61. Dance, William. (1755 - 1840). Tell me, thou Soul of her I love ; A Ballad. The words from Thomson's Odes. SIGNED
London: L. Lavenu, for the Author. 1798. First edition. For voice and piano. 5 p., 31 cm. Signed "W Dance" in ink by the composer at the foot of the title page. Disbound from a larger volume, rough spine and first page archivally repaired and stitched into a new archival binding. Read More...
8 x 10 doubleweight Mishkin portrait photograph, boldly signed and inscribed in white ink by the supreme Italian baritone. Dated 1932, fine.
One of the leading Bel Canto singers of the century, he created several important roles including Michonnet in "Adriana Levouvreur," Paquero in "Goyescas," the title role of "Gianni Schicci," and Sharpless in "Madama Butterfly. " Among his students was the great Leonard Warren.
Autograph letter from the great bass and brother of Jean de Reszke. His vast repertory included major Wagner roles, Mephistopheles, Friar Laurence, Don Pedro (L'Africaine), Rocco and Leporello, which he sang at a special centenary performance of Don Giovanni at the Opera in 1887. 2 pp. (recto/verso) on letterhead of the Auditorium Hotel in Southgate, UK. Dated 11/13/1899, in French, thanking an unnamed "Mademoiselle" for a portrait of him done by her. Fine.
Vintage sepia albumen photograph of the Polish tenor whose career included the creation of the title role of Massenet's Le Cid. He was the leading tenor at the MET before Caruso and opened an important vioce school in Nice where he taught many great singers, including Bidu Sayao and Maggie Teyte to name but two. Signed "yours truly, Jean de Reszke / 1895," a year in which he sang both Tristan and Manon at the Metropolitan Opera House. 9.5 x 14 cm. Small crease upper left corner, mounting remnants on verso, else fine.
Uncommon signed photograph of the Texas-born Cuban/American tenor, inscribed to Winslow, "Sincerely Rafaelo Diaz Metropolitan Opera Co. New York 1922." 8 x 10 inches, a few light creases, overall fine. With an Autograph Letter Signed, sending the photograph and $5 to "make some lad happy." New York, 1922
In 1917 he joined the Metropolitan Opera Company and remained there until 1936, after which he toured with the Scotti Opera Company.
Paris: Flammarion. [1946]. First edition. 4to. pp. 1 p.l., [149], [1 leaf]. With title and 26 original text woodcuts by Maillol. Loose gatherings, uncut, as issued in original printed wrappers. Paper slipcase, with cloth-backed chemise. One of 10 copies on 'papier pur fil de Lana' reserved for the collaborators, this copy stamped "Exemplaire de Collaborateur / imprimé spécialement pour Raoul Dufy," and including two original paintings of butterflies by Dufy, affixed to the half title which bears the faintest outlines of a drawing of flowers. Read More...
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Scarce signed photograph of the great French organist, pianist, composer, and pedagogue. Dupré is shown performing on the organ and has boldly signed and inscribed across the white keys "Saint Sulpice, Marcel Dupre." In fine condition. 10 x 15 cm (4 x 6 inches). Read More...
One of the iconic images of the folk era is this Toulouse-Lautrec inspired design by artist and fellow folk musician, Eric Von Schmidt, a friend of both Dylan and Baez. His stylized “VS” can be seen in the lower left corner of this exceptional work of art. The extreme scarcity of the handbills and posters bearing this image can be attributed to the fact that it was utilized for only ten US tour stops between late February and late March 1965. To date, handbills with pre-printed venue and ticket information have surfaced for only three cities - Raleigh, Pittsburgh, and New Haven. This series of shows marked the “beginning of the end” of the working relationship between Dylan and Baez. It also put a strain on their personal relationship as well, even though Baez would open for Dylan on his eight city tour of Great Britain between April 30th and May 10th. Dylan's star status, increasing eccentricity, his disdain for most members of the press and his upcoming debut as an ‘electric’ artist at July's Newport Folk Festival, all contribute to the valid notion that Von Schmidt's design is, indeed, a vivid documentation of the last remnants of Dylan as a ‘folk’ artist; a sign of the times transition in the ever-changing career of the enigmatic Bob Dylan. Read More...
Venitia: Appresso F. Salerni, e G. Cagnolini. 1669. 120 pp. Engraved throughout with elaborate title illustration, head and tail-pieces. Galvani App 2,20; Alm 164, 165. OCLC locates 4 copies worldwide. Read More...
Rare AMQS from the composer's most celebrated work. Four measures, boldly penned in brown ink and identified "Gerontius," signed "Edward Elgar" beneath and in very fine condition. 5.5 x 7.5 inches [19 x 13 cm], nicely matted with a glossy photograph of the composer and nicely framed to 33 x 41 cm [13 x 16 in] overall. Read More...
Remarkable set of six unique and unpublished original candid photographs of composers and performers and luminaries at the 1937 Gloucester, UK Music Festival. Approx. 7cm x 11.5cm, all in fine condition.
Vintage original photograph of the late great German baritone playing with his two children, Mathias and Martin, ca. 1960. Notes on the verso, in very fine condition. 13 x 18 cm.
Early signed program photograph of the great German baritone, lieder specialist beyond compare. Also signed by the great accompanist, Gerald Moore. 21 X 15 cm, in very fine condition.
Early program from an appearance of the young pianist at the Schubert Club in St. Paul, Minnesota in 1955 (6 x 9 inches). Together with a vintage 8 x 10 inch glossy publicity photograph, stamped 1949 on the verso. Both fine. Read More...
A scarce early J. Abresch of NY photograph of the superb pianist at the keyboard, boldly signed and inscribed in black ink at age 16, the year of his debut under Pierre Monteux with the New York Philharmonic, after which the conductor called him "the pianistic find of the century." Read More...
Typed letter signed "Wilhelm Furtwangler." 1 page. Berlin, 29/6/32. In very good condition, slighly trimmed to 7.5 x 9.5 inches, mounting remnants on verso. Translated in full: "I thank you for your letter dated the 16th of this month and your interest in me which is shown therein. - Were you more familiar with Berlin"s music critics, you would not be so very much surprised regarding Stuckenschmidt [Hans Heinz Stuckenschmidt (1901 - 1988), German composer, musicologist, and historian and critic of music]. Recently, a great and internationally renowned artist remarked to me, no doubt correctly, that large German cities, particularly Berlin and Vienna, represent the most unpleasant atmosphere with regard to the artistic world that has ever existed. The unscrupulous way by which facts are tampered with and the public is misled to serve biased and tedious party doctrines and intentions, can hardly be surpassed. The only positive thing, however, is that gradually the public is no longer listening to what the Mr. Stuckenschmidt etc. proclaim which, with regard to us artists, is most sensible. Where would we be if we had to be concerned with those things?" Read More...
Uncommon AMQS from the American composer, pianist and educator, a pupil of Dvorák in New York, who went on to head the composition department at Juilliard for 12 years and numbered Copland and Gershwin among his students. Two measures, identified as "Moderato" from his "Negro Rhapsody" - among the most performed pieces in America, in the seven years following WWI - signed and inscribed "with greetings to the New Bedford Public Library / New York, Nov. 5th, 1930." On a card measuring 15 x 18 cm. Fine.
New York: New World Music. [1929]. First edition. 4to. 35pp. Original tan printed wrappers, upper cover decoratively lettered, back wrapper advertising "George Gershwin's Famous Compositions," including "Rhapsody in Blue" (1924) and "Preludes" for Piano (1926), covers loosening, minor soiling and spotting. Read More...