913 résultats
réf. DADAX0618096353New unknown
réf. DADAX184533275XNew unknown
réf. SONG0198145691Used: Good unknown
réf. SONG0984249907Used: Good unknown
réf. SONG0520014383Used: Good unknown
réf. SONG0345324595Used: Good unknown
1910réf. 42191AB1910. Lugano Cooperativa Umanista no year c.1910. 15.2cm x 10.3cm. 23 pages. Original softcover. Very good condition with only minor signs of external wear. paperback
1919réf. 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 ÒThe Yeoman of the GuardÓ accompanied by a large billboard in parts announcing the seasonÕs productions with three poster designs: ÒThe YeomanÓ ÒThe GondoliersÓ and ÒThe Mikado.ÓThe 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 isÑrather unusuallyÑset during the 16th century at the Tower of London bringing in quasi-Shakespearean dialogue and a darker atmosphere. The accompanying billboardÑmeasuring over 70 square feetÑpromotes 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
réf. 686304to. Each one-page. Accompanied by a signed photograph 10 x 8 inches programs for four 1930s Tibbett recitals and an inscribed photograph and signed autograph-book sheet of Tibbett's accompanist Stewart Wille. All very good. For the 9 items unknown
réf. R1166-013Original paper binding on yellow paper some discoloration and folds but further in good condition. Songtext printed on paper 16 x 10 cm.Klassik Stitung Weimar. Herzogin Anna Amalia Bibliothek dates this song at around 1881 in Worldcat catalogue.Liedtekst - Songtext - Song - Lied - Opera Faust unknown
1817réf. AQ35159London: s.n. 1817. Single leaf broadside. Browned with staining and chipping to edges and some loss to upper right corner. An apparently unrecorded playbill displaying an early effort by London's Lyceum Theatre renamed The English Opera House in the summer of 1817 to present an illumination of the 'audience part of the theatre' during a performance of The Persian Hunters or the Rose of Gurgistan a comic opera featuring music by English composer Charles Edward Horn 1786-1849. Although the use of gaslight in street-lamps had first been demonstrated a decade prior in 1807 the goal to introduce gaslighting to the commercial stage took years to evolve into the competitive landscape of 1817 where three of London's premier West End venues the Theatre Royal Covent Garden Theatre Royal Drury Lane and the Lyceum Theatre entered into a rapid race to produce the first fully-gaslit public performances in a West End venue. The Royalty an East End theatre later renamed The East London Theatre had previously installed gas piping and lighting fixtures across both the auditorium and the stage in 1816 demonstrating the viability of such a project. The English Opera House led by director Samuel Arnold proudly boasted on August 6 1817 that 'Gas Lighting will this evening be introduced over the whole stage' seemingly claiming themselves the winners of the century's most contested technical theatre contest. Despite this the lack of an illuminated auditorium meant that the theatre's audience remained in candlelight until a month later when the venue opened fully illuminated for the first time. The Theatre Royal Drury Lane despite only revealing its gaslit stage on the 6th September 1817 was able to argue that due to their introduction of gaslighting into the auditorium several weeks prior they were in fact the first of the three theatres to achieve the much vied- for feat. On the same night The Theatre Royal Covent Garden also offered a demonstration of gaslight on their stage finally concluding the rivalry and introducing a vital element of technical staging into London's leading venues for the remainder of the century. . Dimensions. [s.n.] unknown
1419réf. 219549奉天. Mukden.: 滿鐵鐵道總局營業局旅客課. Mantetsutetsudōsōkyokueigyōkyokuryokakuka Hōten. Showa 14 1939. Black and white photographic illustrations 33pp 18.7 x 12.7cm original wrappers upper cover pictorial. Minor wear and light browning. Good copy. This charming tourist booklet with its delightful pictorial cover offers a comprehensive introduction to Peking Opera and Chinese vaudeville. It outlines the rules governing movement and costume in opera and describes the range of story types and productions a visitor might expect to see. The vaudeville section explains the various forms of oral entertainment performed for audiences together with the customs and rules observed in the theatre. Published in Mukden the booklet provides an accessible and informative overview of the region’s popular entertainments. . 滿鐵鐵道總局營業局旅客課. [Mantetsutetsudōsō unknown
1945réf. 136503Gloucester: Ford & Branch LTD c1945. Undetermined. fine. 14.25" X 10" 36 X 25.5 cm. Original boardside with black and red text and illustration. Two small holes and string hanger at top. Slight crease to top else is clean and bright. fine Broadside from an English Opera House advertising two plays. A decorative border encases the title at the top and a dark illustration depicting a stage and packed seats is to the top right. The first play Agatha Christie's Ten Little Niggers is to take place on March 26th for one week no perfomance Good Friday and is accompanied by the subtitle "nine victims- and one unknown killer- marooned on a desert island.". The play was first published by Christie in 1939. The book was named after a popular nursery rhyme of the same name. The American edition was "Ten Little Indians". The name was later adapted to the last line of the rhyme "And Then There Were None". "The Happiest Days of Your Life" the second play on the broadside by John Dighton and produced by Leslie Phillips was to take place April 2nd for one week as a special Easter Holiday Attraction. It is described as "A wildly funny farce about a boys' school and a girls' school- on the same premise! The most hilarious evening of your life!". In 1950 the play was turned into a film by Frank Launder. The broadside also provides details of performances and box office. 1945 Ford & Branch, LTD unknown
1945réf. 136506Gloucester: Ford & Branch LTD c1945. Undetermined. near fine. 14.25" X 10" 36 X 25.5 cm. Original boardside with black and red text and illustration. Two small holes and string hanger at top. Slight crease to top with subtle red line across bottom half. Else is clean and bright. near fine Broadside from an English Opera House advertising two plays. A decorative border encases the title at the top and a dark illustration depicting a stage and packed seats is to the top right. The first play Agatha Christie's Ten Little Niggers is to take place on March 26th for one week no perfomance Good Friday and is accompanied by the subtitle "nine victims- and one unknown killer- marooned on a desert island.". The play was first published by Christie in 1939. The book was named after a popular nursery rhyme of the same name. The American edition was "Ten Little Indians". The name was later adapted to the last line of the rhyme "And Then There Were None". "The Happiest Days of Your Life" the second play on the broadside by John Dighton and produced by Leslie Phillips was to take place April 2nd for one week as a special Easter Holiday Attraction. It is described as "A wildly funny farce about a boys' school and a girls' school- on the same premise! The most hilarious evening of your life!". In 1950 the play was turned into a film by Frank Launder. The broadside also provides details of performances and box office. 1945 Ford & Branch, LTD unknown
1850réf. 835A67New York: Printed for Stringer and Townsend c1850. Cloth. Very Good. 7.5" by 5" . Not Stated . First and second series of this work concerned with the New York scene by Donald Gran Mitchell. Complete with two volumes both the first and second series. Comprising travel letters and journalistic articles mainly dedicated to the New York scene. Written by American essayist Donald Grant Mitchell published anonymously under 'An Opera Goer.' The second edition of this work with frontispieces and illustrations throughout. Dated from Jisc. In the original publisher's full cloth binding. Externally smart with shelf wear bumped to head and tail of spine chipped along front joint second series boards lightly marked. Internally firmly bound. Spotting throughout. Very Good Printed for Stringer and Townsend hardcover
1936réf. 379517ª Ed.- Milano - Roma en el colofón: A cura della Presidenza Centrale dell'Opera Balilla a. XIV Imp. Pizzi & Pizio 1936.- Tras la portada retrato de Mussolini con casco militar y al pie dedic. facsimil profusión de ilustraciones fotográficas en negro y láminas de propaganda a todo color; 4º menor 215 155 cm; Cartulina Ed. ilustrada.- Interesante y raro libro sobre la instrucción física y militar de las juventudes fascistas italianas. Falto de dos trozos en la cabeza y pie de la lomera interior en buen estado. HISTORIA Y POLÃTICA DE LOS SIGLOS XVI-XXI E HISTORIAS GENERALES EXTRANJERAS Libro in italiano Presidenza Centrale dell'Opera Balilla paperback
1955réf. ABE-1607221994675Stockholm 1955 1955 First edition. Octavo 24.617.1cm 20pp. Illustrated. Text in the DANISH language. SIGNED by ALL the directors leading performers players and staff members of the company including Chu-Tu-nan Ma Shao-po Jen Hung Yun Yen-ming Chang Yu-shan Chiang Hsin-yung Hsu Yu-chuan Chang Chien-ming Wu Chin Wang Ching-chieh Hsia Hu-chen Shen Chin-chi Jen Tzu-heng Wang Chuan-kuei Mei Pao-yue Yeh Sheng-chang etc. Also included a signed letter from Wang Hsi the Secretary to Carl Werner Skogholm dated Nov. 20 1955. Signed by Authors. 1st Edition. Soft cover. Very Good/No Jacket. Stockholm, 1955 paperback
1968réf. 049592London 1968. Soft cover. Very Good. Original b/w photo-advert. 20 x 14 cm. Signed and inscribed by Korat to "Bedros bey" as '. my play-friend'. Dated 1.16.1968. Advert of Rigoletto Place des Arts - Montreal S. A. Goumsky - London. Korat also known as Korad was a Turkish female opera artist. She made her stage debut as 'Lucia' at Ankara State Opera. He studied on the Italian operas at the Deutsche Oper in Hannover and at the La Scala in Milan. In 1959 she was a soloist in the interpretation of the 9th Symphony in the Beethoven Festival Germany. She played the leading roles in the opera stages of European US and African countries. In 1966 she participated in the Verdi Festival in Montreal with famous artists. With her powerful and colorful soprano voice interpretation and technique she has gained widespread fame. Scarce. paperback
1936réf. 300382Paris: Alliance de Publicite et de'Impression 1936. Full color program for the 1936-1937 season of Ballet Russe de Monte Carlo presented by Col. de Basil. Cover illustration by I. Bilibine on silver paper jacket folded over plain covers~ ~66pp. with 4 pages of tipped-in color plates on both sides picturing different aspects of the production such as the costumes and scenery. Some wear to cover edges and bottom of spine. Good. Alliance de Publicite et de'Impression unknown
1924réf. 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
1986réf. 223029Sichuan.: 四川美术出版社. Sichuan meishu chubanshe. 1986. Poster showing 56 captioned Chinese Sichuan Opera facepaint masks. Text in simplified Chinese characters 76 x 52.5cm occasional light creasing corner pinholes in very good and bright condition. In Chinese opera individual characters are distinguished by highly codified facial make-up often described as painted “masks” and in some regional traditions particularly Sichuan opera by the use of actual masks. These visual conventions function as an interpretive guide for audiences signalling a character’s identity personality and moral attributes. Musical style facial design and costume vary markedly between regional operatic forms including Beijing opera Sichuan opera Yue opera and Cantonese opera reflecting distinct local performance traditions and aesthetic systems. . 四川美术出版社. [Sichuan meishu chubanshe]. unknown
1986réf. 628687Scholar Books Publishers 1986. 324 pp. 5 pp. folded leaf. 38.5 x 27 cm. White cloth covered boards with gilt lettering and illustration to spine and cover in a glossy pictorial dustjacket with gitl lettering with a folded booklet with title and contents in English. Light bumps and some rubbing and light wear to spine ends and corners of dustjacket. Price tag at tail of spine of jacket which is protected in a mylar cover. Interior is clean and unmarked. Binding sound. Due to the considerable size and weight of this book additional shipping may be required for expedited and international orders. . Hard Cover. Very Good/Very Good. Scholar Books Publishers hardcover
réf. 0865340277.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1808réf. 354London: Lowndes Printer 1808. First Edition. Broadside. Fine. Broadside approximately 11 1/2 x 8 1/2 inches untrimmed. Portion of bottom line of text unprinted. Small remnants of paper tape on verso else fine. Broadside advertising the twelfth performance of the opera KAIS OR LOVE IN THE DESERTS at Drury Lane starring and produced by the renowned English tenor John Braham. John Braham ca. 1774-1856 rose from poverty and orphanhood in London to the heights of European opera where he celebrated as one of the great voices of his age. As a British Jew he also represented a major shift in Jewish status and social potential in the late Georgian era becoming not only an artist of acclaim but also eventually the father-in-law of several English aristocrats. KAIS was based on the ancient Arabian love story of Layla and Majnun which had been adapted into a famous work by Persian Poet Nizami Ganjavi in the 12th century which in turn became the source for numerous later poets and mystics throughout the Middle East and Central and South Asia. The story gained great popularity in Europe after Isaac DIsraeli published an English translation in the early 19th century. It was upon this translation that Isaac Brandon based the libretto for KAIS. Braham and William Reeve composed the music for the opera which opened in 1807. Lowndes, Printer
réf. 219368Tianjin.: 毓順成 芳記. Yushuncheng fangji. Early 20th Century. Four handbills showing popular images two 13.2 x 18.4 are images of characters from Peking Opera and two 12.2 x 16.5cm depict themes important in Chinese society at the time. Text in traditional Chinese characters. Light even browning tiny closed tears at margin of one sheet repaired with washi. Very good. Chinese opera characters in the style of traditional woodblock prints were popular in the late Qing dynasty and early Republican period. Handbills of characters from Beijing opera were sold as collectible items that also helped to familiarise people with the characters of different operas; their costumes make up weapons and names. In this case there are two characters from the opera 白水灘 on one handbill and three characters from the opera 落馬湖 on the other. Images with social themes also made popular handbills especially in places such as Tianjin where the influence of foreigners was pronounced. In 福壽財源 we see an immortal carrying a peach of longevity surrounded by images of fertility - a young woman and boys carry fruit and flowers as well as other items symbolic of wealth - a coin a vase gold ingots and so on probably issued for New Year. The final handbill of the four 娶大媳婦 tells the tale of a girl of eighteen married to a boy of seven. The Chinese custom of marrying a young boy to an older girl adopted into the family is thus open for discussion - everyone in the image clearly has a different opinion of the situation; from the young husband the older farmer in the background and the two men in long scholars robes to the modern young man in a western suit with leather shoes as well as the girl herself. The practice of adopting a girl to bring up as a future wife for a male child was made illegal in 1949. The text mentions some of the ways in which the girl would be expected to help in her adoptive family's home. . 毓順成 芳記. [Yushuncheng fangji] hardcover
