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Best.-Nr. 0266725635.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
Best.-Nr. 0364798262.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
Best.-Nr. 025980990X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1786Best.-Nr. 020464Valentiae Edetanorum Valencia Spain: Ex Praelo Josephi et Thomae de Orga 1786. Second Edition. Leather. Acceptable. 0x0x0. VINNIUS CASTIGATUS atque ad usum tironum Hispanorum accomodatus: in quorum gratiam Hispaniae leges opportunioribus locis traduntur. Volume 1 Tomus Primus Only. Opera Joannis Sala Presbyteri in Valentina Metropolitana praepositi. Editio secunda. Text in Latin. Hardcover bound book. Full Leather 568 pages. Vintage fountain pen ink notes and marginalia also in Latin. frontis engraving. front cover detached. The rear hinge the inside portion of the flexible fold where book cover meets the book spine is split loose or open the rear cover is still attached by the joint the exterior flexible fold where book cover meets book spine. Leather on Leather paste on spine title gold gilt designs on spine. There is rub-through to the corners of the boards but the text block is surprisingly sharp. Punishment of Vinnius; and accommodated for the use of Spanish recruits: in favor of whom the laws of Spain are delivered to more convenient places. OR VINNIUS CASTIGATED; and to the use of the recruits of the Spanish adapted to the: in the grace of Spain the laws of the most appropriate places are given. FREE Media Mail Shipping! Images available for any item just ask. Any images shown next to the listing that have our www.aCastleofBooks.com watermark on them are the exact item you will receive all other images are for reference only. Free delivery confirmation for domestic orders. Books with Author signatures are guaranteed authentic. We understand collectors needs in terms of accurate grading and proper packaging. We stand behind our descriptions 100%. All items will be shipped securely to insure that they arrive in exactly the same condition in which they left. May have small easily erasable pencil markings on first page. Our Packing Slips do not contain any pricing information so you may order items as Gifts or for Dropship without concern. We ship every Monday Wednesday & Friday morning. All items subject to prior sale. Why the odd prices We run a percent discount for our Biblio listings which insures Biblio has our lowest prices online but does give odd change. Ex Praelo Josephi et Thomae de Orga hardcover
Best.-Nr. 0260572578.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1883Best.-Nr. 005670New York NY: Metropolitan Printing and Engraving Establishment. Offered is "The Princess of the Canaries: Opera Bouffe in Three Acts and Four Tableaux - Libretto by A. Duru and H. Chivot Music by Charles Lecocq - As Originally Performed for the First Time in America by Mr. Maurice Grau's French Opera Company at the Fifth Avenue Theatre on Monday Evening Sept. 10th 1883" published in 1883 by the Metropolitan Printing and Engraving Establishment out of New York City. A left-stitched soft cover measuring 6-1/2" by 9-7/8" and containing 76 pages including interior paginated pages as well as blue covers. Printed directly following the first performance in the United States by Maurice Grau's French Opera Company at the Fifth Avenue Theatre New York on Monday evening September 10 1883 it contains a list of Characters on the first inside page; the remaining pages contain the complete opera in three acts with dialogue and lyrics no music in both French and English with the French version appearing on the left page and the English version appearing on the right page. The rear cover contains a splendid vintage ad with illustration of "Weber Grand Square and Upright Pianos" "Most Delicate and Impressive Effect". Condition: the front cover is nearly detached but present; narrow chips along outer fold; covers lightly soiled; short closed edge tear and a few corner creases; closed tear to mid-rear cover; interior pages lightly foxed. Exceptionally rare. . Good. Wraps. 1st Edition. 1883. Metropolitan Printing and Engraving Establishment paperback
Best.-Nr. 0260597538.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
Best.-Nr. 002161The Metropolitan Opera Guild. Soft cover. Very Good. Collection of Volume XIII bound in a Spring binder. The Metropolitan Opera Guild paperback
Best.-Nr. 1786825775.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1491Best.-Nr. 915Terviso or Venice: Michael Manzolus 1491. First Edition with the commentary of Acron and Pomponius Porphyrio. Bound in modern marbled gilt calf. A very large and clean copy with marginal indexing on a few signatures in red others in brown ink. A very Large copy of a very very rare edition of Horace https://data.cerl.org/istc/ih00451000 GW 13457; Goff H451; BMC V 315 IB. 21815; Bod-inc H-203; CIBN H-275. Located copies:The Walters Art Museum Bancroft Library Yale Free Library of Philadelphia Princeton Univ. Brown University Pauline Fore Moffitt Library University of California General Library. The unique charm of Horace's lyric poetry arises from his combination of the metre and style of the distant past—the world of the Archaic Greek lyric poets—with descriptions of his personal experience and the important moments of Roman life. He creates an intermediate space between the real world and the world of his imagination populated with fauns nymphs and other divinities. He denounces corrupt morals praises the integrity of the people of Italy and shows a ruler who carries on his shoulders the burden of power. Other Augustan themes that appear in Horace's lyric verse include the idea of the universal character and eternity of Roman political dominion and the affirmation of the continuity of the republican tradition with the Augustan principate. At some stage Augustus offered Horace the post of his private secretary but the poet declined on the plea of ill health. Not withstanding Augustus did not resent his refusal and indeed their relationship became closer. "Horace's success as a poet can be measured partly by how difficult he is to imitate and translate and by how many admirers have sought to do both. Readers in the Middle Ages looked to Horace as a moralist and as a literary critic and appreciated the Satires and Epistles more than the more difficult Odes. The enthusiasm of the Italian Renaissance poets Petrarch 14th century Landinio and Politian late 15th century for the Odes encouraged the popularity of Horace's lyric. Horace was one of Montaigne's 16th century favorite poets. The themes and poetics of both the lyrics and the satires greatly influenced Ben Jonson late 16th early 17th century Robert Herrick Andrew Marvell Milton and Dryden 17th century. The Odescontinued to be springboards for much of both public and private 17th-century English lyrics. Pope was the leading Horatian poet writing in English during the 18th century the Age of Augustanism especially imitating Horace's hexameter poetry while Alfred Lord Tennyson Matthew Arnold Byron and Rudyard Kipling were among Horace's enthusiasts in the 19th century. Horace continued to inspire modern poets among them Ezra Pound. While the different genres of his work have specific qualities they all share in being Horatian a quality that many have tried to define. In Nietzsche's view Horace's peerless artistry separates him from all other poets. Compared to Horace's Odes "All the rest of poetry becomes in contrast something too popular—a mere garrulity of feelings" "What I owe to the ancients" Twilight of the Idols 1 https://www.poetryfoundation.org/poets/horace . Folio 30 x 20cm Signatures: A8B10C8D4E8F-G6a–q8r6. 184 leaves First Edition of Horace with both of his ancient commentators Acron and Porphyrio. Bound in modern marbled gilt calf. A very large and clean copy with marginal indexing on a few signatures in red others in brown ink. The history of the printing of editions of Horace and his commentators. First printed in Venice about 1471-2 then in Milan about 1475 14761477 Venice again 1478 &1479. The next edition was Leipzig 1492 All of these editions are without commentary. Acron's commentary was Published with out the Opera in Milan in 1479. At Florence in 1482 there is an edition of the Opera with the Landinus commentary then again in Venice 1483-86. The Edition offered here is the FIRST to have the commentary of Helenius Acron and Pomponius Porphyrion who are both said to have flourished in the third century these commentaries are revised by Raphael Rgius ƒl. 1480-1500 and Ludovicus de Strazarolis which make up the first 50 pages of this book. Michael Manzolus
1973Best.-Nr. 5vDh0006New York: The New York City Opera Guild 1973. Book. Very Good. Spiralbinding Soft Cover. Copyright © 1973. 8vo or 8° Medium Octavo: 7¾" x 9¾" tall. 187 pp. Solidly bound copy with minimal external wear crisp pages and clean text. The New York City Opera Guild Paperback
1929Best.-Nr. AG20057SELECTIONS FROM REPERTOIRE OF OPERATIC SONGS AND TERPSICHOREAN MELODIES OF MEI LAN-FANG - by Professor Liu T'ien. Hua 梅兰芳歌曲谱 Published in 1929 specially edited and printed for Mei Lan-Fang's performance in the United States. Mei Lan-Fang was invited by America in the winter of 1929 to help the people better understand Chinese Opera the master of Chinese songs Liu Tianhua produced two volumes of books one in Chinese 126pp. and the other in English 118pp. which includes 18 Kunqu Opera with music script and score. Signed and stamped by the Author on the English version 1050 copies printed and only 50 copies were signed this is No. 43 on Chinese art paper 4to matching red silk sewn thread binding with printed gold paper labels very fine condition. 本套书å°åˆ·äºŽ1929年，共分为2册，精装，此书为梅兰芳赴美演出特制，共1050部，其中的50部为æˆåŒ–宣纸å°åˆ¶ï¼Œåˆ—有编å·ï¼Œç¬¬ä¸€å·ä»·æ ¼äº”百美元，二至五åå·ä¸€ç™¾ç¾Žå…ƒï¼Œæ¤å¥—为50部中的第43å·ï¼Œæœ‰åˆ˜å¤©åŽäº²å°å¹¶è‹±æ–‡ç¾å。两套书分别为ä¸è‹±æ–‡ç‰ˆï¼Œå…±æ”¶å½•äº†18æ¡æ˜†æ›²çš„å”±è¯ã€å”±è…”工尺谱和五线谱，历ç»æ•°æœˆå®Œæˆ å“相如新，ä¿å˜å¦‚æ¤å®Œå¥½çš„éžå¸¸å°‘è§ã€‚ paperback
Best.-Nr. 2627428 April 1957; on letterhead of Glyndebourne Lewes. See his entry in the Oxford DNB. 1p small 4to. In good condition lightly creased and with central vertical fold for posting. Signed 'John Christie'. He gives details of forthcoming performances: 'So far a week ago 11 performances were heavily booked including 3 sold out: you could let me know presently which dress rehearsal you would like to come to & I will give you 2 seats free.' 28 April 1957; on letterhead of Glyndebourne, Lewes. unknown
Best.-Nr. 72198Peking China: Peking Opera 200. Presumed first edition/first printing. Hardcover. Fair. Lavishly illustrated including illustrating on otherwise clear plastic. Text in Chinese and English. Cover has slight wear and soiling. Some pages are disbound but present and suitable for framing. Appears complete. Peking opera or Beijing opera is a form of Chinese opera which combines music vocal performance mime dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China. The art form is also preserved in Taiwan Republic of China where it is known as Guójù literally: "National theatre". Peking opera features four main types of performers. With their elaborate and colorful costumes performers are the only focal points on Peking opera's characteristically sparse stage. They use the skills of speech song dance and combat in movements that are symbolic and suggestive rather than realistic. Above all else the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. . Melodies include arias fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1400 works which are based on Chinese history folklore and increasingly contemporary life. Types of facial makeup are a special method of makeup in Chinese traditional operas. Since every historical character or characters of a certain type are provided with a particular facial type similar to music scores for singing and playing music such a method of makeup is named "Types of facial makeup". Among all Chinese traditional operas types of facial makeup in Peking Opera have developed into the most systematic and mature one. Historical characters in Chinese traditional Peking Opera are provided with different types of facial makeup. They can reflect the identity status personality and appearance of the characters and therefore can intensify the artistic appeal on stage. As an impressionistic and exaggerated art types of facial makeup in Peking Opera is featured by painting brows eyelids and jowls in various patterns such as bat swallow wing and butterfly wing. Also it is characterized by portraying facial expressions with exaggerated nasal fossas and lipped fossas. The age can be reflected by the height and shape of "Crow's-feet" temperament by the opening and closing of "Chordal furrow" and personality by different patterns of "Glabella furrow". Additionally in the types of facial makeup in Peking Opera there exist some invariable images including white-faced Tsao Tsao and black-faced Bao Zheng. The white-faced image symbolizes wickedness and viciousness while black-faced image stands for equity and selflessness. Due to unchangeable rules in types of facial makeup personalities of a character with certain facial makeup can be seen from the facial colors and figures. As one of the onstage art techniques various types of facial makeup in Peking Opera enable the audience to know a character's personality easily and accordingly get more involved in the appreciation of the performance. Thus types of facial makeup enjoy the fame of "Interior Pictures" which is an extremely crack skill of art exclusively existing in Chinese operas. Patterns of theatrical masks have served as a symbol of China. Nowadays on the market there appear many exquisite and aesthetic commodities and stamps printed with such patterns which are of high appreciating and collecting values. Peking Opera hardcover
Best.-Nr. 26746September 25th 1907"; no place. See her entries in Encyclopaedia Britannica and the Oxford DNB. Decorative page extracted from Autograph Album 19 x 16cm two small closed tears not impinging on text fair condition. Text: "A beautiful voice is the gift of God. - Adelina Patti Sederstrom September 25th 1907". Sederstrom or Cederstrom being her married name. SEE IMAGE. On verso details of two other parities unknowns. September 25th 1907"; no place. unknown
1977Best.-Nr. 100072March 5 1977. 1977. Fine. - One-and-a-half pages with over 85 words penned on both sides of 10-3/8 inch high by 7-1/8 inch wide creamy white paper. The Opera director and producer tells Jean Dalrymple that he'd "be delighted to hear Jay Willoughby. However I'm off to San Francisco very shortly for Carmen". He asks if Willoughby could contact him when he's back. He goes on to invite Jean to the "second set of performances May 19-22 - featuring the first performance of Dominick Argento's monologue A Water Bird Talk and an incredible chamber opera written in Theresienstadt concentration camp - The Emperor of Atlantis." Signed in full "Ian Strasfogel". Folded for mailing the edges are very faintly darkened. Near fine. The one-act opera "The Emperor of Atlantis or The Disobedience of Death" Der Kaiser von Atlantis oder Die Tod-Verweigerung was composed by Viktor Ullmann and Peter Kien while interned at the Theresienstadt concentration camp in 1943. It was not allowed to be performed and the script was not finished until the 1970s. The poet Aaron Kramer prepared an English translation which the San Francisco Spring Opera Theater first performed in April 1977 and which had its New York premiere at the New Opera Theatre of the Brooklyn Academy of Music on May 19 1977. The world premiere of Dominic Argento's "A Water Bird Talk" also took place at the Brooklyn Academy of Music that same evening. The opera director and producer Ian Strasfogel born 1940 was the author of several plays screenplays and librettos and of a novel titled "Operaland". Strasfogel directed over 100 productions throughout Europe and North America and frequently collaborated with Gyorgy Ligeti Luciano Berio Bruno Maderna Hans Werner Henze and Otto Piene. Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. March 5, 1977. unknown
Best.-Nr. 8962London England; 1855. 4to 3 pp. Bifolium. Text clear and complete. Fair on aged paper with minor evidence of the letter having been laid down on the blank reverse of the second leaf. Thirty names with sums subscribed. The list is headed 'The Lord Mayor Salomons 5. - five pounds'. David Salomons was Lord Mayor of London in 1855. Several of the names are ticked in pencil with another noted as 'Not paid' and another as 'Dead'. Among the subscribers is the poet Martin Farquhar Tupper one pound. Jenny Lind had raised money for the "Florence Nightingale Fund". [London, England; 1855.] unknown
Best.-Nr. 9909Edinburgh le 6 Décembre 1869.' On Nadar's carte de visite 'Nadar 35 Boulevart sic des Capucines PARIS.'. Albumen printh 8.5 x 5.5 cm laid down on card 10.5 x 6 cm. In fair condition: lightly faded on slightly-aged card. Card printed in red on both sides with Nadar's address and facsimile signature on reverse and his initial within the border containing the photograph on the other side. Head and shoulders shot of the singer staring at the viewer in a dark dress attached at the neck. Beneath the image on both print and card Nilsson has written 'offert à Mr Montiguani par signed Christine Nillson Edinburgh le 6 Décembre 1869.' An apparently-uncommon portrait for both sitter and photographer. See Image. Edinburgh le 6 Décembre 1869.' On Nadar's carte de visite, 'Nadar | 35, Boulevart [sic] des Capucines | PARIS.' unknown
Best.-Nr. 9979Undated. England 1880s. 4to 4 pp. Bifolium. 87 lines. Text clear and complete. Fair on aged paper with wear to extremities and a spike hole to one corner. Written in ink in a Victorian hand and with three changes in pencil. Docketed at head 'The art of Vocalization'. Towards beginning writes that the subject is one which he has 'studied many years in close connexion with the most eminent Masters of Italy most of whom I may rank among my personal friends and the pith of whose conversations added to my own experience I propose embodying in a few short essays upon the Formation of the Voice'. Gives 'the advice of a tenor singer of some renown in Otello &c literally as I heard it spoken to a student - the author died two years ago at Milan' beginning: 'I know but little of music - in comparison to me you are a professor - my voice was by nature imperfect - my figure is diminutive - yet I have been 1st tenor of some of the best Theatres and with success - mark me if you want to sing .'. Ends with offer to extend his remarks 'to the other Voices' in 'a future number'. Undated. [England, 1880s? unknown
1985Best.-Nr. 100069New York October 8 1985. 1985. Fine. - Over 30 words penned on her embossed 4-1/8 inch high by 6-1/8 inch wide personal postcard stock. The actress Kitty Carlisle thanks her good friend City Center producer Jean Dalrymple "What a good friend you are! I will follow the prescription to the letter & pray that its sic not too late!!" Signed "Kitty". The card is addressed in her hand on the verso and postmarked from New York on October 8 1985. Fine. Inducted into the American Theater Hall of Fame in 1999 Kitty Carlisle Hart 1910-2007 was an American stage & screen actress opera singer and television personality. A spokesperson for the arts she served on the New York State Council for the Arts for 20 years. Kitty Carlisle played the leading lady opposite Groucho in the Marx Brothers movie "A Night at the Opera" and regularly appeared on "To Tell the Truth". Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. New York, (October 8), 1985.
Best.-Nr. 7082'London. Monday. no date'. 8vo 3 pp. Bifolium with dimensions of leaf 18.5 x 14 cm. Good on slightly grubby and lightly creased paper. Small slip of paper mount adhering to one margin not affecting text. Written in a bold and distinctive hand. He will not be able to make 'an appearance with "Lhada" ' as he is 'sorry to see that I am in Brighton the 22nd and 23rd of April where I sing with Madame Donalda'. 'London. Monday. [no date]'. unknown
Best.-Nr. 8882917193.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
Best.-Nr. 26661Headed Avoncliffe Stratford upon Avon Warwickshire 31 August 1963. Two pages 8vo blue paper closed tear not affecting texyt a bit rumpled but text clear and complete as follows: "Leslie Caron first wife & I are delighted to hear that you're getting married. I'm a firm believer in a bourgeois base for artists! Shan't see your student I'm afraid till I return from my three month rest. We leave on Tuesday. But I'm sure John Barton co-director will take good care of him. I hope you enjoy the Histories. They've been misery to do but I think are my most important work to date." Note: "The Wars of the Roses was a 1963 theatrical adaptation of William Shakespeare's first historical tetralogy 1 Henry VI 2 Henry VI 3 Henry VI and Richard III". [Headed] Avoncliffe, Stratford upon Avon, Warwickshire, 31 August 1963. unknown
Best.-Nr. 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
1943Best.-Nr. 113619St. Louis Municipal Opera. Very Good with No dust jacket as issued. 1943. Softcover. Very nice except for a corner off of the back cover; 8vo 8" - 9" tall . St. Louis Municipal Opera paperback
