485 résultats
2011réf. SKU-1554AB13503275D.A.P./Distributed Art Publishers 2011. 1. Hardcover. Very Good. Very Good in a Very Good dust jacket; Hardcover; Dust jacket is clean and intact with just minor edgewear and has not been price-clipped Now fitted with a new Brodart jacket protector; Light wear to the boards; The textblock edges are unblemished; The endpapers and all text pages are clean and unmarked; The binding is excellent with a straight spine; This book will be shipped in a sturdy cardboard box with foam padding; Large Format 11.75" - 12.75" tall; 4.6 lbs; Painting illustration to the dust jacket with title in white lettering; 2011 D.A.P./Distributed Art Publishers; 288 pages; "Antonio Lopez Garcia: Paintings and Sculpture" by Francisco Calvo Serraller & Miguel Delibes. D.A.P./Distributed Art Publishers hardcover
réf. 233083 pp. of a bifolium. Small octavo. Dated "Thursday morning." In French with translation. Delibes would like to see his friend to discuss some issue of importance. He also mentions several prominent musical figures in Paris: the baritone Jacques Bouhy; Philippe Gille the co-librettist of Delibes's opera Lakmé; Halanzier a director at the Paris Opera; and Léon Carvalho director of the Opéra-Comique. "In spite of everything Carvalho wants all the same to go ahead and at full steam. When one speaks to him of waiting. he jumps to the ceiling and does not accept any hesitation. This is very embarrassing." Slightly worn and creased. "Outside the theatre for which Delibes wrote nearly all his music his most notable work was as a composer of choruses now undeservedly neglected. His output of songs was relatively small and that of instrumental and church music almost negligible. His cantata Alger 1865 attracted much attention at the time but has lain in obscurity since. Despite his poor record at the Conservatoire his workmanship was of the highest order; he had a natural gift for harmonic dexterity and a sure sense of orchestral colour and nothing in his music is out of place. He was a disciplined composer and it is tempting to see in the exquisite pastiche dances that he composed in 1882 for Hugo's Le roi s'amuse not just a sharp ear for style but a genuine feeling for the world of 17th-century French classicism later to be espoused with such ardour by Saint-Saëns d'Indy and Debussy." Hugh Macdonald in Grove Music Online. unknown books
réf. 20320Paris Choudens, Editeur, sans date ( fin XIXème ) 0 in 8 (28x19) 1 volume reliure plein maroquin chocolat de l'époque, dos à nerfs, très orné, plats orné d'un décor d'encadrement de triple filets dorés avec fleurons d'angle, avec au centre du plat supérieur les lettres dorées: M D, tranches dorées, belle dentelle dorée intérieure, page de titre illustrée (lithographie tirée en sépia) 267 pages de musique notée. 4ème édition avec récitatifs. Superbe exemplaire, très finement relié ( Photographies sur demande / We can send pictures of this book on simple request )
réf. 271293 pp. of a bifolium. Ca. 161 x 102 mm. Dated "Sunday." On ivory paper. In French with translation. Delibes discusses a business venture with "our millionaire." He had hoped to see his correspondent the day before at a session of the Exposition jury or a soirée wasn't able to join him at the Opéra-Comique and asks him to give his regards to "Madame Gonzien." ". On Friday I went to meet our millionaire. You have been very kind to him and what I told him about you could only confirm this good impression. But personally he doesn't want to do anything; this is an absolutely firm stance. Only his brewery could benefit from the success of the thing. But he is the principal sponsor and shareholder and promised to 'push the wheel' in your desired direction. " Slightly worn and soiled; creased at folds; small ink stain to second page affecting one word. "Delibes's workmanship was of the highest order; he had a natural gift for harmonic dexterity and a sure sense of orchestral colour and nothing in his music is out of place. He was a disciplined composer and it is tempting to see in the exquisite pastiche dances that he composed in 1882 for Hugo's Le roi s'amuse not just a sharp ear for style but a genuine feeling for the world of 17th-century French classicism later to be espoused with such ardour by Saint-Saëns d'Indy and Debussy." Hugh Macdonald in Grove Music Online. unknown books
réf. 271293 pp. of a bifolium. Ca. 161 x 102 mm. Dated "Sunday." On ivory paper. In French with translation. Delibes discusses a business venture with "our millionaire." He had hoped to see his correspondent the day before at a session of the Exposition jury or a soirée wasn't able to join him at the Opéra-Comique and asks him to give his regards to "Madame Gonzien." ". On Friday I went to meet our millionaire. You have been very kind to him and what I told him about you could only confirm this good impression. But personally he doesn't want to do anything; this is an absolutely firm stance. Only his brewery could benefit from the success of the thing. But he is the principal sponsor and shareholder and promised to 'push the wheel' in your desired direction. " Slightly worn and soiled; creased at folds; small ink stain to second page affecting one word. "Delibes's workmanship was of the highest order; he had a natural gift for harmonic dexterity and a sure sense of orchestral colour and nothing in his music is out of place. He was a disciplined composer and it is tempting to see in the exquisite pastiche dances that he composed in 1882 for Hugo's Le roi s'amuse not just a sharp ear for style but a genuine feeling for the world of 17th-century French classicism later to be espoused with such ardour by Saint-Saëns d'Indy and Debussy." Hugh Macdonald in Grove Music Online. unknown
réf. 233364 pp. of a bifolium. Small octavo. Dated Monday evening December 5 between 1883 and 1891. On ivory paper with black borders. In French with translation. Having returned to Paris Delibes is anxious for news of the second run of his opera Lakmé. Because his correspondent's letter was delivered to the wrong address he has had to seek information elsewhere. Unfortunately another audience member has told him that the tenor and "basse chantante" have weak voices. Delibes suggests they replace the latter with a certain "Monsieur Schmidt" in order to increase ticket sales. In January he and his correspondent will discuss his opera Le Roi l'a dit which premiered at the Opéra-Comique on May 24 1873. "Unfortunately a more recent letter.tells me that our tenor is always weak as well as the 'basse chantante' i.e. high lyric bass and that the whole weight of the performance rests on Madame Alice Verheyden who alone has some success in the work. I add that these reports do not come from her husband!" Slightly soiled and foxed; creased at folds. "Delibes's workmanship was of the highest order; he had a natural gift for harmonic dexterity and a sure sense of orchestral colour and nothing in his music is out of place. He was a disciplined composer and it is tempting to see in the exquisite pastiche dances that he composed in 1882 for Hugo's Le roi s'amuse not just a sharp ear for style but a genuine feeling for the world of 17th-century French classicism later to be espoused with such ardour by Saint-Saëns d'Indy and Debussy." Hugh Macdonald in Grove Music Online. Lakmé is considered the composer's masterpiece. It offers more than just a fine vehicle for a star soprano; the two principal male characters Nilakantha and Gérald are firmly drawn and the music is melodic picturesque and theatrically strong. The opera was first performed at the Opéra-Comique Salle Favart in Paris on April 14 1883. Delibes's correspondent Miral was perhaps the director of the Théâtre Municipal de Nancy. If this is the case it is quite likely that the production mentioned in this letter took place there. unknown books
réf. 233364 pp. of a bifolium. Small octavo. Dated Monday evening December 5 between 1883 and 1891. On ivory paper with black borders. In French with translation. Having returned to Paris Delibes is anxious for news of the second run of his opera Lakmé. Because his correspondent's letter was delivered to the wrong address he has had to seek information elsewhere. Unfortunately another audience member has told him that the tenor and "basse chantante" have weak voices. Delibes suggests they replace the latter with a certain "Monsieur Schmidt" in order to increase ticket sales. In January he and his correspondent will discuss his opera Le Roi l'a dit which premiered at the Opéra-Comique on May 24 1873. "Unfortunately a more recent letter.tells me that our tenor is always weak as well as the 'basse chantante' i.e. high lyric bass and that the whole weight of the performance rests on Madame Alice Verheyden who alone has some success in the work. I add that these reports do not come from her husband!" Slightly soiled and foxed; creased at folds. "Delibes's workmanship was of the highest order; he had a natural gift for harmonic dexterity and a sure sense of orchestral colour and nothing in his music is out of place. He was a disciplined composer and it is tempting to see in the exquisite pastiche dances that he composed in 1882 for Hugo's Le roi s'amuse not just a sharp ear for style but a genuine feeling for the world of 17th-century French classicism later to be espoused with such ardour by Saint-Saëns d'Indy and Debussy." Hugh Macdonald in Grove Music Online. Lakmé is considered the composer's masterpiece. It offers more than just a fine vehicle for a star soprano; the two principal male characters Nilakantha and Gérald are firmly drawn and the music is melodic picturesque and theatrically strong. The opera was first performed at the Opéra-Comique Salle Favart in Paris on April 14 1883. Delibes's correspondent Miral was perhaps the director of the Théâtre Municipal de Nancy. If this is the case it is quite likely that the production mentioned in this letter took place there. unknown
2011réf. 96450D.A.P./Distributed Art Publishers Inc. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 286 pp. ; 210 illus. 199 in color. -- with a bonus offer--; The Spanish painter draughtsman and sculptor Antonio López García is so widely celebrated for the staggering exactitude of his painterly realism that it's sometimes easy to neglect the magical delicate atmospheres he conjures through his technical abilities. His paintings of what in anyone else's hands would seem the blandest subject matter imaginable--a blank wall a coat hook a kitchen sink the interior of a refrigerator--teem with an infused loving scrutiny that betrays the months and years of labor the artist devotes to each work. "Reality has a highly resonant physical appearance that twentieth-century man perceives from different angles to those of other ages" he once told an interviewer. Likewise his portrait sculptures attain an almost terrifying verisimilitude the eyes appearing ever on the verge of flickering into life and returning the viewer's gaze. In 2010 D.A.P. published the definitive monograph on López García's drawings. In this new volume we at last have the definitive monograph on the artist's paintings and sculptures. Carefully overseen by López García in its production this companion volume includes 200 full-color reproductions. Antonio López García was born in Tomelloso in the heart of Spain a few months before the outbreak of the Spanish Civil War in 1936. He studied at the School of Art in Madrid in the early 1950s where he soon proved himself a brilliant student and quickly became part of a nucleus of realist painters such as Francisco López Hernández Amalia Avia and Isabel Quintanilla. López García was the subject of Víctor Erice's 1992 film El Sol del Membrillo The Quince Tree of the Sun which closely chronicles the artist's attempts to paint a quince tree. . 2011. 1935202650 . D.A.P./Distributed Art Publishers, Inc. hardcover
réf. M5756-Y9French composer 1836-1891 famous for his operas. First edition 106 pages published by Mme. Cendrier Paris 1858. Monsieur Griffard was Delibes´ first complete opera comique and was world-premiered in 1857 with French tenor Ernest Leroy in the title role. A fine copy signed by the composer and inscribed to the creator of the title role "To Monsieur Griffard with a thousand thanks to the friend Leroy Leo Delibes 1858". Contemporary quarter morocco covers original front wrapper bound in - First edition extremely rare. hardcover
réf. 416833 pp. Folio. Notated on 20-stave music paper on five 3-stave systems per page on rectos only. In G minor. With a number of erasures and corrections; original titles to head of first page of music crossed out. With text by noted French poet Armand Silvestre 1837-1901: Que l'heure est donc brève Qu'on passe en aimant! C'est moins qu'un moment Un peu plus qu'un rêve. Le temps nous enlève Notre enchantement. Que l'heure est donc brève Qu'on passe en aimant! Sous le flot dormant Soupirait la grève; M'aimais-tu vraiment Fût-ce seulement Un peu plus qu'un rève Que l'heure est donc brève Qu'on passe en aimant! Somewhat worn and browned; slightly creased; a few small edges tears to blank margins; the three leaves tied together with string threaded through small hole to blank upper inner margin. Number 2 of the Quinze mélodies et deux choeurs pour voix de femmes published by G. Hartmann in 1885. "Delibes' masterpiece is Lakmé which offers more than just a fine vehicle for a star soprano; the two principal male characters Nilakantha and Gérald are firmly drawn and the music is melodic picturesque and theatrically strong. . The vocal writing is of the highest quality . Outside the theatre for which Delibes wrote nearly all his music his most notable work was as a composer of choruses now undeservedly neglected. His output of songs was relatively small and that of instrumental and church music almost negligible. . His workmanship was of the highest order; he had a natural gift for harmonic dexterity and a sure sense of orchestral colour . " Hugh Macdonald in Grove Music Online A number of Silvestre's poems were set to music by noted French composers including Gabriel Fauré André Messager and Jeanne Rivet. A desirable working manuscript affording insight into the creative process of one of the 19th century's most important composers for the stage. unknown
