ref. Fromonot, FrançoiseIn near perfect condition. unknown
ref. 129638aafParis, Marcel Sautier, s. d., (vers 1945), gr. in-8vo, 192 p., avec dessin original au crayon de Mariano Andreü (’46), ill. par des lithographies originales de Mariano Andreü, Ex. sur vélin pur fil à la forme des Manufactures de Lana nº 281 sur 310, reliure en plein cuir (sans la pièce de titre au dos) dos légèrement insolé, tranche supérieure dorée.
1978cm. 17,5 x 25, tre voll. di xxviii-1638 pp. con 69 tavv. f.t. Storia dei teatri italiani 3495 gr. xxviii-1638 p.
ref. 2439115 July 1859. London. Meyerbeer is said to have been the most frequently performed opera composer during the nineteenth century. He encouraged and supported the young Wagner who turned on him viciously later in life. Lady Molesworth née Andalusia Carstairs d.1888 had herself been a professional singer. She was the widow of Sir William Molesworth 1810-55 founder of the London Review and owner under the editorship of John Stuart Mill of the Westminster Review. Regarding the present item Meyerbeer notes in his diary for Sunday 17 July ‘Big dinner and musical soiree at Lady Molesworth’s.’ Sir Charles Santley recalls in his reminiscences ‘singing for Meyerbeer at a party at Lady Molesworth’s house’ in order to reassure him that he was up to the part of Hoel in Chorley’s English version of ‘Dinorah’. 1p 12mo. On recto of first leaf of a bifolium. In fair condition lightly aged and folded four times for postage. Blot at top right-hand corner in same ink as note. Reads: ‘Meyerbeer présente ses respectueux hommages à Mylady Molesworth & se rendra avec autant d’empressement que de plaisir à l’aimable invitation de Mylady pour dimanche prochain / Londres 14 Juillet 59.’ See image. 15 July 1859. London. unknown
1925ref. 1761Paris Briant-Robert 1925 1 in-8 Illustrations de DIGNIMONT. Paris, Briant-Robert, 1925, in-8, en feuilles sous couverture lithographiée en couleurs.
ref. 23408Dated 1924 or 1925 according to docketing with the name and name of the Company. Eleven Signatures of members of the D'Oyly Carte Opera Company 7 signatures on 7 x 13 x 8cm paper laid down on detached album leaves good condition 18 x 14cm 4 2 each signatures on same album leaves all with tissue fronts. Signatures as follows usually with a brief greeting such as "Best wishes" or "Yours sincerely": singles Sydney Granville Eileen Sharp Bertha Lewis Sidney Pointer Aileen Davies Henry A. Lytton Leo Sheffield; doubles Charles Goulding/Darrell Fancourt Joseph F. Griffin/Winifred Lawson. All "best known" for their roles in Gilbert and Sullivan Savoy Operas. WITH: Signature of "R. D'Oyly Carte" on paper 11.5 x 4 clipped from Typed Letter Signed preserving only the typed words "Yours faithfully" and the signature. Dated 1924 or 1925 according to docketing, with the name and name of the Company. unknown
2018cm 25 x 32, 148 pp. Carus-Verlag GmbH - ISBN 9783899483130 The organ is the instrument on which the young Giacomo Puccini began his career as a musician. Through the rediscovery of a considerable number of hand-written pieces, which he composed after 1870 as part of his duties as organist in the churches of Lucca, several primary sources are now available. These give an insight into the beginnings of his musical activities which have only been known about from anecdotes from his first biographers until now. Puccini?s organ repertoire includes works which were typical for liturgical organ music at that time: sonatas for the main sections of the mass, versets which were substituted for Gregorian chant, marches, which were played after the mass (exceptionally even waltzes), and even a pastorale for Christmas time. This music was written with the sound of instruments made in Tuscany in mind. These have just one manual, a 8 foot Principale register and a small pedalboard always coupled to the manual. In addition there were several solo stops divided into "bass" and "soprano".Puccini contributed with originality to the renewal of Italian organ practice, which began in his day to discard its operatic style in favor of a style more suited to the liturgy. The organ is the instrument on which the young Giacomo Puccini began his career as a musician. Through the rediscovery of a considerable number of hand-written pieces, which he composed after 1870 as part of his duties as organist in the churches of Lucca, several primary sources are now available. These give an insight into the beginnings of his musical activities which have only been known about from anecdotes from his first biographers until now. Puccini?s organ repertoire includes works which were typical for liturgical organ music at that time: sonatas for the main sections of the mass, versets which were substituted for Gregorian chant, marches, which were played after the mass (exceptionally even waltzes), and even a pastorale for Christmas time. This music was written with the sound of instruments made in Tuscany in mind. These have just one manual, a 8 foot Principale register and a small pedalboard always coupled to the manual. In addition there were several solo stops divided into "bass" and "soprano".Puccini contributed with originality to the renewal of Italian organ practice, which began in his day to discard its operatic style in favor of a style more suited to the liturgy. Ed. Nat. OperePuccini 2.Instr. 2.1.Organ 782
1977Very Good Very Good English Paperback. Pbo. Folio. (40 x 29 cm). In English, French, German and Turkish. [4], [16] p., full page color ills. Mengü. Posters.= Affiches.= Afisler.= Plakate. Text by Alexandre Alexandre. After graduating from the Istanbul State Academy of Fine Arts, he began to design theatre posters with the support of Muhsin Ertugrul. He participated in international poster exhibitions and biennales 1966 and held his first personal exhibition in Istanbul in 1969. He has posters in Munich, Amsterdam and Warsaw. Ertel is the winner of various awards, including the Grand Prize at the International Paris Cinema Posters Competition, and the Achievement Award at the Graphics 83 Exhibition Ihap Hulusi Poster Competition in 1983. He, as a graphic artist, uses communicative features and original aesthetic values in his theatre and cinema posters. Following on from Ihap Hulusi, he created a new era in cinema and theatre posters which reflect his discipline and ambition. Extremely rare.
1929ref. 20354Paris: Opéra Privé de Paris 1929. Good/No Dust Jacket As Issued. RUSSIAN MODERNISM REBORN ON THE PARISIAN STAGE. A visually striking Première Saison program documenting the post-Diaghilev continuation of Russian operatic and theatrical culture in interwar Paris. Issued by the newly founded Opéra Privé de Paris in 1929 this richly illustrated production program for Rimsky-Korsakov's 'Tsar Saltan' preserves the artistic language of the Ballets Russes through tipped-in color costume and scenic designs after Ivan Bilibin and Alexandre Korovine. Founded immediately following the death of Sergei Diaghilev the Opéra Privé de Paris sought to sustain the creative energy of Russian émigré theater in Western Europe. This production united performers designers and musicians associated with the Russian diaspora transforming Pushkin's fairy-tale opera into a vivid expression of émigré modernism transplanted into the cultural life of Paris. PHYSICAL DESCRIPTION: Quarto format approximately 9.5 × 12.5 inches. Stapled illustrated wraps with full-color chromolithographic cover after Ivan Bilibin. Illustrated with six tipped-in color chromolithographs of costume designs after Bilibin executed from stage maquettes by Alexandre Korovine together with two additional tipped-in scenic plates and a tipped-in color portrait of Madame Maria Kousnezoff-Massenet by Nicolas Kousnezoff. Numerous illustrated period advertisements throughout including several full-page advertisements. CONDITION: One advertisement leaf detached but present. Plates remain vivid and visually strong with only light handling wear to the wraps. Staples sound. A well-preserved and unusually attractive example of interwar Parisian opera ephemera. Première Saison issue. Première Saison programs of the Opéra Privé de Paris survive in comparatively small numbers particularly examples retaining the full suite of tipped-in color plates after Ivan Bilibin. Comparable illustrated programs from this short-lived company appear only intermittently in the market especially in near-complete condition. HISTORICAL SIGNIFICANCE - The Opéra Privé de Paris was co-directed by the Russian soprano Maria Kousnezoff-Massenet and functioned as an important cultural bridge for displaced Russian artists after the Revolution. Though short-lived the company preserved important elements of Russian operatic staging and Ballets Russes visual identity during a transitional moment in European theater history. Ivan Bilibin's influence on Russian stage aesthetics remained profound well into the twentieth century and his designs for productions such as 'Tsar Saltan' helped define the visual mythology of Russian folklore on the international stage. This program captures a pivotal moment in the evolution of Russian theatrical modernism after the dissolution of the Ballets Russes. Following Diaghilev's death in 1929 Russian émigré artists in Paris sought new institutional forms through which to continue the aesthetic innovations that had transformed European stage culture during the previous two decades. The production of Rimsky-Korsakov's 'Tsar Saltan' adapted from Pushkin's fairy-tale poem provided an ideal vehicle for this visual and musical continuity. The decorative richness of Ivan Bilibin's folkloric imagery combined with the scenic interpretation of Alexandre Korovine preserves the highly ornamental stage language that became synonymous with Russian theatrical design in the early twentieth century. Beyond its theatrical importance the program also presents a vivid portrait of interwar Parisian cultural life. Its advertisements portraiture typography and chromolithographic inserts collectively illustrate the commercial and artistic environment surrounding Russian émigré performance culture in France between the wars. SUBJECTS: Ballets Russes Legacy Ivan Bilibin Stage Design Russian Émigré Art Paris Theater History Rimsky-Korsakov Tsar Saltan Interwar Opera Culture Russian Opera In Paris Chromolithographic Illustration Illustrated Performance Programs Opera Ephemera Theater History Russian Modernism Illustrated Programs. Opéra Privé de Paris unknown
ref. elala5277Toronto: March 31 1962. Toronto: March 31, 1962 unknown
1954ref. 24868American Book Institute Calif. 1954. HBDJ Lightly stained & soiled Red & White illustrated DJ Of 2 children viewing the lantern 1st edition 1954 Orange cloth lettered on Front in Gold Gilt VG/VG- AS-IS Interior nice tight clean light wear FoX 197 pages DJ Light Wear Soil & Tiny Chips Tears extremities .Anyone looking at slides of this lantern is immediately carried away into worlds of their wish-fulfilment & to search for Secret Word. RARE & SCARCE. First Edition. Hard Cover. American Book Institute Calif. hardcover
1954ref. 22318American Book Institute Calif. 1954. HBDJ Lightly stained & soiled Red & White illustrated DJ approx 2 in. chip top not affecting print or illustration 1st edition 1954 Orange cloth lettered on Front VG/G AS-IS Interior nice tight clean light wear FoX 197 pages . Anyone looking at slides of this lantern is immediately carried away into worlds of their wish-fulfilment & to search for Secret Word. RARE & SCARCE. First Edition. Hard Cover. Very Good/Good. American Book Institute Calif. hardcover
ref. ABE-1418244602IN PLANO-RELIURE DEMI CHAGRIN EDITEUR-DU N°1 (30 04 1887) AU N°12 (16 07 1887)-ILLUSTRATIONS DE GRASSET ("LES FONDATIONS D'UN PILIER DE LA TOUR EIFFEL",COULEURS PLEINE PAGE), GORGUET (COUVERTURE N°2 COULEURS "LE VERNISSAGE AU SALON")(COUVERTURE N°12 "LA FETE DU 14 JUILLET:LES ILLUMINATIONS DU PONT DE L'ALMA ET DU TROCADERO",PLEINE PAGE COULEURS), JEANNIOT ("LE RETOUR DES TERRITORIAUX NOUVELLE GARE SAINT LAZARE",COULEURS PLEINE PAGE)("LE CONCERT MILITAIRE AUX TUILERIES",PLEINE PAGE COULEURS), F DE HAENEN ("L'EXPOSITION DES DIAMANTS DE LA COURONNE",COULEURS PLEINE PAGE), BRUN (COUVERTURE N°3 "L'EXPOSITION MARITIME DU HAVRE",COULEURS PLEINE PAGE)(5 DESSINS NOIR ET BLANC SUR 1P)("LA NAVIGATION DE PLAISANCE ARGENTEUIL",PLEINE PAGE COULEURS), FRAIPONT ("LES BORDS DE LA MARNE DE CHARENTON A NOGENT",4 DESSINS COULEURS SUR 1P)("L'EXPOSITION DES AZALEES DANS LES SERRES DE LA VILLE DE PARIS",COUVERTURE N°5,PLEINE PAGE COULEURS)(7 DESSINS NOIR ET BLANC SUR 1P INCENDIE DE L'OPERA COMIQUE)("LES OBSEQUES A NOTRE DAME",DESSIN NOIR ET BLANC PLEINE PAGE)("L'INCENDIE DE L'OPERA COMIQUE:LES RUINES DE LA SALLE",PLEINE PAGE COULEURS)("LA PECHE A PARIS",8 DESSINS NOIR ET BLANC SUR 1P)("LA FETE DU 14 JUILLET:LES PONTS ET LES QUAIS DE PARIS",COULEURS SUR 2P), MONTENARD (COUVERTURE N°4 "LE LANCEMENT DU MARCEAU A LA SEYNE",PLEINE PAGE COULEURS), COURBOIN ("LE SALON DE 1887",12 DESSINS SUR 2P)("LE SALON DE 1887",12 DESSINS COULEURS SUR 2P)(COUVERTURE N°6,"L'INCENDIE DE L'OPERA COMIQUE",PLEINE PAGE COULEURS), DEROY, ADRIEN MARIE ("LE PREMIER JOUR A LA CAMPAGNE",COULEURS PLEINE PAGE)(COUVERTURE N°7 "LA FETE DES FLEURS",PLEINE PAGE COULEURS),DEROY ("LA BOURSE DE COMMERCE DE PARIS",5 DESSINS COULEURS SUR 1P),GORGUET ("LES FETES DE FLORENCE:LE BAL HISTORIQUE AZU PALAZZO VECCHIO",DESSIN COULEURS SUR 2P)("LES FETES DE FLORENCE:ILLUMINATIONS",DESSINS COULEURS SUR 1P), JOB ("LA CHRONIQUE PARISIENNE",DESSINS NOIR ET BLANC SUR 1P)("EN ROUTE POUR LONGCHAMP GRAND PRIX DE PARIS",COULEURS PLEINE PAGE), HABERT DYS (SCENE HIPPIQUE),GUELDRY ("LA NOUVELLE SALLE DU MUSEE DE CLUNY",PLEINE PAGE COULEURS)
1901CARTOLINA FOTOGRAFICA DEL TENORE IN POSA SULLA RAMBLA ANIMATA E CON CARRI, , BARCELLONA 1901. INTERAMENTE AUTOGRAFA SPEDITA AL PADRE ALESSANDRO
ref. AMA-214 clichés Bouté à Bruxelles, environ 100 x 145 mm, 2 petites épreuves d'amateurs.
ref. 567967Berlin, Breslauer & Liepmannssohn, 1928. 4 parties reliées en un fort et grand in-8, bradel plein vélin (ancien), pièce de titre rouge, tranches bleues, couvertures sup. conservées, [5]ff.-287 (catalogue de 1541 notices) et [5]ff.-576 pp. (catalogue de 2491 notices), liste des prix d’estimations, bibliographie, et 2 vol. de 48 et 41 planches. Texte en allemand.
1901FOTO CM. 17X26 CON FIRMA E DEDICA AUTOGRAFE "AL MIO GENTILISSIMO COMPAGNO E SIMPATICO AMICO DANTE ZUCCHI", BARCELLONA ENERO 1902.
1903In 8°, br. edit. ill., pp. 509,(3), con 10 tavv. di ill. f.t. in fine ; bell’es. dell’opera prima di Bozzano, nella sua prima ed. impreziosita dall’invio autografo dell’autore «all’amico più caro» della sua «adolescenza» (cat. 12)
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Nápravník al margine basso della tavola. Bellissima caricatura del celebre compositore e direttore d’orchestra ceco Eduard Francevic Napravnik (Býšt, 24 agosto 1839 – San Pietroburgo, 23 novembre 1916). Napravnik, naturalizzato russo, fu una delle figure centrali della scena musicale russa dell’ottocento. Fu il direttore d’orchestra principale del teatro Mariinskij di San Pietroburgo per decenni. Diresse le prime di numerose opere russe, fra cui quelle di Musorgskij, Cajkovskij e Rimskij-Korsakov. “Nel 1854 entrò nella Scuola organistica di Praga, dove ebbe come professori Jan Bedrich Kittl ed altri, divenendo assistente professore. La generosità del suo insegnante gli permise di continuare gli studi. Nel 1861 ricevete un’offerta dalla Russia: il posto di direttore dell’orchestra privata del principe Jusupov a San Pietroburgo. Nápravník divenne organista e direttore assistente dei Teatri Imperiali nel 1863, secondo direttore nel 1867 e primo direttore, succedendo a Ljadov, nel 1869: mantenne il posto fino alla morte. Diresse le prime rappresentazioni di Boris Godunov di Musorgskij nel 1874, di cinque opere di Cajkovskij, fra cui La Pulzella di Orléans, Mazeppa e La dama di picche e cinque di Rimskij-Korsakov, fra cui Notte di maggio, La fanciulla delle nevi e La notte prima di Natale. Diresse anche i concerti della Società musicale russa. Nel 1914, dopo una fruttuosa carriera al servizio dell’opera russa, fu costretto ad interrompere la sua attività per motivi di salute. Nápravník è anche noto per aver diretto la seconda — ed assolutamente convincente — rappresentazione della Sinfonia n. 6 di Cajkovskij, il 15 novembre 1893, nove giorni dopo la morte del compositore. La prima, diretta dallo stesso compositore, non aveva avuto tanto successo, e per la mancanza di familiarità con una composizione tanto ricca di novità da parte del pubblico e dell’orchestra, e per la stessa direzione di Cajkovskij. Sotto la bacchetta di Nápravník e nell’emozione per la recente scomparsa del compositore, la sinfonia fu accolta come un capolavoro. Comprendeva anche alcune piccole correzioni apportate da Cajkovskij dopo la prima e quindi quella di Nápravník fu la prima rappresentazione della sinfonia nella forma in cui oggi la conosciamo”. La caricatura è opera del celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Rara.
ref. 35055Paris, Imprimerie Nationale, Thermidor an III [1795]. In-8, broché, couverture de papier moucheté moderne, 8 p. (qqs. rouss.)
In-8, broché, couverture de papier moucheté moderne, 8 p. (qqs. rouss.) Edition originale de ce rapport historique. Chénier propose à la Convention deux décrets qui seront votés le 16 thermidor suivant (3 août 1795). Il établit un Conservatoire de musique "dans la commune de Paris pour exécuter et enseigner la musique" composé de 115 artistes, détaille son organisation, ses institutions, sa bibliothèque et les conditions de recrutement des professeurs et des élèves. Le conservatoire est investi d’une double mission: participer à la célébration des fêtes nationales et former gratuitement des élèves des deux sexes dans "toutes les parties de l’art musical". Ce rapport est à l’origine de l’institution telle que nous la connaissons : l’Institut réorganisé prit le nom de Conservatoire national de musique, devenu le CNSMDP. (Martin & Walter, I, 7303). Bon exemplaire.
2021ref. 101660Paris Editions de Minuit 2021 1 vol. Broché in-12, broché, non coupé, 90 pp. Edition originale de ce "drame joyeux" en quatre actes, adaptation pour l'Opéra comique de la vie imaginaire consacrée à l'inventeur Nikola Tesla. Un des 73 exemplaires numérotés sur vergé de Schleipen, seul grand papier. En parfait état.
2021ref. 101660Paris Editions de Minuit 2021 1 vol. Broché in-12, broché, non coupé, 90 pp. Edition originale de ce "drame joyeux" en quatre actes, adaptation pour l'Opéra comique de la vie imaginaire consacrée à l'inventeur Nikola Tesla. Un des 73 exemplaires numérotés sur vergé de Schleipen, seul grand papier. En parfait état.
ref. 13979042Paris: E. Dentu, 1892 in-12, 259 pages, frontispice dessiné et aquafortisé par Lalauze en 2 états, encadrements dessinés par Pallandre et gravés par Méaulle, tête de page et cul-de-lampe gravé à l'eau-forte par Henriot, fac-similé d'une lettre de la cantatrice. Demi maroquin havane, dos à nerfs, tête dorée (Marot-Rodde), infime éraflure au dos, couv. conservée, autrement superbe exemplaire de cette charmante édition originale. Tiré à petit nombre, un des 100 exemplaire sur papier de Hollande avec le frontispice en 2 états dont un avant la lettre sur Chine. (Vicaire III, 1062).
1927ref. 178961927. Paris Chez Couesnon et Cie 1927 e.o. tirée à 220 ex ex. non justifié sur vergé - Agrafé 13 5 cm x 18 cm 12 pages + 4 pages non num. de présentation des disques de Wagner ills in-texte - Texte de Henri Béraud bois dessinés et gravés au canif par Marcel Arthaud - Rousseurs sinon bon état ; plaquette éditée pour les disques Columbia à l'occasion du Festival de Bayreuth en 1927 ; on joint un programme de Tannhäuser pour le festival 1976
