[GRAPHICS] [JAZZ] MARTIN, David StoneBiblio.com
4,791 results
ref. 84869Roosevelt NJ: by the Author c.1956. Quarto 37cm. Printed card portfolio holding twelve lithographic plates loose as issued. All lithographs are signed in plate; Martin has inscribed the portfolio "Jean and Sol Libsohn / David" undated. Very mild external toning and soil; Near Fine. Inside of portfolio is printed with a holiday sentiment and also a brief blurb from Alan Lomax commenting on the illustrations. Scarce portfolio of lithographic prints reproducing Martin's illustrations for Alan Lomax's Mr. Jelly Roll a biography of jazz pianist Jelly Roll Morton published in 1956. Issued without imprint presumably printed as a Christmas gift to friends of the artist. This copy is inscribed to the photographer Sol Libsohn and his wife Jean who were Martin's neighbors in Roosevelt New Jersey a WPA town founded in 1939 which by the Fifties had become a destination for artists writers and musicians seeking refuge from but proximity to the New York art scene. Martin 1913-1992 was a noted mid-century illustrator known best for his many jazz album covers for Folkways and Blue Note in the Fifties and Sixties. Of the present portfolio we locate only a single copy in OCLC Pitt with no other example traced in commerce. unknown
ref. 84869Roosevelt NJ: by the Author c.1956. Quarto 37cm. Printed card portfolio holding twelve lithographic plates loose as issued. All lithographs are signed in plate; Martin has inscribed the portfolio "Jean and Sol Libsohn / David" undated. Very mild external toning and soil; Near Fine. Inside of portfolio is printed with a holiday sentiment and also a brief blurb from Alan Lomax commenting on the illustrations. Scarce portfolio of lithographic prints reproducing Martin's illustrations for Alan Lomax's Mr. Jelly Roll a biography of jazz pianist Jelly Roll Morton published in 1956. Issued without imprint presumably printed as a Christmas gift to friends of the artist. This copy is inscribed to the photographer Sol Libsohn and his wife Jean who were Martin's neighbors in Roosevelt New Jersey a WPA town founded in 1939 which by the Fifties had become a destination for artists writers and musicians seeking refuge from but proximity to the New York art scene. Martin 1913-1992 was a noted mid-century illustrator known best for his many jazz album covers for Folkways and Blue Note in the Fifties and Sixties. Of the present portfolio we locate only a single copy in OCLC Pitt with no other example traced in commerce. unknown books
1940ref. 158584New York: The Hickory House 1940. Vintage three-color dinner menu from the renowned 52nd Street jazz club circa 1940s with a "Chef's Special" card stapled to the top outer corner of the second leaf. One of the longest running and premiere jazz clubs of "Swing Street" as 52nd Street between Fifth and Seventh Avenues was known in the 1930s through the 1950s Hickory House was opened shortly after the repeal of Prohibition in 1933 by impresario John Popkin. Featuring a huge oval music bar depicted on the cover of the menu on offer here Hickory House was both a swing venue and the spot to grab dinner and cocktails before a show. A musician's club Hickory House presented and served jazz luminaries for three decades. Among those known to perform or frequent the venue included Duke Ellington Louis Armstrong Benny Goodman Artie Shaw and Thelonious Monk among countless others many of whom were known to be found sitting in with the house band The Hickory House Trio Marian McPartland Bill Crow and Joe Morello on Sunday afternoons in the 1950s. In 1956 jazz pianist and composer Jutta Hipp released two acclaimed Blue Note albums recorded at the club "At the Hickory House Volume 1" and "At the Hickory House Volume 2." By the mid 1960s the venue was one of the last of the jazz clubs left on 52nd street and by the end of the decade closed. As noted on the back of the menu "Life! Life! From ten thirty until scrambled eggs there is always a popular swingy rhythm band to beat out tuneful and catchy syncopations in their own inimitable style." 10.75 x 14.25 inches bi-fold. Very Good plus with light soiling rubbing and edgewear overall and a faint horizontal crease. The Hickory House unknown
1940ref. 158584New York: The Hickory House 1940. Vintage three-color dinner menu from the renowned 52nd Street jazz club circa 1940s with a "Chef's Special" card stapled to the top outer corner of the second leaf. One of the longest running and premiere jazz clubs of "Swing Street" as 52nd Street between Fifth and Seventh Avenues was known in the 1930s through the 1950s Hickory House was opened shortly after the repeal of Prohibition in 1933 by impresario John Popkin. Featuring a huge oval music bar depicted on the cover of the menu on offer here Hickory House was both a swing venue and the spot to grab dinner and cocktails before a show. A musician's club Hickory House presented and served jazz luminaries for three decades. Among those known to perform or frequent the venue included Duke Ellington Louis Armstrong Benny Goodman Artie Shaw and Thelonious Monk among countless others many of whom were known to be found sitting in with the house band The Hickory House Trio Marian McPartland Bill Crow and Joe Morello on Sunday afternoons in the 1950s. In 1956 jazz pianist and composer Jutta Hipp released two acclaimed Blue Note albums recorded at the club "At the Hickory House Volume 1" and "At the Hickory House Volume 2." By the mid 1960s the venue was one of the last of the jazz clubs left on 52nd street and by the end of the decade closed. As noted on the back of the menu "Life! Life! From ten thirty until scrambled eggs there is always a popular swingy rhythm band to beat out tuneful and catchy syncopations in their own inimitable style." 10.75 x 14.25 inches bi-fold. Very Good plus with light soiling rubbing and edgewear overall and a faint horizontal crease. The Hickory House unknown books
1960ref. CAT206New York et al. 1960. Five 8 x 10 and two 5 x 7 inch gelatin silver prints with Bradley’s estate marks to versos. Excellent. Jack Bradley was a Cape Cod native who after graduating from the Massachusetts Maritime Academy fell in love with Jazz after seeing Louis Armstrong perform at the Boston Armory in 1956. In 1958 he moved to New York from Cape Cod and began dating Jeann Failows a member of Louis Armstrong’s inner circle. Through Failows Bradley gained access to Armstrong eventually becoming very close friends with the trumpeter and his inner circle. Bradley already had amassed a large collection of jazz material much related to Armstrong and he augmented his own collection by photographing Armstrong and his Jazz circle for the next decade. The bulk of Bradley’s collection now resides at the Louis Armstrong House Museum in Queens. This collection is of seven photographs of jazz musicians from Bradley’s estate showing a wonderful window into the tail end of the Classic Jazz era. Photographs as follows: Willie Cook. 5 x 7 inches. A portrait of Cook seated. Excellent condition. Count Basie and Duke Ellington. 5 x 7 inches. The two jazz greats are seated at their respective pianos during rehearsal. Excellent condition. Duke Ellington’s Empty Bandstand. 8 x 10 inches. The horns chairs and sheet music are laid out. Very good condition with some toning to margins and a faint scratch at outer edge of image. Duke Ellington Conducting his Band. 8 x 10 inches. Excellent condition. Ella Fitzgerald at the Apollo Theatre New York c. 1959. 8 x 10 inches. Excellent Condition. Count Basie Seated at a Table Smoking a Cigar. 8 x 10 inches. Excellent condition. Pee Wee russell Painting at his New York Apartment c. 1966. Good condition marginal tear affecting ½ inch of image. Overall a nice group and an example of a photographer whose work is not often available on the market. unknown
1960ref. CAT206New York et al. 1960. Five 8 x 10 and two 5 x 7 inch gelatin silver prints with Bradley’s estate marks to versos. Excellent. Jack Bradley was a Cape Cod native who after graduating from the Massachusetts Maritime Academy fell in love with Jazz after seeing Louis Armstrong perform at the Boston Armory in 1956. In 1958 he moved to New York from Cape Cod and began dating Jeann Failows a member of Louis Armstrong’s inner circle. Through Failows Bradley gained access to Armstrong eventually becoming very close friends with the trumpeter and his inner circle. Bradley already had amassed a large collection of jazz material much related to Armstrong and he augmented his own collection by photographing Armstrong and his Jazz circle for the next decade. The bulk of Bradley’s collection now resides at the Louis Armstrong House Museum in Queens. This collection is of seven photographs of jazz musicians from Bradley’s estate showing a wonderful window into the tail end of the Classic Jazz era. Photographs as follows: Willie Cook. 5 x 7 inches. A portrait of Cook seated. Excellent condition. Count Basie and Duke Ellington. 5 x 7 inches. The two jazz greats are seated at their respective pianos during rehearsal. Excellent condition. Duke Ellington’s Empty Bandstand. 8 x 10 inches. The horns chairs and sheet music are laid out. Very good condition with some toning to margins and a faint scratch at outer edge of image. Duke Ellington Conducting his Band. 8 x 10 inches. Excellent condition. Ella Fitzgerald at the Apollo Theatre New York c. 1959. 8 x 10 inches. Excellent Condition. Count Basie Seated at a Table Smoking a Cigar. 8 x 10 inches. Excellent condition. Pee Wee russell Painting at his New York Apartment c. 1966. Good condition marginal tear affecting ½ inch of image. Overall a nice group and an example of a photographer whose work is not often available on the market. unknown books
1930ref. 23072EHollywood CA: 8” x 10” 1930. Original sepia tone promotional photo signed by theater director John Murray Anderson: “To the ‘Imp’ - from Murray Anderson Hollywood. 1930”. The photo shows Mr. Anderson smartly dressed in a three piece suit and tie sitting at a desk pen in hand looking slightly to his left. With the slightly faded inkstamp of the famous movie and theater star photographer James Edward Abbe 1883 - 1973 on the verso. Fine condition. The photo is laid in to a first edition copy of King of Jazz: Paul Whiteman’s Technicolor Revue Severn MD: Media History Press 2016 detailing the making of and the restoration of the film directed John Murray Anderson starring Paul Whitman John Boles and Laura La Plante. Oversize 303 pages extensively indexed and illustrated throughout. Fine in a fine dust jacket. John Murray Anderson 1886 - 1954 worked in almost every genre of show business including vaudeville Broadway and film. He made his Broadway debut in 1919 as a writer director and producer of The Greenwich Follies. In the 20s and 30s he ran an acting school in Manhattan teaching Bette Davis and Lucille Ball among others. Anderson produced the Ziegfeld Follies in 1934 1936 and 1943 as well as directing plays in London’s West End. Some of his other contributions include directing at Radio City Music Hall and Ringling Brothers Circus from 1942 - 1951. Anderson’s work in Hollywood includes in addition to directing King of Jazz 1930 writing the screenplay for Ziegfeld Follies 1946 with Fred Astaire William Powell Judy Garland and Lucille Ball directing the water ballets in Bathing Beauty with Esther Williams Red Skelton and Basil Rathbone and the circus sequences in The Greatest Show on Earth 1952 with Charlton Heston Betty Hutton and Cornel Wilde. 8” x 10” unknown
1950ref. 1726311950-60s. Attractive collection of portraits of five jazz greats those of Paul Bley and John Lewis are vintage prints from the studio of Burt Goldblatt with wet stamps on verso. Goldblatt's New York Times obituary describes him as "a prolific designer of moody jazz LP album covers. In the early 1950s after the introduction of the LP the most progressive American cover designs were created for jazz albums and Mr. Goldblatt was among the pioneers in establishing the cool-jazz style. It encompassed black-and-white portraits and studio photographs inspired by film noir as well as gritty street scenes often abstractly overlaid with flat colours evoking a sense of urban night life". The study of Paul Bley shows him performing at the Newport Jazz Festival where Goldblatt was very much the house photographer publishing an illustrated history of the festival in 1977. Bley in the avant-garde of developments in the music "has produced vivid vital jazz couched in an advanced and challenging idiom" Cook & Morton. That of John Lewis - leader of the MJQ one of the most successful small groups in jazz - is an intimate close-up shot of him at the keyboard. Bill Evans is shown standing at the keyboard working through some changes with another musician perhaps drummer Kenny Clarke; the figure at Evans's elbow may be fellow-pianist Hank Jones. Similarly Tommy Flanagan sporting a flat cap and plaid shirt is going over material with drummer Roy Haynes. Flanagan is perhaps best known for his work accompanying Ella Fitzgerald and Tony Bennett emerging in the '70s and '80s as "a bebopper of gentlemanly distinction" Cook & Morton. The shot of Wynton Kelly is a delightful unguarded portrait showing him at the piano smiling and clearly in conversation sporting a hat with upturned brim and hip suit. Like Evans Kelly played on Miles Davis's timeless album Kind of Blue and is described by the All About Jazz website as "a superb accompanist loved by Miles Davis and Cannonball Adderley". Five original silver gelatin prints each 254 x 200 mm. Bley: identified on verso in black felt tip Burt Goldblatt wetstamp; Evans: identified on verso in pencil; Flanagan: identified on verso in pencil; Kelly: ghost of tape marks on verso; Lewis: identified on verso in blue ballpoint Burt Goldblatt wetstamp. Very slight blue ink smudging to the front of the image of Bley otherwise all in excellent condition. Richard Cook & Brian Morton The Penguin Guide to Jazz Recordings eighth ed. 2006. unknown
1974ref. 149163New York: Nation of Islam 1974. Scarce original handbills for the second of two extraordinary Black Family Days organized by the Nation of Islam in 1974 staged at Downing Stadium on Randall's Island New York and featuring music by among others Lionel Hampton Eddie Palmieri Machito Gil Scott-Heron Jimmy Cliff and "modern black music giants" Max Roach Clifford Jordan Archie Shepp and Jackie McLean. Black Family Day Part 2 was held on 15 September and followed Part 1 held in May the latter described as "the largest gathering of African-Americans in the history of Harlem" Clarke p. 189 when an estimated 70000 people attended and Farrakhan's address was recorded and distributed on the Nation of Islam's own label. "In September Scott-Heron joined Eddie Palmieri and Celia Cruz to perform at the Nation of Islam's Black Family Day at Downing Stadium on Randall's Island at the top of the East River below the Triborough Bridge. A stone's throw from where Robert Moses and the Triborough Commission ran their empire Brother Reverend Louis Farrakhan spoke for two hours to around twenty thousand people denouncing the United States as 'the wickedest nation on the face of the earth' under sunny fall skies. Jimmy Cliff sang 'I'd rather be a free man in my grave than living as a puppet or a slave'" Hermes. 2 handbills 266 x 190 276 x 223 mm printed on white and orange paper respectively text in Spanish on the latter both printed in black each incorporating a portrait of Louis Farrakhan the larger of the two with additional portraits of Eddie Palmieri Machito and Gil Scott-Heron. Each with lateral crease where once folded otherwise in excellent condition. Peter B. Clarke ed. New Trends and Developments in African Religions Westport Connecticut Greenwood Press 1998; Will Hermes Love Goes To Buildings On Fire: Five Years That Changed Music Forever Penguin 2014. unknown
1930ref. 53742New York: Macmillan Company 1930. 8vo. 8 230 pp. Navy-blue publisher’s cloth gilt lettering minor rubbing to spine very minor shelfwear w/ d.j. printed on metallic silver coated paper Art Deco cover art of 1920s limousine and the well-dressed set in orange & black minor chipping to head & foot of spine very minor edgewear & creasing upper fore-edge couple very small closed tears w/ minor very small tape repair still a VG/VG- copy. First edition of this fast-paced novel set against the backdrop of a penniless Russian Prince exiled by the Revolution who makes a deal with a clever Chicago fashion buyer to act as chauffeur and purchase the sumptuous “Car of Croesus” rented at exorbitant rates to patrons wishing to appear as millionaires. Poole won the first Pulitzer Prize for The Family in 1918. Very scarce in the original dustjacket. Macmillan Company, hardcover
1938ref. 33168Tokyo: Symphony Publishing Company 1938. Very Good. Tokyo: Symphony Publishing Company 1938. Presumed First Edition. 12mo 15.5 cm; publisher's pictorial yellow and orange card wrappers lettered in black; 1923pp.; brief illus. sheet music throughout. Moderate wear and dust-soiled to wrappers small loss mid-spine briefly affecting text textblock a bit browned and foxed else Very Good bright and sound. Evidently unrecorded Japanese guide to popular jazz music the first half almost entirely in Japanese the latter half bilingual primarily in Japanese and English. Includes the music for classics by Jerome Kern like "Ol' Man River" and "Can't Help Lovin' Dat Man"; Romberg and Hammerstein's "Lover Come Back To Me"; Moises Simons' Cuban rumba foxtrot "The Peanut Vendor"; instantly recognizable classics like "Blue Moon" and "La Cucaracha"; and songs by Mabel Wayne and Irving Berlin. The compilation also includes songs in Spanish French and German accompanied by its Japanese translation. A fascinating and beautiful little guide documenting the rise in popularity of Jazz music in Japan and Tokyo in particular issued between the devastating earthquake of 1923 and the beginning of World War II. The import of Jazz to Japan was first heralded with the rise in trans-Pacific luxury liners. A Japanese version of "My Blue Heaven" reproduced here became available as early as the 1920s and the popular 1929 Japanese film "Tokyo March" employed Jazz in its soundtrack. The genre was popular enough that Columbia and Victor records formed subsidiary companies in Japan. The popularity of jazz in Japan continues to this day touted by one of the country's most prominent public and literary figures Haruki Murakami who first opened his Jazz club right out of college after falling in love with the genre at an Art Blakey and the Jazz Messengers show in Kobe in 1964. No copies of this work located in OCLC as of June 2025. References: "How Japan Came To Love Jazz" online interview with historian E. Taylor Atkins author of "Blue Nippon" "Jazz Messenger" by Haruki Murakami available online. Symphony Publishing Company unknown
1938ref. 33168Tokyo: Symphony Publishing Company 1938. Very Good. Tokyo: Symphony Publishing Company 1938. Presumed First Edition. 12mo 15.5 cm; publisher's pictorial yellow and orange card wrappers lettered in black; 1923pp.; brief illus. sheet music throughout. Moderate wear and dust-soiled to wrappers small loss mid-spine briefly affecting text textblock a bit browned and foxed else Very Good bright and sound. Evidently unrecorded Japanese guide to popular jazz music the first half almost entirely in Japanese the latter half bilingual primarily in Japanese and English. Includes the music for classics by Jerome Kern like "Ol' Man River" and "Can't Help Lovin' Dat Man"; Romberg and Hammerstein's "Lover Come Back To Me"; Moises Simons' Cuban rumba foxtrot "The Peanut Vendor"; instantly recognizable classics like "Blue Moon" and "La Cucaracha"; and songs by Mabel Wayne and Irving Berlin. The compilation also includes songs in Spanish French and German accompanied by its Japanese translation. A fascinating and beautiful little guide documenting the rise in popularity of Jazz music in Japan and Tokyo in particular issued between the devastating earthquake of 1923 and the beginning of World War II. The import of Jazz to Japan was first heralded with the rise in trans-Pacific luxury liners. A Japanese version of "My Blue Heaven" reproduced here became available as early as the 1920s and the popular 1929 Japanese film "Tokyo March" employed Jazz in its soundtrack. The genre was popular enough that Columbia and Victor records formed subsidiary companies in Japan. The popularity of jazz in Japan continues to this day touted by one of the country's most prominent public and literary figures Haruki Murakami who first opened his Jazz club right out of college after falling in love with the genre at an Art Blakey and the Jazz Messengers show in Kobe in 1964. No copies of this work located in OCLC as of June 2025. References: "How Japan Came To Love Jazz" online interview with historian E. Taylor Atkins author of "Blue Nippon" "Jazz Messenger" by Haruki Murakami available online. Symphony Publishing Company unknown books
1954ref. 128140Couverture souple. 74 revues de 32 pages. Le N° 2 est manquant.
ref. SONG3892210942Used: Good unknown
1921ref. bf4868Editions Sélection, Bruxelles Sélection Abraxas-libris Broché 1921 MAGNIFIQUES POCHOIRS TRES EXPRESSIFS ET MAGNIFIQUEMENT COLORES DE GEO NAVEZ. Miousic. Sept poèmes à la louange de la musique baroque. Bruxelles, Editions Sélection. 1921. In-4 (23,4 x 32,5 cm), broché, 45 pages, édition limitée à 132 exemplaires, un des 100 exemplaires sur papier de Hollande, van Gelder Zonen (ici le n°40), orné de sept dessins rehaussés au pochoir par Géo Navez (peintre belge, 1890-1975). L'auteur, Paul-Gustave van Hecke (1887-1967), entre autres critique, marchand et collectionneur d'art à la pointe de toutes les avant-gardes tant au plan esthétique qu'idéologique, s'est fait le promoteur de l'expressionisme belge et international, mais aussi du dadaïsme et du surréalisme, Cet ouvrage est considéré comme l'un des plus anciens livres illustrés abordant le jazz ; excellent état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1922ref. BK0009Pittsburgh: Sissman Studio 1922. Photograph measuring approximately 8 x 10 inches. Studio portrait of nine African American musicians posed with saxophones brass instruments violin banjo drums and other instruments with a rug prominently lettered "Bradford's Orchestra" at their feet. Photographer identified as Sissman Studio of Pittsburgh. Some wear and toning particularly at edges and corners; generally well preserved. An early photograph of Bradford's Orchestra an African American ensemble active in Pittsburgh under the direction of Walter Felix Bradford during the early 1920s. Nine musicians pose with an unusually extensive display of their instruments while the orchestra's name is incorporated prominently into the composition on a rug at their feet. The photograph was made by Sissman Studio a Pittsburgh photographic firm later located on Centre Avenue in the city's Hill District. Contemporary sources document Bradford's Orchestra performing over Pittsburgh's pioneering radio station KDKA during this period. A December 1922 program announced an 8:30 evening "Concert by Bradford's Orchestra under the direction of Walter Felix Bradford" with a varied program ranging from Mendelssohn and Verdi to popular marches and light orchestral music.1 The group is also listed as performing on KDKA in the Utica Observer-Dispatch in December 1922.2 The present photograph appears to be an otherwise unrecorded studio portrait of the same Pittsburgh organization. Bradford belonged to a substantial but poorly documented community of African American bandleaders and musicians working in Pittsburgh during the early twentieth century. Later accounts of musical life in the Hill District place him alongside such local ensembles as the Harlem Troubadours Gerty Long and Her Night Hawks and Walt Rainey's High Schoolers.3 These local orchestras formed an important part of the musical culture from which Pittsburgh would subsequently produce an extraordinary generation of nationally prominent Black musicians. 1 "Monday December 11 1922" Radio Broadcasting News 2 no. 28 December 9 1922 6. 2 "To-day's Radio Program" The Utica Observer-Dispatch December 11 1922 5. 3 Hugo A. Freund "Working the Seams: African American Professional Performers Moving Between White Public Culture and African American Private Culture" Pennsylvania Folklife 45 no. 2 1996: 91-97. . Sissman Studio unknown
1922ref. BK0009Pittsburgh: Sissman Studio 1922. Photograph measuring approximately 8 x 10 inches. Studio portrait of nine African American musicians posed with saxophones brass instruments violin banjo drums and other instruments with a rug prominently lettered "Bradford's Orchestra" at their feet. Photographer identified as Sissman Studio of Pittsburgh. Some wear and toning particularly at edges and corners; generally well preserved. An early photograph of Bradford's Orchestra an African American ensemble active in Pittsburgh under the direction of Walter Felix Bradford during the early 1920s. Nine musicians pose with an unusually extensive display of their instruments while the orchestra's name is incorporated prominently into the composition on a rug at their feet. The photograph was made by Sissman Studio a Pittsburgh photographic firm later located on Centre Avenue in the city's Hill District. Contemporary sources document Bradford's Orchestra performing over Pittsburgh's pioneering radio station KDKA during this period. A December 1922 program announced an 8:30 evening "Concert by Bradford's Orchestra under the direction of Walter Felix Bradford" with a varied program ranging from Mendelssohn and Verdi to popular marches and light orchestral music.1 The group is also listed as performing on KDKA in the Utica Observer-Dispatch in December 1922.2 The present photograph appears to be an otherwise unrecorded studio portrait of the same Pittsburgh organization. Bradford belonged to a substantial but poorly documented community of African American bandleaders and musicians working in Pittsburgh during the early twentieth century. Later accounts of musical life in the Hill District place him alongside such local ensembles as the Harlem Troubadours Gerty Long and Her Night Hawks and Walt Rainey's High Schoolers.3 These local orchestras formed an important part of the musical culture from which Pittsburgh would subsequently produce an extraordinary generation of nationally prominent Black musicians. 1 "Monday December 11 1922" Radio Broadcasting News 2 no. 28 December 9 1922 6. 2 "To-day's Radio Program" The Utica Observer-Dispatch December 11 1922 5. 3 Hugo A. Freund "Working the Seams: African American Professional Performers Moving Between White Public Culture and African American Private Culture" Pennsylvania Folklife 45 no. 2 1996: 91-97. . Sissman Studio unknown books
1952ref. 3922Raison d'Être, Paris 1952. 1 volume in-4 (330 x 250 mm), en feuilles, 86 pp + fnch., sous couverture illustrée rempliée, chemise cartonnée décorée et étui recouverts de papier jaune bleu et blanc. Couverture illustrée d'une lithographie en couleur, 1 FRONTISPICE ET 7 LITHOGRAPHIES ORIGINALES PAR HENRI MATISSE en hors-texte sur fond teinté. 3 linogravures en ornementation du texte. Le cartonnage bleu blanc jaune est décoré d'après des papiers découpés. Tirage : 30 + 300 + XX Arches. Celui-ci 1 des 300 numérotés sur Arches à la forme. 11 original prints : 7 lithographs, 3 small linocuts, and 1 etching with acquatint. ONE OF 300 COPIES ON VÉLIN D'ARCHES. (12 7/8 x 9 7/8 inch). FRONTISPIECE AND 7 ORIGINAL LITHOGRAPHS BY HENRI MATISSE. UNBOUND AS ISSUED, ORIGINAL DECORATED WRAPPERS AFTER MATISSE. Exemplaire très beau, le cartonnage décoré parfaitement conservé, quelques très faibles reports internes comme habituellement.
1920ref. 62329Portland OR Spokane WA San Francisco CA & Seaside OR: Lyle E. Lewis Dance Orchestra ca. 1920-1944. Eight vols. 1st - 4to. 48 pp unpaginated. on thick black paper w/ 100’s of pieces of ephemera mounted and laid-in including 7 silver gelatin photographs sized from 5 x 7 in. up to 8 x 10 in. many different TLS and ALS most on stationery letterhead for assorted hotels KGW Radio and others many newspaper clippings tickets promotional brochures advertising cards dance tickets along with a spoof printed “Wanted” notice for Ted Mullen alias Sourdough Sullen with $ 500 million reward offered and large double-page advertising broadside on yellow-gold tinged thick paper stock at rear for gig in Astoria OR under the auspices of the Co. L 186th Infantry Oregon National Guard. Contemporary pebbled black boards punch-sewn at gutter margin chipping edgewear still VG- exemplar; 2nd - 4to. 92 pp unpaginated w/ majority of leaves on ruled paper including 18 leaves of mylar sleeves featuring the majority of the 23 silver gelatin photographs most sized 8 x 10 in. photographer’s imprints on versos remainder w/ clippings promotional announcements tickets broadsides ALS & TLS documents throughout along with a long radio program script. Contemporary 2-ring blue cloth binder rounded corners some edgewear rubbing still VG; 3rd-7th - 16mo. Five daily diaries Approx. 700 pp unpaginated. w/ approx. 4000 words manuscript annotations in ink & pencil throughout featuring some laid-in miniature photos receipts business cards including 1 photographic souvenir business card for Cole McElroy’s Dance Band and Cole McElroy’s Spanish Ballroom 1 tiny postage stamp photo of Lewis at his bungalow in Seaside all bound in cloth some wear still VG grouping; 8th - 12mo. Approx. 150 pp unpaginated. of ruled paper mostly typescript ink & pencil manuscript some ruling throughout annotations & checkmarks last 4th or so blank. Flexible black cloth 6-ring binder business card for Lewis as Commercial Agent for ACME Fast Freight taped in on front pastedown 3 blank routing order forms in red & black some scuffing edgewear still VG all from the library of Genevieve Martha Lewis Levin 1911-1994. This unusually well-preserved archive of a Roaring 20’s Jazz Orchestra musician and Band Leader in the Pacific Northwest reveals the exuberance and business success of this largely forgotten artist through his successful years before foundering during the Great Depression. Both scrapbooks open with clippings thank you and recommendation letters as well as dance broadsides and photographs during 1926 at the height of Lyle Lewis’s orchestra appreciation. Testimonials include B.J. Saad who owned the Garden Dancing Palace and stated “I have taken the Garden which is second to no other ballroom west of Chicago. That is why I have secured Lyle Lewis recognized as one of the best orchestra leaders on the Coast.” C.W. Craig of Lipman Wolfe & Co. department store extolls that Jazz music dance held at the Multnomah Hotel March 16 1926 that “I don’t think we have ever enjoyed better or more up to date dance music than that furnished by your splendid aggregation.” Broadsides and notices advertise the Lewis Jazz Orchestra playing the Grand Ball Room at the Masonic Temple Congress Hotel leading McElroy’s Oregonians at the McElroy’s Spanish Ballroom the Dessert Hotel Oasis near Spokane parties for Studebaker and more. One of the mounted letters includes a rather sad severance letter signed by Cole McElroy explaining the circumstances of Lyle Lewis’s leaving stating “I realise that you were a victim of circumstances. On account of the fact that you had a fine band organized. . . certain music masters of the theatre jobs saw fit to take your men away from you thereby breaking up your fine band and forcing me to make a deal for another organization.” McElroy 1888-1947 was known as “Pop” McElroy was a popular band leader who during the years before World War I and after played the Palm Gardens often and had great success in his McElroy Spanish Ballroom which opened in 1926 and then opened another Seattle McElroy Ballroom in 1928. Several TLS on letterheads include those for KXL Radio station KGW Radio Station and the KOIN Studio Director for The Portland News which played three nights a week on air for over six months. The many photographs capture the Lyle Lewis band joking around with their instruments on the road fully arrayed on stage in the Radio Station posing at various venues stages and even one as late as 1939 conducting the Lyle E. Lewis Dance Orchestra. The band included Cluet Mansfield formerly with Henry Halsted band William Webber on drums Eddie Scroggins & Frank Champion as sax players G. Berardinelli on Bass and also played dances at the Irvington Club Multnomah Athletic Club and for a while with the historic Congress Hotel in Portland which had been the City’s first reinforced concrete building erected during the Progressive Era and by 1924 expanded to 119 rooms with vibrant Jazz ballroom. The daily diaries for 1929 and 1930 show that Lewis regularly played at the Cotillion Hall now the Crystal Ballroom initially at $ 7.00 per night in 1929 and then steadily dropping to less than half by 1933. He writes about traveling for a gig in San Francisco with Mansfield in 1929 leaving Tuesday and arriving Wednesday Sept. 18 1929 driving 40 mph and getting 19 miles to the gallon with a drive made in 19 hours and 15 minutes. He played extensively at the Bungalow Club in Seaside OR which had opened originally June 19 1920 and for more than 25 years was the destination for the biggest names in the Big Band Jazz era including Lyle E. Lewis Cole McElroy Duke Ellington Bob Crosby Glenn Miller and tragically became connected with the death of Jimmie Lunceford who died from a heart attack just before playing his last set at the Bungalow after playing McElroy’s Ballroom in Portland 2 nights before. Lewis 1890-1948 was a popular Portland Oregon based jazz band & orchestra leader who managed to lie about his age and enlist at 15 in the Oregon National Guard Co. G 3rd Battalion served for three years and in May 1910 married Genevieve Franklin while working as salesman and musician before World War I Following the War he quickly became a successful band leader including successful stints with the Cole McElroy Spanish Ballroom Congress Hotel Multnomah Hotel Bungalow Garden Ballroom as well as the Coronado Hotel in California. As indicated by the daily diaries he maintained a fairly close relationship with his daughter Genevieve “Martha” but became largely estranged from his wife Genevieve living in separate rooming houses or hotels. Still in her position as a sales manager she managed to convince Meier & Frank to hire him as their house band for store functions and the restaurant while during the Great Depression he mostly worked for the US Forest Service mapping division while his show business largely disappeared. By 1943 he became the commercial agent for ACME Fast Freight where he worked as commercial agent until his death. This cataloguer could find no surviving recorded discography record for Lyle E. Lewis and his assorted incarnations although there are a few recordings for the Cole McElroy Band from 1926-1928 which most likely would have included him as band leader and musician. Lyle E. Lewis, Dance Orchestra, hardcover
1990Signed and inscribed by Oscar Peterson upon front free endpaper.. 294 pages. "For the millions who know and love the music of Oscar Peterson, here's the definitive biography by his friend and former Down Beat editor, Gene Lees." - from dust jacket. Black and white photographic plates. Clean and bright with negligible wear. Occasional underlining in blue ink. Dust jacket preserved in brodart. A lovely copy signed by the hand of one of the greatest pianists the world has ever known. Book
ref. GOR005342892Paperback. Very Good. paperback
1962ref. 172605Paris: Michel Salou 1962. The band's expanded voicings added orchestral sonority to rhythmic power An evocative sequence: one focusing on Blakey at the kit a particularly luminous shot another showing the front men playing percussion two of Freddie Hubbard soloing one of Curtis Fuller and another of Cedar Walton. Blakey 1919-1920 was a master percussionist and the Jazz Messengers which he led for over 30 years was "the most famous academy in jazz" Cook & Morton. The lineup here is Blakey drums Wayne Shorter tenor sax Freddie Hubbard trumpet Curtis Fuller trombone Cedar Walton piano and Jymie Merritt bass. When Lee Morgan left the band Blakey brought in Hubbard and Fuller with Cedar Walton coming in for Bobby Timmons. The new agglomeration formed perhaps "the most adventurous of Messenger lineups. The band's expanded voicings added orchestral sonority to rhythmic power". The photographer Michel Salou worked as a music executive producing albums by among others Sun Ra Live in Paris at the "Gibus" 1973 the Mal Waldron Trio Ursula 1978 and the French pianists George Arvanitas and Rene Urtreger. He also appears in the annals of the Art Ensemble of Chicago as their "first booking agent. who helped them secure concert dates across France and elsewhere in Europe" Steinbeck p. 130. His excellent work as a lensman appears to have gone virtually unnoticed except that the National Portrait Gallery holds a single print of Ray Charles in performance. Six original carbon print photographs 240 x 180 mm printed on heavy stock paper inscribed on versos in blue ballpoint: "clichés Michel Salou". In excellent condition. Paul Steinbeck Message to Our Folks: The Art Ensemble of Chicago 2017. unknown
1960ref. 149122Chicago: Hugh Hefner c. 1960s. Lay back and think of Ellington A trio of discs cut specially for Playboy founder Hugh Hefner comprising two recordings by Duke Ellington "Mood Indigo" and "Sophisticated Lady" and one by Artie Shaw "Begin the Beguine". Each label printed in pink: "Custom Pressed by Jukeboxes Unlimited for Hugh M. Hefner" and bearing Playboy's rabbit logo and typed identification. "Hugh Hefner's initial exposure to music and especially to jazz like that of most people was through vinyl recordings and he's always been a record collector" Farmer p. 71. He was also the owner of a magnificent 1946 Wurlitzer 1015 jukebox see his sale at Julien's Auctions 30 November 2018. That lot was offered with 24 "original" 78rpm recordings by a group of artists including Artie Shaw Frank Sinatra Lena Horne and Harry James. Whether these discs were specially cut as here we have not been able to ascertain. What is certain however is the Playboy kingpin's love of jazz. "In this invented lifestyle for the modern age Hef decided that jazz was the go-to soundtrack. Jazz was the hippest music around and had been for decades. Playboy championed jazz at a time when most music critics were looking in all the wrong places for a truly American art form. Even the most forward-thinking composers of the era the Aaron Coplands and their ilk were still just building upon the European tradition. Jazz was bursting at the seams of the staid and academic classical world ripe with musical development rivalling the greatest of the old European masters. In 1957 Playboy produced a two-record set of their Jazz All-Star series featuring performers from Pops to Frank Sinatra to Dave Brubeck. They produced a second edition in 1958 and a third in 1959. Hefner then held the first Playboy Jazz Festival at Chicago Stadium in 1959" Jeff Fitzgerald at allaboutjazz website 28 September 2017. As a coda the jazz-soaked "Playboy's Theme" written and performed by Cy Coleman was the signature tune of the regular late night TV show Playboy's Penthouse. 3 aluminium-cored one-sided 10 inch acetate discs each with original label both Ellington discs with additional drive-pin hole; original plain paper sleeves annotated in ink possibly in Hefner's hand. Sleeves rather brittle torn and chipped with some loss but just about intact; a few abrasions and finger marks to discs. Patty Farmer and Will Friedwald Playboy Swings!: How Hugh Hefner and Playboy Changed the Face of Music 2015. unknown
1937ref. 171091Paris: c. 1937. Jazz à la parisienne From the collection of Rolling Stones drummer and jazz aficionado Charlie Watts with his posthumous bookplate: a delightful and highly unusual illustrated "prospectus" of the requisites for running a successful bar in Paris in the late 1930s. First and foremost you'll need "un très bon pianiste nêgre" along with "2 barmaids" and of course "2 ou 3 nêgresses à laisser vagabonder dans le bar". There then follow three pages that offer pen portraits of various artists that you might like to include on the bill along with their contact details. These include "acteurs animant la soirée ou la nuit": character actor and singer Yves Deniaud 1901-1959 Neapolitan sinti jazz guitarist Henri Crolla 1920-1960 "a travaillé avec Djingo Rainart sic du Hot-club de France" "Trois Jeunes - chanteurs s'accompagnant à la guitare et à la flute" including another well-known actor Guy Decomble 1910-1964 and the photographer Pierre Jamet 1910-2000 a close friend of Robert Doisneau and Willy Ronis. The flamboyant impresario Henri Leduc winds up the volume described as a "personnage comique indispensable à l'atmosphere d'un bar". After the Liberation Leduc a native of Montmartre set up Le Bar Vert on the rue Jacob "the first café-restaurant to play American music" Cowan & Steward p. 234. Our unidentified artist concludes by remarking "We can find for you absolutely everything that you could possibly need elephants - naked ladies - non naked ladies - a 'bus - &c. &c. - whales". Quarto. Five pages of original artwork in pencil crayon and pastel with accompanying text. Commercial sketchbook by L. Bourdillon original blue card wrappers. Variably sunning to wrappers which show lght signs of handling contents toned pale tidemark to edges of leaves front blank professionally restored at the corners but overall very good. Alexander Cowan & Jill Steward eds. The City and the Senses: Urban Culture Since 1500 2007. unknown
1927ref. 144081927 P., 1927-1929, 25 revues reliées en 1 vol. in-4° (315 x 240 mm) 1/2 basane beige, dos à 5 nerfs, titre et fleurons dorés, plats de papier marbré.Petite épidermure au dos due à une ancienne étiquette, manque certaines 4e de couvertures, très bel exemplaire par ailleurs.
