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Lhevinne, Josef. (1874 - 1944). Signed Photograph. 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).

A note on the verso asks to "Please return to YM +YWHA 652 High St. Newark, NJ." The 'Y' building at 652 High Street opened in 1924 and was the major center for Jewish social and cultural life in Newark.

The Russian-born Lhevinne was one of the greatest pianists of the Golden Age of piano, celebrated for his astounding technique, style and ease of playing. Married to pianist/teacher Rosina Lhevinne, the couple were famed teachers in New York City where they had their own music school and taught at Juilliard. In the words of Harold Schonberg: "His tone was like the morning stars singing together, his technique was flawless even if measured against the fingers of Hofmann and Rachmaninoff, and his musicianship was sensitive."

Lhevinne, Josef. (1874 - 1944) Signed Photograph

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Lhevinne, Josef. (1874 - 1944). Signed Photograph. 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).

A note on the verso asks to "Please return to YM +YWHA 652 High St. Newark, NJ." The 'Y' building at 652 High Street opened in 1924 and was the major center for Jewish social and cultural life in Newark.

The Russian-born Lhevinne was one of the greatest pianists of the Golden Age of piano, celebrated for his astounding technique, style and ease of playing. Married to pianist/teacher Rosina Lhevinne, the couple were famed teachers in New York City where they had their own music school and taught at Juilliard. In the words of Harold Schonberg: "His tone was like the morning stars singing together, his technique was flawless even if measured against the fingers of Hofmann and Rachmaninoff, and his musicianship was sensitive."