502 risultati
2004rif. x-0754632806Ashgate Pub Ltd 2004. Hardcover. New. illustrated edition. 153 pages. 9.75x6.50x1.00 inches. Ashgate Pub Ltd hardcover
rif. 71925Paris L. Baschet 1886. 8vo. 6 23 pp. Title printed in red and black red frames. Somewhat worn contemporary half brown morocco gilt spine and with printed wrappers preserved. Hinges worn with a small crack. Thick paper copy. Not in Garcia or in Furchheim. The composer Saint-Saëns’ 1835-1921 treaty on the ancient theatres dedicated to Charles Nuttier deals mainly with the theatres in Pompeii and with the wall paintings in Pompeii depicting theatres. unknown
1913rif. 18230Lettre Autographe Signée de Camille Saint-Saens adressée à Lysiane Doriani datée du 7 mars 1913.Lettre d'une page recto verso. Petites déchirures. Bon état. Format in-12° (19x15).
2018rif. BN110312Brepols 2018. 2018. Camille Saint-Saëns Le Carnaval des animaux : Facsimile Edition of the Autograph Manuscript Camille Saint-Saëns Le Carnaval des animaux : Facsimile Edition of the Autograph Manuscript Brepols unknown
rif. 234193Paris-Londres, Buckingham [Édouard Blot imprimeur], Dublin, J. M. O'Toole, s.d. (1873) in-4, [4] ff. n. ch. (titre avec vignette en couleurs, table, introduction, préface de Bertall), et 40 planches en couleurs, chacune légendée d'un feuillet de texte, petite déchirure à la légende de la planche 36, percaline bordeaux, dos lisse, décors à froid sur les plats, titre poussé en lettres dorées sur le plat supérieur, tranches dorées (reliure de l'éditeur). Exemplaire un peu déboîté, plats défraîchis.
rif. 056252Paris A. Durand & Fils, Editeurs (sans date, fin XIXeme) 0 in 4 (35,5x28) 1 volume broché, couverture originale (petit renfort ancien à l'intérieur de la couverture), 59 pages. Camille Saint-Saëns, Paris 1835 - Alger 1921, pianiste, organiste et compositeur français. Bel envoi autographe signé par Camille Saint-Saëns, daté 1896. Bel exemplaire
rif. 056251Paris J. Hamelle éditeur (sans date, fin XIXeme) 0 in 4 (34,5x28) 1 volume broché, couverture originale contrecollée (montage ancien), 63, 6, 9, 11, 12, 11 pages. Lith. de C. G. Rodier, Leipzig. Camille Saint-Saëns, Paris 1835 - Alger 1921, pianiste, organiste et compositeur français. Bel envoi autographe signé par Camille Saint-Saëns, daté 1896. Bel exemplaire
1910rif. 18232Lettre Autographe Signée de Camille Saint-Saens adressée à Lysiane Doriani datée du 25 octobre (vers 1910-1915) (pas d'année). Papier à en-tête "Rue de Courcelles, 83 bis."Chère Madame, On ne pourra pas...(?) cette saison à Monté Carlo. D'ailleurs la Duchesse d'Estampes est plutôt une Marguerite qu'une Valentine..."Lettre d'une page recto verso. Format in-12°(18x13). Très bon état.
1914rif. 18231Lettre Autographe Signée de Camille Saint-Saens adressée à Lysiane Doriani datée du 27 septembre 1914."Cher Madame Bien heureux de vous savoir en bonne santé et bien reconnaissant de votre affectueux...Votre tout dévoué C. Saint-Saens".Lettre d'une page recto verso. Très bon état. Format in-12°(17x11) plié.
1913rif. 18228Lettre Autographe Signée de Camille Saint-Saens adressée à Lysiane Doriani datée du 14 juillet 1913.Lettre d'une page recto verso. Très bon état. Format in-12°(18x14).
rif. 333362 pages in8 - enveloppe - trés bon état -
1890rif. GF357951890 Paris - Calmann - Lévy - 1890 - 1 volume in8 de 131 pages - Reliure demi toile verte - Bel exemplaire -
rif. 211283Paris, E. Plon, 1878 in-4, [2] ff. n. ch., 659 pp., avec un frontispice, de très nombreuses vignettes gravées dans le texte, dont 94 à pleine page anopisthographe, numérotées 1-94, demi-maroquin lie-de-vin, dos à nerfs fleuronné, coins en vélin vert, tête dorée (reliure de l'époque).
rif. 271153 pp. of a bifolium. Octavo ca. 159 x 101 mm. Dated "Sunday." On black-bordered ivory mourning stationery. In French with translation. Saint-Saëns writes that his correspondent "has done well to be insistent" about the ending of an unidentified work and has implemented the necessary corrections. "This ending was necessary. 'L'ombre abrite' is impossible. I put 'dans l'ombre près del la fenêtre' and I substituted 'doux enfant' for 'jeune enfant'. That is obvious I know but it is a platitude. Never neither in prose nor in verse should one put a useless adjective. By finishing short and simple my piece gains a lot from this addition." Small annotation to blank final page. Slightly worn and soiled; creased at folds. "Like Mozart to whom he was often compared Saint-Saëns was a brilliant craftsman versatile and prolific who contributed to every genre of French music. He was one of the leaders of the French musical renaissance of the 1870s." Sabina Teller Ratner et al. in Grove Music Online. unknown
rif. 271153 pp. of a bifolium. Octavo ca. 159 x 101 mm. Dated "Sunday." On black-bordered ivory mourning stationery. In French with translation. Saint-Saëns writes that his correspondent "has done well to be insistent" about the ending of an unidentified work and has implemented the necessary corrections. "This ending was necessary. 'L'ombre abrite' is impossible. I put 'dans l'ombre près del la fenêtre' and I substituted 'doux enfant' for 'jeune enfant'. That is obvious I know but it is a platitude. Never neither in prose nor in verse should one put a useless adjective. By finishing short and simple my piece gains a lot from this addition." Small annotation to blank final page. Slightly worn and soiled; creased at folds. "Like Mozart to whom he was often compared Saint-Saëns was a brilliant craftsman versatile and prolific who contributed to every genre of French music. He was one of the leaders of the French musical renaissance of the 1870s." Sabina Teller Ratner et al. in Grove Music Online. unknown books
1882rif. 550551 vol. in-12 reliure de l'époque demi-basane marron, Calmann-Lévy, Ancienne Maison Michel Lévy Frères, Paris, 1890, 2 ff., 131 pp. ; Librairie Sandoz et Fischbacher, G. Fischbacher, Paris, 1882, 220 pp.
rif. 333333 pages in8 - enveloppe - trés bon état -
rif. 333313 pages in4 - enveloppe - trés bon état -
rif. 2298Early 20th-century manuscript copy. In blue buckram. Gilt green morocco title vignette on front panel. Written on music manuscript paper marked “J. E. & Co. / Protokoll Schutzmarke / No. 1 / 10 linig.”. Few notes musical marks and corrections in pencil. Binding rubbed at the extremities. Pages yellowed due to aging. Otherwise in fine condition. Early 20th-century manuscript copy. In blue buckram. Gilt green morocco title vignette on front panel. Written on music manuscript paper marked “J. E. & Co. / Protokoll Schutzmarke / No. 1 / 10 linig.”. 10 leaves; 16 pages MS score. An early manuscript copy of Saint-Saëns’ organ transcript of Liszt’s La Prédication Aux Oiseaux or Die Vogelpredigt. As part of a pair of pieces for solo piano Deux légendes Liszt composed St. François d'Assise: La prédication aux oiseaux in 1863. Saint-Saëns finished the composition of the organ reduction before 1878 April and the transcript was first published by Rózsavölgyi & Co. in 1899. unknown
1910rif. 88499Durand & Cie | Paris 1910 | 22.5 x 30.5 cm | Broché sous étui
1901rif. 86408s. l. 6 Février 1901 | 11.50 x 17.50 cm | quatre pages sur un feuillet et une enveloppe
1910rif. 88499Paris: Durand & Cie 1910. Fine. Durand & Cie Paris 1910 22.5 x 30.5 cm Broché sous étui First edition of the vocal and piano score of the opera Déjanire by Camille Saint-Saëns. A few pencil annotations in the margins of certain staves. Our copy is presented in a 3/4 shagreen clamshell box spine with five raised bands framed by gilt garlands and decorated with gilt fleurons gilt lettering at foot of spine: ""Inscribed by composer"". Boards endpapers and pastedowns in marbled paper. Spine of the box slightly faded. Inscribed dated and signed by Camille Saint-Saëns to music critic Edouard Beaudu. Saint-Saëns presented this copy to Edouard Beaudu a journalist writing for the Intransigeant who would later publish a glowing review of Durand & Cie hardcover
1901rif. 86408s. l. 1901. Fine. I never stopped saying those who denigrate Mozart do not understand music s. l. 6 Février 1901 11.50 x 17.50 cm quatre pages sur un feuillet et une enveloppe Autograph letter signed by Camille Saint-Saëns to the essayist musicologist and music critic Adolphe Boschot. 43 lines written in black ink on a double leaf edged in black. Transverse fold inherent to the mailing with slight tears to the ends envelope enclosed in Saint-Saëns's hand to Boschot's address at 71 rue de Grenelle. Note in pencil from a previous bibliographer on the back of the envelope. Saint-Saëns wrote this wonderful demonstration of reverence for the Salzburg composer in 1901. That same year his friend Boschot the recipient of this letter was playing Mozart's chamber music at his home at 71 rue de Grenelle. The composer apologized for his absence: ""It's not my fault that in spite of my objurgations the earth refuses to stop in its course around the sun; for the 65th time I am witnessing this gyratory movement and the public performance of pieces of music on the piano is no longer my prerogative. Besides your sessions finish before the end of March and I won't be back until April 1st so I won't even be able to attend"". In his youth it was precisely as an interpreter of the divine artist that the prodigy Saint-Saëns had earned the nickname ""little Mozart"". In the letter he congratulates Boschot the author of a study entitled ""La Lumière de Mozart"" for his defense of the composer whom he himself had supported against the advice of the majority: ""Believe me I regret it and I'll be very happy to see that someone is taking care of getting the public to follow Mozart's path again. Thirty years ago the advanced party wanted to declare war on him so I defended him and never stopped saying those who denigrate Mozart don not understand music. Allow me to recommend his little-known motets with orchestra including the famous Ave Verum."" He ends the letter with a fine analysis of the composer's style: May we learn from listening to Mozart that there is more to music than sensations and nervous vibrations and that delicate artistry and purity of form are things not to be scorned. An exceptional expression of admiration and respect from one musical genius to another. unknown
1947rif. 104416Paris 1947 10 Paris, Le cercle des arts de l'Union de la jeunesse républicaine de France, 1947-1952, formats et présentations divers.Publication artisanale, dirigée par F.Giusti, entièrement manufacturée par de jeunes artistes et des étudiants en art appartenant à v l'Union de la jeunesse républicaine de France proche du parti communiste français, TRAITS paraît à des dates difficiles à déterminer. Ses huit premiers numéros sont présentés dans des chemises aux couvertures illustrées notamment de bois gravés et de collages. Louis Aragon, Paul Colin, Gimond, Francis Jourdain, Fernand Léger, Marcel Lods, André Marchand, Matisse, Léopoldo Mendez, Henry Moore, Paul Nelson, Richard J. Neutra, Auguste Perret, Paul Eluard, Marcel Gromaire, Le Corbusier, Pablo Picasso, Candido Portinari, Marc Saint-Saëns y collaborèrent. (104416)
1966rif. 30521966 Paris, C. de Acevedo, 1966. En feuilles : 29x39 cm. Ensembles de 20 fables choisies, chacune illustrée par un artiste différent (1 in-texte et 1 hors-texte pour chacune des fables, soit 40 illustrations au total). Couverture rempliée. Avec une SUITE DES ILLUSTRATIONS sur pur fil d'Arches, une SUITE DES ILLUSTRATIONS sur pur fil de Lana, une DECOMPOSITION de l'un des hors-texte sur pur fil d'Arches, et la SIGNATURE AUTOGRAPHE au crayon de chacun des vingt peintres sur leur hors-texte respectif. Le tout dans un emboîtage en chagrin orangé imitant la forme d'un grand livre et portant le titre en lettres dorées sur le dos. Petites traces de frottement sur le dos de l'emboîtage. Contenu en parfait état.
