ref. PJH41094Dong A Ilbo 1982. Near Fine copy in publishers cloth in like very slightly rubbed dustjacket. 1st edition 1st issue. Illustrated throughout. ISBN B0000EEAX2 Dong A Ilbo 1982 hardcover
1942ref. 62473Philadelphia and New York:: Aberle Inc.; Willard B. Golovin Co. 1942-1943. First edition; No. 187 and 44 of 750 and 500 copies respectively. publisher's spiral-bound stiff wrappers illustrated in color. Both volumes near fine. Folio. Ballet-themed color Illustrations throughout incorporating elaborately presented samples of Aberle Ballet rayon stockings fabric samples of complimentary colors with which to wear them fashion color wheels and sales pitches including the patriotic merit of rayon stockings silk and nylon being unavailable during the war years "so that your charm would continue to inspire and maintain the morale.". Aberle Inc.; Willard B. Golovin Co., unknown
1942ref. 57754Philadelphia:: Aberle Inc. Fall-Winter 1942 and Spring-Summer 1943. First edition limited to 750 and 500 copies respectively. publisher's coil-bound wrappers illustrated in color as issued. Very slight sue to wrappers at corners; extremely attractive. Folio. Ballet-themed illustrations throughout in color by Willard Golovin. Aberle were stocking manufacturers. Each catalogue presents samples of rayon stockings "drawn from new war-born materials". "When Pearl Harbor became a symbol of perfidy you gave up silk." Aberle Inc., unknown
1949ref. 52974New York:: Metropolitan Opera House October 9 1949. original printed wrappers. . Some light creasing and use to the wrappers. 8vo. Boldly signed by Margot Fonteyn on the first text page of the program. Metropolitan Opera House, unknown
2025ref. __1835950752Intellect L & D E F A E 2025. Hardcover. New. 640 pages. 9.60x6.69x9.61 inches. Intellect L & D E F A E hardcover
1957ref. 208291957. Press photograph archive of African American women opera singers 1957-1977 documents the emergence and international recognition of Black performers within mid twentieth century classical music and operatic institutions. The images center on four prominent singers whose careers developed during and after the era of segregation when access to major stages and audiences expanded unevenly for Black artists. Figures such as Marian Anderson who broke barriers at the Metropolitan Opera in 1955 established a precedent for subsequent generations; the performers represented here advanced that presence through sustained international careers providing visual evidence of African American participation in elite cultural institutions during a period of social and cultural change. Six black and white silver gelatin press photographs each approximately 8 x 10 inches with captions and markings on recto and verso. Subjects include Adele Addison in two studio portraits from the 1950s later known as the singing voice for Bess in Porgy and Bess 1959; Shirley Verrett in two images including an early news photograph prior to a performance at Ambassador College Auditorium and a later 1976 stage portrait in formal concert dress; Martina Arroyo in a 1977 portrait during the height of her international career; and Grace Bumbry depicted in costume as Princess Eboli in Verdi's Don Carlos at the Metropolitan Opera in 1965. The photographs capture both staged publicity portraits and performance contexts documenting professional presentation and artistic identity. Produced during decades of expanding civil rights advocacy and gradual institutional integration the archive situates African American women within a field historically shaped by exclusion and limited access. Their visibility in major opera houses and concert venues reflects broader shifts in cultural recognition and professional opportunity while also underscoring the continued significance of performance as a site of racial and gendered representation. Minor edge wear; captions remain legible; overall very good condition. unknown
1947ref. 209021947. Anderson Marian group of eight items dating from 1946 to 1959 documents the concert career and international recognition of Marian Anderson a central figure in twentieth century African American music and a pivotal presence in the desegregation of American performance spaces. By the mid twentieth century Anderson's career intersected with both domestic civil rights developments and U.S. cultural diplomacy abroad following earlier milestones including her 1939 Lincoln Memorial concert and her 1955 debut at the Metropolitan Opera. The materials trace her concert programming repertoire and public reception including performances featuring European composers such as Franz Schubert alongside African American spirituals as well as her role in international cultural exchange. Photographs document formal recognitions including a ceremony in Tokyo where Princess Takamatsu of the Japanese Red Cross awarded Anderson a medal of merit following her performances benefiting Japanese orphans and a 1958 presentation at the American National Theatre and Academy marking her participation in presidential cultural initiatives. Anderson Marian. Archive of concert programs and press photographs. Various locations: University of Minnesota and S. Hurok management 1946 to 1959. Eight items total comprising four concert programs and four black and white silver gelatin press photographs. Programs range from approximately 5 x 8 inches to 9 x 12 inches and include: a University Artists Course program for the 1946 to 1947 season at the University of Minnesota featuring Anderson's recital with repertoire including Schubert and spirituals; multiple S. Hurok managed programs presenting Anderson as a leading concert artist with biographical essays photographs and repertory notes; and a 1955 program continuing similar documentation of her touring career. Photographs measure approximately 8 x 10 inches with three retaining original press captions on verso or margins including images of Anderson receiving honors in Japan posing with a sculpted bust by Napoleon Veloso Abueva and accepting the Gimbel National Award in 1959. These materials situate Anderson within mid twentieth century performance networks that linked concert stages international diplomacy and public recognition of African American achievement. The programs document how her repertoire bridged European classical traditions and African American musical forms while the press photographs emphasize her role as a cultural ambassador during the Cold War period when artists were enlisted in international outreach initiatives. Honors such as the Japanese Red Cross recognition and the Gimbel National Award underscore the transnational and humanitarian dimensions of her career while the sustained documentation of her concerts reflects her continued prominence in American cultural life following breakthroughs in segregated institutions. Minor edge wear to programs and light creasing to one photograph; materials remain clean and well preserved. Overall very good condition. unknown
1938ref. 209421938. Anderson Marian archive of six concert programs dating from 1938 to 1953 documents the touring career of Marian Anderson during a period when her performances intersected with national debates over race access to public space and cultural representation. By the early 1940s Anderson had achieved international recognition following appearances at the White House and before British royalty as well as her widely attended 1939 concert at the Lincoln Memorial where she performed before an audience of 75000 after being barred from Constitution Hall. The programs trace her sustained concert activity across North America including major tours and individual performances in Canada and the United States and document the presentation of her repertoire which combined European art song traditions with African American spirituals. Anderson Marian. Archive of six concert programs. Various venues including University Artists tour circuits and concert halls in Toronto Brooklyn and Denver 1938 to 1953. Six programs in staple bound wrappers ranging from approximately 5 x 8 inches to 9 x 12 inches. Includes a program from her 1941 to 1942 coast to coast tour with extended biographical content and photographic illustrations depicting Anderson in performance receiving honors and in personal settings with family and manager Sol Hurok. A later illustrated program from the 1951 to 1952 tour presents similar material reflecting her continued prominence. Additional smaller programs document specific engagements at Eaton Auditorium in Toronto 1946 Brooklyn Institute of Arts and Sciences 1950 and Denver Auditorium 1953. These programs provide a record of Anderson's sustained public presence during a period when African American performers navigated segregated venues and expanding national audiences contributing to shifts in cultural access and representation. The inclusion of biographical narratives photographic imagery and repertory selections illustrates how her career was framed for concert audiences and how her public identity was constructed through touring circuits. Her performances in major cities across North America demonstrate the geographic reach of her influence and the institutional contexts in which her work was received offering material for the study of music history race and performance culture in the mid twentieth century. Minor edge wear with some foxing to several programs and manuscript notation to the Eaton Auditorium program; overall clean and stable. Overall very good condition. unknown
ref. A9781470454265Paperback / softback. New. paperback
ref. B9783030081928Paperback / softback. New. This edited volume examines child exploitation in the Global South. It introduces several case studies and interviews articulated around two features: exploitation within the family and exploitation in relation to social contexts. paperback
ref. A9781138224926Paperback / softback. New. paperback
1883ref. 56458Providence 1883. Folio broadside approx. 13" x 5¾" text in a single column beneath the running head; light toning very good. Listing the cast of characters for this Irish drama in three acts made for the benefit of the Brownson Lyceum as well as a synopsis of each of the three acts and seat prices. The Irish poet Oscar Wilde had lectured at Low's the preceding September. unknown
1887ref. 56496N.p. Providence 1887. Folio broadside approx. 12" x 4¾" text in a single column beneath the running head light toning very good. Listing the cast of characters for this Irish comedy in four acts a summary of which is appended as well as a list of the Providence Opera House Orchestra and an announcement of two matinees Atkinson's Aphrodite and Peck's Bad Boy. unknown
1885ref. 140511885. Neurdein Frères Paris Opera circa 1887 to 1890 documents the Palais Garnier and the concentrated carriage and pedestrian traffic surrounding one of the principal public buildings of late nineteenth century Paris. Completed in 1875 the opera house stood within the rebuilt urban landscape of the Second Empire and early Third Republic while the traffic visible before its façade records the everyday movement of people and horse drawn vehicles through the surrounding streets. Albumen print approximately 8 x 11 inches mounted on paper. The view centers on the elaborately ornamented façade of the Palais Garnier with numerous horse drawn carriages and pedestrians filling the foreground and the square before the building. The "X Phot." mark identifies the image with Neurdein Frères who used the mark from 1887. The firm produced extensive photographic views of Paris for circulation as tourist and architectural images including monuments civic buildings streets and other recognizable features of the capital. The combination of monumental architecture and active street traffic preserves both the appearance of the Palais Garnier and the transportation patterns of Paris before the widespread replacement of horse drawn vehicles by motor traffic. Excellent condition. A sharp late nineteenth century view combining architectural documentation of the Paris Opera with closely observed evidence of everyday movement through the surrounding urban space. unknown
1984ref. 61448Portland & Gresham OR: Susan Higgins Ballet Instructor & Artistic Director Cascade Athletic Club; Oregon Concert Ballet Co. 1984. 4to. Approx. 250 pp sections separately paginated and unnumbered some numbered in ink several with duplicate numbering consisting of typescript musical score and illustrations many of the pages with extensive ink and/or pencil annotations some updates photocopies with additional revisions many pages with updates taped onto the musical score approx. 200 pp. preserved in archival mylar sleeves remainder 3-hole punched at gutter margin and inserted. Contemporary black vinyl 3-ring binder minor scuffing edgewear still VG exemplar. A wonderful original ballet director’s art direction notebook for the Peter Pan ballet staged in 1984 intended to offer young up-and-coming ballet students at the time to experience live performances and to unify Eastside/Westside Royal Academy of Dancing trained students. It would be 5 years before the Oregon Ballet and Pacific Ballet Theater would consolidate under the direction of James Canfield to form the Oregon Ballet Theatre. This ballet featured four acts divided into The Nursery Neverland Ship of the Pirates and Conclusion featuring solos by Wendy Tinker Bell Peter and Captain Hook over the length of the production. Dancers 4-5 years old were featured as the Neverland Fairies 5-7 years old with 2 years of training and pre-primary Royal Academy examinations behind them played Forest Fairies; Lost Children were 6-9 years old and had performed Barre and footwork; followed by the Pirates and soloists including Wendy Heather Miller Peter Pan Laura Spradlin Captain Hook Elizabeth Johnson and the mermaids drawn from the Lake Oswego School of Ballet under the directorship of Christine Donald. The original score by Anita Perry b. 1960 an up-and-coming Canadian composer out of British Columbia where she had studied piano with Lee Kum Sing and composition with Cortland Hultberg. In her early 20’s M. Perry had already won several composition awards was known for her original ballet works and wrote this score with orchestration for a variety of instruments “lending to the performance. . . a more closely approximated real environment experienced by professional dancers.” Peter Pan as a ballet required a fair amount of athleticism and as indicated here in Higgins’s artistic director’s notebook required extensive choreography changes scene adjustments and revisions by M. Perry. Higgins studied and danced at the British Royal Ballet later with Elvie DeMarko 1924-1989 of Ballet Russe and then with Robert Barnett of the Atlanta Ballet. No similar notebooks or programs survive for this 1984 ballet and there are no recordings or printed musical scores this cataloguer could uncover. Susan Higgins, Ballet Instructor & Artistic Director, Cascade Athletic Club; Oregon Concert Ballet Co., unknown
ref. 109862Stockholm Sohlmans förlag 1981. Stor 8:o. 511 1 s. Rikt illustrerad. Förlagsband med skyddsomslag. Fortfarande det bästa operalexikonet. Elsa-Britt Sjöstedt har översatt från den engelska Phaidon-upplagan 1978 och Hans Åstrand har författat ett antal nya artiklar till denna upplaga. Originalutgåva 1977 i Milano med titel ”L’ Opera: Repertorio della lirica dal 1597” unknown
1941ref. 58323New York: Reynal & Hitchcock 1941. 8vo. 8 304 pp. Illustrated title page w/ illust. of the soprano aria Caro nome from Verdi’s Rigoletto as well as larger facsimile plate of the sheet music. Tan cloth purple lettering minor shelfwear slightly cocked w/ d.j. Art Deco cover art of looming house & yellow lettering minor chipping head of spine minor creasing & edgewear still a VG/VG copy. First edition of this La Grande Oregon author’s first mystery set against the backdrop of the murder of an imperious coloratura soprano. After being lured out of retirement and joining the Monte Calvo Opera Company based in San Francisco California the opera diva is killed by a knitting needle at Lucifer’s Pride a half-finished castle in the Columbia River Gorge. Meyers who was an avid singer opera aficionado modeled his murdered soprano after the great Luisa Tetrazzini 1871-1940 and the “Lucifer’s Pride” castle built for her as a would-be wedding present on the famed Maryhill Museum dedicated in 1926 by Queen Marie of Romania and opened in 1940. Hubin I p. 570. Reynal & Hitchcock, hardcover
2013ref. 52119London & Washington D.C.: Victoria & Albert Museum; National Gallery of Art 2013. Folio. 271 1 pp. Decorated title over 200 colour illustrations colour plates and black & white photo text illustrations. Black boards white raised & embossed lettering front cover spine w/ d.j. F/F copy. First edition stated of this lavishly illustrated work celebrating one of the most dazzling enterprises of the 20th century. The Ballets Russes revolutionized the art of ballet combining Russian and Western traditions with modernism. They thrilled and shocked audiences with brillian choreography music design and dances. Diaghliev brought together the vitality of contemporary art drawing upon the talents of Leon Bakst Natalia Goncharova Picasso Matisse and Giorgio de Chirico to create dynamic set designs and beautifully decorated costumes presenting on stage the artistic movements of Futurism Cubism and Surrealism. Victoria & Albert Museum; National Gallery of Art, hardcover
1954ref. 41735Indianapolis: Bobbs-Merrill Co. 1954. 8vo. 202 pp. Numerous illusts. Blue cloth gilt lettrng slght shlfwr w/ d.j. cover art by Ruhman price of $ 2.50 on frnt flp slght chppng hd of spine mnr creasng edgewear still NF/VG copy w/ frmr ownrshp signature on ffep. First edition early printing of this scarce classic children’s title on how a young girl becomes a ballerina. Bobbs-Merrill Co., hardcover
ref. BN370497Stanley Roseman and the Dance - Drawings from the Paris Opera Hardcover Stanley Roseman and the Dance - Drawings from the Paris Opera Hardcover Stanley Roseman and the Dance - Drawings from the Paris Opera Hardcover hardcover
2008ref. BN395215Presses universitaires de Rennes 2008. 2008. La rue dans l'Antiquité: Définition aménagement et devenir de l'Orient méditerranéen à la Gaule : actes du colloque de Poitiers 7-9 septembre 2006 organisé par l'équipe d'accueil EA 3811 HERMA Université de Poitiers La rue dans l'Antiquité: Définition aménagement et devenir de l'Orient méditerranéen à la Gaule : actes du colloque de Poitiers 7-9 septembre 2006 organisé par l'équipe d'accueil EA 3811 HERMA Université de Poitiers Pascale Ballet Presses universitaires de Rennes unknown
2010ref. BN586931Errance / Musée de l'Ancien Évêché 2010. 2010. Hardcover. Roches de mémoire : 5000 ans d'art rupestre dans les Alpes Roches de mémoire : 5000 ans d'art rupestre dans les Alpes Emmanuel Breteau Ed. Françoise Ballet Philippe Curdy Philippe Hameau & al. Errance / Musée de l'Ancien Évêché hardcover
1817ref. AQ35026London: s.n. 1817. Single leaf broadside. Browning and staining to edges with very small loss to lower right corner small hole and tear to title slightly obscuring final letters. A scarce playbill recording an early effort by London's Lyceum Theatre renamed The English Opera House in the summer of 1817 to present an illumination of the 'audience part of the theatre' during a performance of 'Free and Easy' a comic opera. Although the use of gaslight in street-lamps had first been demonstrated a decade prior in 1807 the goal to introduce gaslighting to the commercial stage took years to evolve into the competitive landscape of 1817 where three of London's premier West End venues the Theatre Royal Covent Garden Theatre Royal Drury Lane and the Lyceum Theatre entered into a rapid race to produce the first fully-gaslit public performances in a West End venue. The Royalty an East End theatre later renamed The East London Theatre had previously installed gas piping and lighting fixtures across both the auditorium and the stage in 1816 demonstrating the viability of such a project. The English Opera House led by director Samuel Arnold proudly boasted on August 6 1817 that 'Gas Lighting will this evening be introduced over the whole stage' seemingly claiming themselves the winners of the century's most contested technical theatre contest. Despite this the lack of an illuminated auditorium meant that the theatre's audience remained in candlelight until a month later when the venue opened fully illuminated for the first time. The Theatre Royal Drury Lane despite only revealing its gaslit stage on the 6th September 1817 was able to argue that due to their introduction of gaslighting into the auditorium several weeks prior they were in fact the first of the three theatres to achieve the much vied- for feat. On the same night The Theatre Royal Covent Garden also offered a demonstration of gaslight on their stage finally concluding the rivalry and introducing a vital element of technical staging into London's leading venues for the remainder of the century. Rare; COPAC records no copies in the UK OCLC adds a single copy overseas Yale. . Dimensions 170 x 340 mm. [s.n.] unknown
2012ref. BN223144DALLOZ 2012. 2012. Softcover. Peur espoir compassion indignation - Volume 21 L'appel aux émotions dans les campagnes présidentielles 1981-2007 Peur espoir compassion indignation - Volume 21 L'appel aux émotions dans les campagnes présidentielles 1981-2007 Marion Ballet DALLOZ paperback
ref. 32724800-nnew. unknown
