuring his absent daughter "we do not forget you but love you much tho' you are at a distance from us." Written while Sarah was living away from her parents and receiving instruction from a female relative identified specifically as her tutor the letter supplies direct evidence of one family's expectations for a girl's education in 1823. Preston's comments identify composition perseverance comprehension memory and purposeful reading as measures of Sarah's progress and show both parents taking an active interest in her studies. The surviving address panel preserves the letter's original postal format. Usual losses where the original wax seal was opened; otherwise well preserved. An unusually detailed family letter documenting the substance of a young woman's education through a father's contemporary instructions to his daughter. unknown books
1885rif. 139371885. American Colony Photo Department. Two views of Jerusalem and the Mount of Olives circa 1898 to the early twentieth century document the city and surrounding cultivated landscape during the late Ottoman era. Photographed before extensive twentieth-century urban expansion transformed the slopes east of the Old City the images preserve olive groves roads scattered buildings and broad topographical relationships between Jerusalem and the Mount of Olives. They support research into the historical geography of Jerusalem Ottoman Palestine pilgrimage photography landscape change and the role of resident photographic studios in shaping international visual knowledge of the Holy Land. The American Colony Photo Department was established in Jerusalem in 1898 and became one of the region's important commercial photographic services producing views of sacred sites settlements people and contemporary events for tourists and a wider international audience. Albumen photographs circa 1898 to the early twentieth century each measuring approximately 10½ × 14 inches and mounted recto and verso on the same 14 × 20 inch card. The recto presents Jerusalem from the Mount of Olives with mature olive trees occupying the foreground and the densely built city extending across the distant horizon. Printed along the lower center is the bilingual caption "Jerusalem. from Mt. of Olives. Jerusalem du Mont de Oliviers." while the American Colony Jerusalem emblem appears within the trunk of an olive tree at lower right. The verso captioned "Mount Olivet" shifts attention away from the distant city to the Mount itself: a hill rises in the background above olive trees dispersed buildings and a network of intersecting unpaved roads. The American Colony Jerusalem emblem appears at lower left. Together the paired compositions record both the celebrated panoramic viewpoint and the agricultural architectural and transportation landscape surrounding it. The views belong to a commercial photographic tradition that served travelers and pilgrims while also creating a sustained visual record of Jerusalem and Palestine. Unlike photographers who visited the region briefly members of the American Colony lived and worked in Jerusalem and the department developed an extensive stock of images depicting the city and its environs; a 1914 catalogue documents the circulation of such views as part of the firm's early commercial inventory. The mount has slight warping while both albumen prints retain strong visual clarity with no substantial defects noted; photographs near fine mount very good. The unusually large two-sided presentation offers complementary evidence of Jerusalem's urban profile and the comparatively open Mount of Olives landscape before later development. unknown books
1885rif. 138911885. An original 19th-century albumen photograph circa 1885 showing San Francisco houses railroad tracks the industrial waterfront and San Francisco Bay from an elevated hillside vantage point. Wording in the negative at bottom reads "B 865 San Francisco Bay. Tabers Photo. San Francisco." Mounted on card. 5 x 8 inches. The view appears to have been taken from the Potrero Hill area looking toward Mission Bay and the southeastern San Francisco waterfront. Rows of modest wooden residences descend the hillside toward a dense working landscape of warehouses factories rail infrastructure wharves and maritime facilities. Numerous ship masts rise above the waterfront in the distance while smoke from industrial activity hangs over portions of the city and harbor. The photograph is particularly effective in documenting the close relationship between residential growth railroad transportation maritime commerce and industry in late-19th-century San Francisco. Rather than presenting the city through its better-known civic or commercial landmarks the image records a working district in transition where domestic neighborhoods existed immediately alongside transportation corridors and the developing industrial waterfront. During the 1880s the areas surrounding Mission Bay and the southern waterfront were becoming increasingly important to San Francisco's expanding economy with rail lines and industrial facilities reshaping districts that had previously been more sparsely developed. The visible concentration of wooden housing active rail lines factories smoke and sailing vessels gives the photograph considerable value as a visual record of this period of rapid urban expansion. The combination of the largely low-rise wooden cityscape active sailing vessels heavy waterfront industry and Taber's photographic imprint is consistent with a date in the mid-1880s. An unusually detailed early view of San Francisco's southeastern waterfront showing the physical proximity of housing industry rail transportation and the Bay during a formative period in the city's development. unknown books
1890rif. 153931890. Rural school class photograph circa 1890 records a female teacher with approximately twenty students of varying ages outside their schoolhouse. The broad age range of the children and rural setting provide direct visual evidence of late nineteenth-century American schooling when rural teachers commonly instructed children of several ages within a single school. The school's name and location are unidentified preventing more specific claims about its district curriculum or organization. Albumen photograph on heavy backing circa 1890. Approximately twenty students pose outdoors with a young female teacher dressed in late nineteenth-century clothing. An American flag hangs prominently on the exterior wall of the schoolhouse. Behind the building is a substantial stack or load of firewood while trees surround the clearing and the distant wooded area appears hazy. The combination of schoolhouse pupils teacher flag and firewood records both the class and elements of the physical environment in which the school operated. The image preserves a rural educational setting before the widespread consolidation of small country schools into larger graded institutions during the twentieth century. Its mixed-age student body isolated wooded surroundings and visible supply of firewood provide concrete details of schooling and the maintenance of a rural school building in the late nineteenth century. Some age staining to the mount; photograph itself in very good condition. unknown books
rif. 11773Late 19th century view of the Avenue de l'Opéra records pedestrian and carriage traffic along one of central Paris's major thoroughfares. The street scene shows people in period dress sharing the avenue with horse drawn carriages preserving visible evidence of transportation dress and daily activity in nineteenth century Paris. Sepia toned albumen photograph 11 x 8.25 inches showing the Avenue de l'Opéra in Paris France. The composition looks along the broad avenue with pedestrians visible at street level and horse drawn vehicles occupying the roadway. The image documents the avenue during the era before motor traffic transformed movement through the city and provides a contemporary visual record of the built environment and street life of Paris. The Avenue de l'Opéra was created during the extensive nineteenth century reconstruction of Paris and provided a direct approach to the Paris Opera. This contemporary view records how the completed avenue was occupied in daily use with its architecture pedestrians and horse drawn transportation visible within a single urban scene. In excellent condition. unknown books
rif. 11774Three nineteenth century photographs of Venice record St. Mark's Cathedral a sculptural detail outside the cathedral and the Ducal Palace concentrating on monuments associated with the civic religious and political center of the city. The views preserve contemporary visual evidence of Venetian architecture and public space during the nineteenth century with particular emphasis on buildings and sculpture surrounding St. Mark's. Three sepia toned photographs of Venice Italy. The first measuring 10 x 7.5 inches presents a frontal view of St. Mark's Cathedral one of Venice's principal churches. The second measuring 9.5 x 7.25 inches gives a close view of a horse statue outside St. Mark's Cathedral. The third also 9.5 x 7.25 inches depicts the Ducal Palace the historic seat of the Venetian government and residence of the doges. The grouping therefore records both the ecclesiastical architecture of St. Mark's and the adjoining palace associated with the political administration of the Venetian Republic. The photographs preserve nineteenth century views of monuments central to Venice's religious and governmental history including the cathedral overlooking Piazza San Marco and the Ducal Palace long associated with the city's political judicial and ceremonial life. The second photograph has a small tear at the upper right corner; otherwise the photographs are in excellent condition. unknown books
1885rif. 142171885. Kramer Oscar Vienna city view circa 1880 records the Austrian capital from an elevated vantage with Stephansdom and Karlskirche rising above the dense nineteenth century cityscape. Kramer a Vienna photographer and publisher active from the mid nineteenth century until his death in 1892 produced architectural and panoramic views of the city; the Wien Museum holds a closely related Kramer view from the south toward Karlskirche and Stephansdom dated around 1880. Sepia toned albumen photograph measuring 9.75" x 8.75". Trees fill the foreground while the built fabric of Vienna extends across the middle distance toward low hills on the horizon. Stephansdom is visible at right and Karlskirche nearer the center their domes and towers providing fixed architectural reference points within the surrounding roofs and streets. The upper corners of the photograph have been cut round. Kramer repeatedly photographed Vienna's principal churches streets gardens and panoramic approaches and surviving institutional holdings include his views of both Stephansdom and Karlskirche as well as broader city prospects. The present image preserves the relationship between central Vienna's monumental architecture surrounding urban development and the wooded terrain beyond the city. Upper corners rounded; otherwise no additional condition defects supplied. A nineteenth century Kramer city view centered on the architectural profile of Vienna before the large scale transformations of the twentieth century. unknown books
