MolièreLivre Rare Book
19.998 resultados
1670ref. 195541670. Paris Robert Ballard Seul Imprimeur du Roy pour la Musique 1670 - Reliure demi-bradel XIXème 17 cm x 23 cm 30 pages - Texte de Molière musique de Jean-Baptiste Lully - Très bon état Programme et texte de ce divertissement en quatre actes présenté à Saint-Germain en Laye pour la seconde fois (création en 1662) .Toute la distribution y est indiquée. Louis XIV y jouait Neptune et le Soleil à la dernière scène le décor était de Carlo Vigarani les costumes de Henri de Gisseyet et la chorégraphie de Pierre Beauchamps et Dolivet. - cf « Philidor »
1682ref. 002054Parisiis Simonem Benard 1682
1923ref. 370639New York 1923. Mounted photograph of the Opera House. Calligraphic presentation leaf extracts from programs inlaid in large folio leaves 120 2 index ff. 1 vols. Folio. Full deep red morocco gilt spine with five raised bands boards with triple fillet borders navy blue doublures silk flyleaves t.e.g. Faintest traces of rubbing. Fine. Mounted photograph of the Opera House. Calligraphic presentation leaf extracts from programs inlaid in large folio leaves 120 2 index ff. 1 vols. Folio. Elaborate and attractive album of extracts from the printed programs of the Metropolitan Opera House in New York a record of opera productions from 1915 to 1922 listing the principal performances and also retaining the lists of box holders which functions as a who's-who of New York society. There are several newspaper clippings including an account of the farewell performance of Mrs. Geraldine Farrar in Tosca. Presented to Henry Fletcher by his wife Ethel née Thompson on the tenth anniversary of their wedding. Henry Fletcher 1877-1953 of Greenwich Connecticut was a member of the Grolier Club until his death and a major benefactor of the Yale libraries. unknown
1924ref. 51696New York NY; Hollywood CA; Taos NM: Underwood & Underwood Anderson Lumiere Guard Vitaphone Studios Metropolitan Music Bureau 1924-1927. Twenty seven items. With 24 photographs 3 sized 3.5 x 5.5 in.; 6 sized 5 x 7.75 in.; 1 w/ colour-tinted blue sized 7.25 x 9.5 in.; 16 sized 8 x 10 in.; many w/ annotations dating the photos in pencil some of the press photos and studio photos stamped on versos with attached newsreel information blurbs many w/ text in negative at lower corner of image; 1 very large colour lithograph poster printed on linen showing the young opera star seated and colours of pink gold and black sized 40 x 80 in. w/ wood bars at upper & lower for hanging some minor creasing from rolling but in Fine condition; and TLS from Lawrence H. Smith at Underwood & Underwood Inc. News Picture Division to Miss Marion Talley. These photographs and giant lobby poster provide splendid artifacts for the lavish attention paid to a young star at the beginning of her career during the Jazz Age. The very large poster is a beautiful example of colour lithography showing her demurely seated against a pink lozenge background with advertisements at the foot of the poster for Steinway Piano and Victor Records. Marion Talley 1906-1983 was the daughter of a telegraph operator for the Missouri Pacific Railroad and by 15 she was appearing in the Kansas City Grand Opera Company of Mignon by Abroise Thomas and quickly became a local celebrity often performing benefit concerts. She studied with music teacher Frank LaForge famed soprano composer who maintained a close relationship with the Metropolitan Opera and was placed under contract in 1925 by Giulio Gatti-Casazza at age 19 becoming the youngest principal female performer in the Met’s history to that point. Her debut performance was Feb. 17 1926 as Gilda the daughter of the title character in Verdi’s Rigoletto. The press photos show her surrounded by the many flowers she received in the 18 encores her performance on stage meeting the opera diva Ernestine Schumann-Heinck d. 1936 as well as her appearance on radio with Marguerite D’Alvarez and Giovanni Martinelli singing Home! Sweet Home!. In addition she also starred in the first Vitaphone short sound films released in 1926 with Don Juan starring John Barrymore and another Vitaphone short performing “Bella figlia dell’amore” from Rigoletto but the critics were savage criticizing her performances and her lack of appeal on camera. During this period she traveled extensively to Europe and through the southwest as evidenced by the series of photos showing her in Taos with the burros young Native American children and adults in regalia as well as her automobile. The photo of the young star by Samuel Lumiere 1878-1971 is a very nice example of his portrait work during the height of the 1920s when he was under contract to shoot celebrities for the Chicago Tribune. See: Barrios A Song in the Dark: The Birth of the Musical Film pp. 20-29; Vitaphone Marks 80th Anniversary Vitaphone News The Vitaphone Project Vol. 8 No. 1 2006; Crafton The Talkies: American Cinema’s Transition to Sound 1926-1931 1999. Underwood & Underwood, Anderson, Lumiere, Guard, Vitaphone Studios, Metropolitan Music Bureau, unknown
1697ref. 23479Oxford: Etheatro Sheldoniano 1697. leather_bound. Contemporary cambridge style binding in full brown calf. Very good. Folio6 A4-Ppp4 Qqq-Pppp Qqqq2-Zzzz2 Aaaaa-Mmmmm. The first English edition of the Greek text edited by Richard West & Robert Welsted. Engraved portrait of Pindar by M. Burghers facing the title page. DIBDIN II 289. "a beautiful and celebrated edition. on the whole we must allow that the editors of this magnificent work have taken infinite pains to bring together every thing which could illustrate and improve the reading of the poet". The editors compared the Mss held by the Bodleian with that of the Biblioteca Palatina. Engraved portrait of Pindar and large title page vignette by M. Burghers. Pindar c. 522 – c. 443 BC was an Ancient Greek lyric poet of the classical period from Thebes and the first Greek poet to reflect on the nature of poetry and on the poet's role. Errata. BRUNET IV p.659. Armorial bookplate. Raised bands spines richly gilt small front cover nick scrape lower front cover corner binding tight with leaves at end of text of Pindari Opera Omnia leaves Oooo-Mmmm toned. Etheatro Sheldoniano unknown
1964ref. 11526Paris, J. Vrin, 1964-1974. 2. Auflage "Gr.-8° (22,5-25 cm). CV, 677; XXIII, 741; 889; 825; 823; XII, 737; XVIII, 614; XVIII, 353; XIII, 380; X, 248; XX, 352; 701; XXIV, 734 SS." Private Halbleinwand der Zeit mit montierten Rückenschildern
1685ref. 5141046Amstelodami, Ex Typographia Blaviana (Amsterdam: Blaeu) 1685. (42), 222; (2) weiße, (16), 248; (24), 92, (4) Seiten. Mit gestochenem Portrait und zahlreichen, teils ganzseitigen Textholzschnitten. 4° (21 x 17 cm). Pergamentband der Zeit mit durchgezogenen Bünden, handschriftlichem Rückentitel (berieben) und gesprenkeltem Schnitt.
ref. WALTER-FILM004294No binding. Very Good. FIne Art Print Scott Joplin book music Washington D.C. 1975. Vintage original 22 x 14"" 56 x 36 cm. window card poster some wear and handling at edges some light creases but VERY GOOD or better with bright colors. Scott Joplin master of ragtime music wrote this opera in 1911 a celebration of African-American life and culture set on an Arkansas plantation in a variety of musical styles. It never got a full performance in his lifetime. In the 1970s the opera began to be rediscovered. This poster is for a Washington tryout of a Houston Grand Opera production prior to a Broadway run. unknown books
1919ref. 432211919. First Edition. GILBERT AND SULLIVAN D'OYLY CARTE OPERA COMPANY. Poster ""Gilbert and Sullivan's ""The Yeoman of the Guard"" by Dudley Hardy"". WITH: Billboard ""Opera Company's 1919/1920 Season by Dudley Hardy and John Hassall"". London: David Allen & Sons 1919. Single sheet measuring 20 by 30 inches; nine unassembled dovetailing sheets measuring 7-1/2 by 10 feet assembled. $900.Original poster depicting the headsman with axe from Gilbert and Sullivan's The Yeoman of the Guard accompanied by a large billboard in parts announcing the seasons productions with three poster designs: The Yeoman The Gondoliers and The Mikado.The poster advertises Gilbert and Sullivan's ""Yeoman of the Guard"" widely recognized as Sullivan's most accomplished musical score. A classic Savoy Opera the piece israther unusuallyset during the 16th century at the Tower of London bringing in quasi-Shakespearean dialogue and a darker atmosphere. The accompanying billboardmeasuring over 70 square feetpromotes the 1919 season's productions including ""Yeoman"" the musical theater favorite ""The Mikado"" and Gilbert and Sullivan's last major success ""The Gondoliers."" Hardy and Hassall were among the premier graphic artists of their time having built reputations both as book illustrators and specialists in poster design. Hardy was influenced by French chalk drawings and poster art while Hassall attributes his style to Japanese prints. ""Yeoman"" poster fine. Chipping and creasing to separate panels of original billboard. A wonderful pair. unknown
1756ref. 383711756 7 volumes in-12 (166 x 98 mm), plein veau porphyre de l'époque, dos à 5 nerfs guillochés or, ornés de compartiments fleuronnés et cloisonnés, plats encadrés de triples filets dorés, filet sur les coupes, pièces de titre et de tomaison de maroquin bordeaux, tranches rouges. Paris, Lambert, 1756.
7 volumes in-12 (166 x 98 mm), plein veau porphyre de l'époque, dos à 5 nerfs guillochés or, ornés de compartiments fleuronnés et cloisonnés, plats encadrés de triples filets dorés, filet sur les coupes, pièces de titre et de tomaison de maroquin bordeaux, tranches rouges. Edition originale de ce dictionnaire alphabétique du théâtre qui couvre les XVIe (dès 1552), XVIIe et XVIIIe siècles. Le volume VII est entièrement consacré à des corrections et additions. Réalisé en grande partie par le dramaturge et historien du théâtre François Parfaict sur la base de sources imprimées, mais aussi d’archives et de manuscrits jusqu’alors inexploités, le dictionnaire a été édité et continué après la mort de l’auteur, en 1753, par son frère Claude, aidé de Quentin Godin d’Abguerbe qui assura l’édition du texte. Articles détaillés sur pièces, auteurs, théâtres, troupes, acteurs, compositeurs de musique, danseurs, décorateurs, etc. Pour l’anecdote, Voltaire a fourni au dictionnaire l’article qui le concerne. Une des sources fondamentales pour l’histoire du spectacle vivant en France sous l’ancien régime. (Soleinne, 'Bibliothèque dramatique', V, I, n° 286). Quelques minimes défauts à quelques mors. Bel exemplaire, très frais, très bien relié à l’époque.
ref. 11411Paris NOUVEAU CERCLE PARISIEN 1 Décors et personnages d'André DERAIN. Paris, Nouveau Cercle Parisien du Livre, 1963. grand in-4, 42 feuilles, couverture illustrée et sous chemise et emboitage.
1572ref. 56069Löwen, Bartholomäus Grau, 1548-1572. Fol. Mit wiederh. Holzschn.-Druckermarke in versch. Größen u. zahlr. Holzschn.-Initialen. Zus. ca. 800 S., Flex. Pgmt. d. Zt. m. durchzogenen Bünden u. handschriftl. Rückentitel.
1570ref. 60583Basel, Heinrich Petri, 1570. Fol. Mit szenischer Holzschn.-Titelbordüre von Hans Holbein, einigen Holzschn.-Bordüren u. -Vignetten sowie Holzschn.-Druckermarke am Schluss. 34 Bll., 547 (recte 647) S.; 1 Bl., S. 651-971, 1 nn., 171 num., 1 nn. Bll., Flex. Pgmt. d. Zt. m. handschriftl. Rückentitel (wohl nachgezogen) u. zeitgen. Blumenmalerei in Gouache auf dem Rücken sowie mit dreiseitigem Rotschnitt.
191233x27 cm, rilegatura originale in mezza tela; p. 156, informazioni editoriali in francese e russo. Indicazione degli interpreti, degli orchestrali, del corpo di ballo ecc. Sei pagine a stampa di "Erratum Dans la musique" inserite. Firma di un musicista a una carta bianca, minime tracce d'uso alle copertine
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
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
2 volumes in-8, plein veau moucheté de l’époque, dos à 5 nerfs ornés de compartiments fleuronnés et cloisonnés, pièces de titre et de tomaison de maroquin bordeaux, plats encadrés de triples filets dorés, roulette dorée sur les coupes, tranches rouges, (2) f., (54), 424, (4) p. et (2) f., (8), 428 p., 2 titres-frontispice gravés sur cuivre. Première édition collective publiée six ans après la mort de l’auteur par Paul Tallemant, ornée de deux titres-frontispice gravés sur cuivre par Le Doyen. Le premier volume renferme les Sonnets, dont les 'Métamorphoses' d’Ovide en Rondeaux, et les Madrigaux. Le second tome 'Les vers des balets dansez par Sa Majesté' [sic] ainsi que 'Discours sommaire de monsieur L. T. [i.e. Paul Tallemant] touchant la vie de Monsieur de Benserade'. Le privilège présente cette particularité qu’on y trouve, sur 4 pages, un éloge enflammé de Louis XIV envers le poète, témoin de la brillante jeunesse et des premières amours du Roi Soleil. Protégé de Richelieu, du duc de Brezé, puis de Mazarin, Benserade fut pensionné par la reine, fréquenta l’hôtel de Rambouillet et déclencha la querelle des Jobelins et des Uranistes, à l’origine de la querelle des Anciens et des Modernes. Membre de l’Académie française, Isaac de Benserade est l’un des représentants les plus emblématiques de la préciosité au XVIIe s. (Tchemerzine-Scheler, I, 622-623). Petit défaut à un mors. Très bon exemplaire, dans sa première reliure.
ref. UUI-12043Douze planches (couverture comprise) sous emboitage de format in-4, sans date (années 30 probablement). Bon exemplaire complet de ce très rare portfolio reprenant des scènes de l’opéra de Verdi, un des 25 exemplaires de tête, chaque planche est signée par l’auteur. (Je ne suis pas très sûr qu’il s’agisse de papier Japon, cela ressemble plutôt à du Chine…). L’ensemble n’est pas daté, mais Busoni (fils du compositeur…) étant né en 1900 et ayant dû s’exiler en 1939 du fait des origines juives de sa femme, a dû faire publier ces planches à Berlin dans les années 30 ou un peu avant. Poids 550 g. Envoi lettre verte. Frais d'envoi 7,50 euros sur la France, 21,50 euros pour l’étranger (tarifs de base hors envois suivis). Possibilité de remise en mains propres sur Paris, possibilité d’envoi MONDIAL RELAY ou "LIVRES ET BROCHURES", n'hésitez pas à me contacter avant de passer commande. Twitter : @Pontneuf06.
1628in-4 antico, pp. 92, rileg. mod. cart. muto. Splendido front. calcografico inc. da Giovanni Battista Coriolano (1590-1649) e Giovanni Luigi Valesio (1570-1633) con ambientazione architettonica con il porto sullo sfondo e personaggi in costume, stemma di Scipione Gonzaga principe di Bozzolo dedicatario dell'opera. Fregi e iniziali xilogr. Raro libretto d'opera scritto dal letterato Giovanni Capponi (1586-1628) accademico bolognese dei Gelati, originario di Porretta. Fu ospite per molti anni alla corte gonzaghesca di Bozzolo come medico e consigliere ma in questi anni sviluppò i suoi interessi in materia di astrologia che poi divenne la sua attività principale. Raro. Manca a Sonneck. Lieviss. fioriture ma esempl. a larghi margini. [472]
1946Very Good Turkish, Ottoman (1500-1928) Original autograph letter signed as 'Lütfullah' sent to Vasfi Riza Zobu. 1 p. In Ottoman script. No letterhead. It starts as 'Aziz agabeyimiz Vasfi bey' [= Our beloved brother]. Dated February 17, 1946. Lütfullah Sururi, one of the first artists who contributed to the current level in the coming opera in Turkey. He is one of the first operetta tenors after Cemal Sahir. They performed many times together with his wife Suzan Lütfullah (the first Turkish and Muslim primadonna). He is one of the founders of the Public Operetta and Süreyya Opera House. He was the director of Istanbul Theaters until his death after his wife's death. He joined the Muhlis's Operette Ensemble (Muhlis Sabahattin Operetta Community) and took on the 'Jeune' roles, he sang tenor songs on the stage for many years. Vasfi Riza Zobu, (1902-1992), was born on December 5, 1902, in Constantinople, Ottoman Empire. He was an actor, known for Tosun Pasha (1939), Karim Beni Aldatirsa (1933) and Milyon Avcilari (1934). He died on November 23, 1992, in Istanbul, Turkey. Extremely rare.
1972ref. AG-10057The Red Lantern Script红ç¯è®° Hong Deng Ji Beijing: Published by People's Publishing House printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore Beijing Distributing Agency February 1972 FIRST EDITION 8vo. The May 1970 Script Revised Collectively by the China Peking Opera Troupe. iv374 pp. colophon consists of scripts stage photos selected theme score stage action instructions and designs beginning with quotations from Chairman Mao on the second and third pages printed pictorial stiff cover wrappers fine condition. 京剧《红ç¯è®°ã€‹å‰§æœ¬ 北京：人民出版社出版，中国京剧团集体制作，基于1970年五月演出本，1970年12月第一版，书的å‰ä¸¤é¡µæœ‰æ¯›ä¸»å¸è¯å½•ï¼Œå…±374页主体内容。精装，å“相éžå¸¸å¥½ã€‚ People’s Publishing House hardcover
1818ref. D7301Leipzig: Breitkopf & Härtel 1818. Hardcover. Very Good. Oblong folio 330 x 240mm. 184 pages. Complete vocal score. Notated music. Added engraved title page: Il dissoluto punito; osia Il Don Giovanni. Dramma giocoso in due Atti posto in Musica da Wolfgang Amadeus Mozart. Ridotto per il Pianoforte da A.E. Müller with vignette of Don Giovanni scene by Fr. Bolt after Kininger Pr. 4 Rthlr. Italian-German text. Richly bound in crushed green morocco handsomely gilt with device of lyre and central lozenge on front and rear covers spine done in the same and lettered in gilt Don Juan Mozart speckled edges; toned and only lightly foxed few pages margins lightly torn or with paper repairs not frequent good with all with engraved music otherwise. 1818 Leipzig printing for the vocal score of Mozarts famous opera Don Giovanni. Italian librettos were translated into German owing to the growing popularity of opera in Germany during the last decade of the 18th century; contemporary to Mozarts death in 1791. Mozart immediately accepted at least the title under which on of his works would become known in the German-speaking countries: writing home on 3 October 1790 he reported on Tuesday the theatrical company of the elector of Mainz are performing my Don Juan. German communities variously received Mozarts operas; the battle between the aristocratic and bourgeois audiences raged to and fro. When Don Juan played for the first time in the Frankfurt theater it was deemed suitable for the general public but not for its educated section. Yet the critics could all concede of Mozarts popularity and that the subject matter turned the heads of the public. This fine well-preserved dual text is an early and complete keyboard transcription of the opera. It gives Lorenzo da Ponte's original Italian with the German translation by Schröder underneath. Excellent piece of music history and staple of the standard operatic repertoire. Breitkopf & Härtel hardcover
2011ref. 2081502111901247Chinese Encyclopedia Publishing House 2011. Soft Cover. Fine. Number of books: 2 hardcovers Chinese Encyclopedia Publishing House paperback
ref. 76966aafCa. 1925, in-4to, Titel + 39 S. (ca. 25 Zeilen/S.), in schöner deutscher Kurrentschrift auf senkrecht liniertem Papier, Personennamen und Bühnenanweisungen sind in roter Tinte unterstrichen, dazu: das Programm für eine Aufführung der gleichnamigen Oper, guter Zustand, Besitzerstempel auf Titel: 'Walter Wyss Vikar', dunkelroter Hableineneinb. mit Ecken und goldgepr. Titel, an den Kanten leicht berieben, schönes Exemplar.
