4. [Bird Music] Van Wickede, F. (?–?). [Canary breeding] Kanari-Uitspanningen / Of nieuwe verhandeling van de / Kanari-Teelt,... Nieuwe verbeeterde en vermeerende Druck... Vierde Druck
Amsterdam: Steven van Esveldt. 1773. Fourth Edition. A book in Dutch on canary breeding as a hobby. Upright 16mo in contemporary marbled boards. Letterpress. Front endpaper, frontispiece with engraving by N. van Frankendaal (1720–1791) of a canary breeder at work (verso blank), title with copying prohibition and publisher's signature to verso, preface [3 fol.], new preface to 4th edition [1 fol.], [1]–131 [132] pp. Woodcut vignette on title, woodcut headers. Two signatures in ink to front endpaper, the first illegible; the second is "Charles Schicksal." Notes and scribblings in English, in pencil, to insides of boards. Label with withered number to upper board. 6.5 x 4 inches (16.2 x 9.8 cm). Lower edge uncut. Slightly dampstained; boards worn and somewhat soiled; else in fine condition. In an elaborate modern, custom-made case covered in brown morocco with raised bands and gilt lettering. The volume is quite rare, with only two copies in any 18th century edition recorded by Worldcat outside of the Netherlands (France and Germany). Read More...
New York: Gershwin Publishing Corporation. 1935. First edition, second issue. The Theatre Guild presents Porgy and Bess. Libretto by Du Bose Heyward Lyrics by Du Bose Heyward and Ira Gershwin Settings by Sergei Soudeikine Orchestra Conductor Alexander Smallens Production Directed by Rouben Mamoulian. [Piano-vocal score]. Small folio. Original publisher's stiff printed grey wrappers with black cloth spine. 4ff. (photographic portrait; r. title, v. woodcut illustration of donkey pulling a man in a cart; r. Index of Scenes, v. Cast of Characters; r. Story of Porgy and Bess, v. dedication), 559 (music), [i] (blank) pp. Fuld p. 539. First Edition, second issue with the index of songs but still without the capitalization of "Negro," in the fourth line of the story. Light toning to covers, small tear to upper edge, overall an unusually fine copy overall of this rare score. Read More...
London: Printed for the Benefit of the musical Fund; and sold by T. Payne and Son. 1785. First Edition. Upright quarto. Modern vellum imitation boards with brown morocco label to spine and gilt frame and lettering. Confusing pagination: pp. vii, [1], xvi, 8, *8, 9-20, *19-*24, 21-56, 21, [6], 26-41, [6], 46-90, [5], 94-139, [3], with the frontispiece and seven other engraved plates, two of them offering stunning views of Westminster Abbey during these vast concerts, and one being a full plan of the orchestra. 11.25 x 8.5 inches (28.3 x 21.8 cm). Scattered foxing; boards and spine somewhat worn; some pages stained to lower edge, five of which small losses in the stained area, but otherwise a good copy. Rothschild 544; Hazen, pp. 30-33; Chapman and Hazen, p. 161; Fleeman, p. 1570 (85.2BH/1a). Read More...
Exceptional large format original Gene Fenn sepia photograph of the composer, who is shown inspecting the printed score of his ballet Orpheus (Boosey & Hawkes, 1947). 14 x 11 inches (35.3 x 27.9 cm). Wear and small losses along the right edge and lower right corner, a couple of light surface cracks, otherwise in fine condition. The photographer's imprint in the negative just barely visible lower right (cropped, as printed). Read More...
34. Varèse, Edgard. (1883–1965). "Offrandes" - Inscribed Full Score to a Columbia-Princeton Electronic Music Engineer
New York: Ricordi. 1960 (date of "New Copyright'). Offrandes for soprano and chamber orchestra. Full score. 8vo. 10.5 x 7 inches (26.7 x 17.5 cm). 31 pp. [PN] NY 2074. Inscribed by the composer on the title to Peter Smith, then an engineering student working at the Columbia-Princeton Electronic Music Center, who had assisted Varèse with some of his early pioneering efforts in electronic music: "au Herr Prof. Peter Smith cordial souvenir Edgard Varèse." In original gray wrappers, slightly worn and with small stains. Miniscule pinprick through head of upper wrapper and first pages, else in very fine condition throughout. Read More...
Signed matte sepia portrait of the celebrated Russian-American violinist by Melbourne Spurr (1888–1964), one of the most sought-after photographers in the 1920s, then based in Hollywood. Inscription, "To Mr. Mario Mantini –/ Jascha Heifetz / Sept. 1929." Photographer's raised stamp lower right, small chip to left edge, else fine. 7.5 x 9.5 inches (19 x 24 cm).
Portrait photograph by Ray Lee Jackson of the great American bon vivant, actor and pianist, shown in a pensive pose with cigarette in hand, inscribed to Harry Friedgut (1901-1975), managing director of the New York City Center of Music and Drama. A few small nicks, small tear to upper right edge and small loss to lower edge (easily matted out of view), else fine. 7.25 x 9.25 inches (18.5 x 24 cm). Read More...
Rare boldly signed original black ink portrait of the great pianist shown at the keyboard. An uninscribed example, dated 1930, but from the collection of Harry Friedgut (1901-1975), managing director of the New York City Center of Music and Drama. Small losses to corners, else fine. 7 x 9 inches (17.8 x 22.9 cm). Read More...
Signed O.K. Vogelsang photograph of the Austrian/American pianist whose Schubert and Beethoven recordings are beyond compare. Schnabel is pictured with his gaze directed at the viewer, musical score and cigar in hand, and has inscribed to Harry Friedgut (1901-1975), managing director of the New York City Center of Music and Drama. Light spotting, small loss to upper right margin, overall fine. 8 x 10 inches (20.3 x 25.4 cm). Read More...
Vintage pearl-finish Piccagliani photo of Callas as she appeared in Un Ballo in Maschera at La Scala 1957, signed and inscribed in blue fountain pen in Italian to the lower blank margin. In fine condition, with some light creases and mounting remnants to verso. 4 x 5.75 inches; 10.4 x 14.7 cm. Read More...
Vintage pearl-finish Piccagliani photo of Callas as she appeared in Un Ballo in Maschera at La Scala 1957, signed with her name alone in blue fountain pen across the image. In fine condition, moderate contrast to some of the signature and mounting remnants to verso. 3.75 x 5.5 inches; 9.4 x 13.7 cm. Read More...
1953 Othello Records (2) – L-101 “Subscriber’s Edition,” numbered 4782 and signed in ballpoint on the verso of the pictorial album cover. Album clean and bright with light edge wear. Vinyl with some visible scratches, untested.
New York: Allen, Towne & Heath, Inc.. 1947. First edition. Story of Louis Armstrong, inscribed by Armstrong on the front free endpage "To my life long Buddy Bill Davidson from Louis Armstrong." First edition in English, published in French, in Paris, in the same year. Hardcover, original blue cloth, title in gilt to spine, treble clef embossed to the upper board. Portrait frontispiece, 304 pp. Signed page heavily toned, half title with two small punched holes, spine rubbed with ends a bit frayed, somewhat shaken but solid. Read More...
Unusual and graphically striking period theatre marquee mock-up for an unknown appearance by the great composer and bandleader, accomplished and signed by Hollywood, theater, & poster painter Ralph Byrer. Pencil and gouache on fiberboard, mounted on matboard. In fine condition. Mock-up measures 12 1/4" x 4 1/4", mounted and framed without glass to 17 3/4" x 9 3/4" overall. Read More...
Handsome bust portrait photograph of the great composer and bandleader in a tuxedo, inscribed and signed in bold green ink. Small surface losses to verso, some light surface creases, overall in fine condition. Visible photo: 7" x 8 3/4", nicely matted and framed under UV plexiglass to 11 1/2" x 13 1/2" overall.
Thick stock color illustration of the 1985 work "Untitled (figures)", the extracted cover of his 1987 Abbeville calendar page, signed boldly in silver marker to the lower right by the American graffiti artist and social activist known for his instantly recognizable visual language of dancing figures and his work to bridge the gap between high and low art. The work features an array of bodies fighting for room in a colourful crowded space, emulating the vibrancy of graffiti art but also the energy of bodies dancing the upbeat rhythm of hip hop music. 11.8 x 13.8 inches (30 x 35 cm). Mounted to rigid white cardstock, with an advertisement clipping to verso, in fine condition.
Munich: Hirmer. 1988. Collection of the American pop artist's drawings from 1961 to 1986, signed and inscribed by the artist on the half-title: "To Friedrich Apel / Roy Lichtenstein '88." 201,(1) pp. Oblong 8vo. Hardcover, blue cloth, dust jacket with detail of one of Lichtenstein's drawings. Some light edge wear to dust jacket, but overall very fine. 10 x 9.5 inches (26 x 24 cm).
Unusual still-life carte de visite photograph, ca. 1880s, of a mouse ensnared in an intricate homemade mouse trap. The peculiar trap has been arranged in an open facing box, with an open pocket knife perched on top and adding to the somewhat threatening and surreal nature of the composition. Photographer's stamp to verso. Light scratching to surface and mild toning throughout; overall fine. Photograph 2.5 x 4.25 inches (6.35 x 10.8 cm.); matted to an overall size of 8 x 10 inches (20.3 x 25.4 cm.).
New York: Harper & Brothers. 1957. First. Hardcover in dustjacket. 8vo. 297 pp. Inscribed on the second ffe in blue fountain pen ink "To Mr. Henry McBride, herein cited but everywhere known as a lover of modern art, its friend and helper, its valliant [sic] aid and critic in New York - Faithfully, Janet Flanner." The aforementioned name citation in the present volume's index (p. 295) has been identified in red pencil, presumably by McBride himself. "From the Collection of Henry McBride Art Critic" sticker to inside front cover, purple/black cloth slightly toned, in a worn dustjacket, else fine. An extraordinary association copy. Read More...