Search Results: Titles starting with C from J & J Lubrano Music Antiquarians LLC

Berlin: Walter de Gruyter, 2013. 5 volumes. Large octavo. Original publisher's full ivory linen with green title labels gilt to spines. Band I: (1740-1755), xvi, 440 pp.; Band II: (1756-1759), xi, 525 pp.; Band III: (1760-1763), xii, 560 pp.; Band IV: (1764-1766), ix, 308 pp.; Band V: (1767-1769), xv, 601 pp. All except Band II inscribed to musicologist and professor of German William A. Little and signed by the author.

Full-length portrait in costume, seated, signed and inscribed "Yours sincerely Charles Corte." Annotation to lower margin in another hand: "This must be the Lady of the House Fascination Act 2 Sce. 2. 1889." From the studio of Falk, New York, with studio details printed to lower margin. 167 x 106 mm. Slightly worn and browned; two file holes to left margin. The identity of the actor is unclear; "Charles" is clear and "Corte" likely.

A bust-length portrait, 140 x 105 mm., with manuscript identification in Swedish to verso. Laid down to orange mount. "Eugène von Stedingk studied at Uppsala University... After... graduation he was employed as attaché at the Swedish Embassy in Paris in 1855. He moved to St. Petersburg in 1857 as legation secretary at the imperial court in 1859 to return to work in Paris legation... Stedingk was appointed the first director of the Royal Opera and director of the royal theaters in 1861. He was one of the initiators to separate Opera and Drama Theatre from each other. In 1866, he left work at the theater to resume his diplomatic career... Stedingk was elected to the Royal Academy of Music on January 22, 1864." Swedish Wikipedia.

Waist-length portrait, seated. Facsimile signature to lower mount "Mary F. Scott-Siddons." From the studio of Sarony, New York, with studio details printed to lower margin. Undated, but ca. 1895. 166 x 108 mm; corners rounded. Slightly browned, foxed, and warped; two file holes to left margin. Born in India as the great-granddaughter of the most famous English actress of the eighteenth century, Sarah Siddons (1755-1831), Mary Frances Siddons came to England as a teenager and soon followed her ancestor's footsteps. She appeared on the American stage in 1867-69 and again in the 1890s. "Her theatrical experiences in this country lasted a number of years and were presumably profitable. As an actress, however, her style was amateurish and her manner cold... For a number of years the sales of her photographs were very large. She was a remarkably good subject for the camera." The New York Times, obituary, November 20, 1896.

1893. No binding. Good. Bust-length portrait in formal attire. From the studios of Baker, Columbus, Ohio, with studio details printed to lower margin. 165 x1 08 mm. Warped; two file holes to left margin. Charles Dickson (sometimes credited as Charles Doblin), an American actor, featured in several original productions including the musical The Vanderbilt Cup (1906) and, from 1915 on, also appeared in movies.

1896. Bust-length portrait. Autograph signature to recto: "Yours truly Rehan 1894." From the studio of Baker's Art Gallery, Columbus, Ohio, with studio details printed to lower margin. 165x108 mm; corners rounded. Slightly warped; two file holes to left margin. "Belgian-born French actress whose popularity extended to the Russian Empire and later the United States of America." Wikipedia.

1891. No binding. Good. Three-quarter-length portrait in unidentified role. {?]Autograph signature in purple ink to recto: "Frances Drake." Annotation in black ink to verso, probably in a different hand: "Pitou Stock co." From the studio of Gilbert & Bacon, Philadelphia, with studio details printed to lower margin and verso. 165x108 mm; corners rounded. Slightly warped. The Pitou Stock Co. was a touring theatre company. The Frances Drake depicted here must not be confused with the later famous actress of the same name (1912-2000). "Frances Drake, a prominent young Stocktonian, has resigned her position as under-study in August Pitou's stock company and is now an active member of Daniel Frohman's Lyceum Theater Company." Sacramento Daily Union, January 23, 1892. In 1898, she appeared with the Charles T. Salisbury Stock company. See The New York Dramatic Mirror, May 21, 1898, p. 15.

Full-length portrait of the noted Belgian tenor as Loge in Wagner's Das Rheingold. Signature dated 1899. A. Dupont, photographer, 1898. Ca. 142 x 108 mm. With the photographer's information printed to lower left corner. Very slight loss to corners; some staining; trimmed; verso quite worn. Van Dyck "made his stage début in 1887 at the Eden-Théâtre as Lohengrin. After intensive coaching from Julius Kniese he sang Parsifal at Bayreuth in 1888, returning there in the same role until 1912 and as Lohengrin in 1894. From 1888 to 1900 he was engaged at the Vienna Hofoper, where he appeared in Smareglia's Il vassallo di Szigeth (1889). He first sang Des Grieux in Massenet's Manon at Vienna (1890), and he made his London début in that role at Covent Garden (1891), where he also sang Faust and Lohengrin (1891), Tannhäuser, Siegmund and Mathias in Kienzl's Der Evangelimann (1897), Loge in Das Rheingold (1898) and Tristan (1901). In Vienna he created the title role of Massenet's Werther (1892), and took the… Read More

London: Ascherberg, Hopwood & Crew [PN 10169], 1921. Quarto. Black textured boards with titling gilt to upper. [i] (title), [ii] (printer's statement), [iii] (cast list and notes on first performance), [iv] (contents), 170, [ii] (blank) pp. Binding slightly worn; head and tail of spine frayed. Slightly worn. First Edition. Scarce.

Paris, 1882. 320 x 412 mm. + wide margins. Signed and dated in the plate by the artist. On japon. A strong impression. A scene from Verdi's opera Rigoletto, with a calendar of saints days for 1883 flanking the stage. Small collector's label ("A Tumbeuf") to lower right margin. Very minor wear and soiling to margins. In very good condition overall. Béraldi: les Graveurs du XIXe Siècle, 1. Victor Hugo's play, upon which the opera was based, was banned in France after its initial performance.

Paris, 1882. 320 x 412 mm. + wide margins. A proof, without background scenery. Signed by the artist in pencil at lower right margin, with "Etat" in pencil above signature. On laid paper. A scene from Verdi's opera Rigoletto, with a calendar of saints days for 1883 flanking the stage. Uniformly browned. Béraldi: les Graveurs du XIXe Siècle, 1. Victor Hugo's play, upon which the opera was based, was banned in France after its initial performance.

Bonn: N. Simrock [PN 94], 1810. Oblong folio. Decorative paper boards with dark green morocco title label gilt to spine, marbled edges, original publisher's dark pink upper wrapper with titling within decorative border bound in. 1f. (recto title, verso cast list and table of contents), 3-189, [i] (blank) pp. Engraved. Text in Italian and German. With "Stuttgart, bei G.A. Zumsteeg" overpaste below imprint and small contemporary signature to upper margin of title. Binding slightly worn, wrapper with some soiling, staining, and wear. Occasional light soiling, staining, and creasing, heavier to some leaves; repairs to pp. 1-7, 11-12, and final leaf, just touching text and staff lines to page 1. Later (second?) Edition. Schneider, Musikverlag N. Simrock, no. 30. Eitner VII, p. 279. Camilla, a dramma semiserio to a libretto by Giuseppe Carpani after Benoît-Joseph Marsollier des Vivetières, was first performed in Vienna at the Kärntnertortheater on February 28, 1799. "In its concentration of macabre… Read More

[Milan]: Teatro alla Scala / Electa, 1975. Large octavo. 180 pp. In dustjacket. Ex-library, with stamps.

1780. Tall folio (38 x 27 cm). Contemporary stiff wrappers with titling "Cantata's" in ink to upper and lower. [5], [6] (blank), [1] pp. Notated in black ink on heavy laid paper, watermark of a shield with fleur-de-lis, Christogram "IHS," and the name of the papermaker "I VILLEDARY." The Cantata on the first five pages consists of an Air, Recitative, and Air ("Who'll Buy a Heart") from Stanley's Cantatas, Op. 8, published in 1748. The last page consists of 10 measures of music in keyboard score, followed by text without notation, entitled "The Charms of Jabel - Dr. Arne," with text commencing "Fair is the Swan." Wrappers somewhat worn and soiled; very minor worming, just touching text in a few instances but not affecting music. Unrecorded in Parkinson. See Heawood 1835-6 and Churchill 407 for Dutch papermaker Jean Villedary.

University of Chicago Press, 1967. Hardcover. Very Good. Folio. xvii, 242 pp. From the collection of the noted musicologist Stanley Boorman.

London: Stainer & Bell, 1992. Softcover. Very Good. Folio. xl, 255 pp. Musica Britannica 61.

Kassel: Bärenreiter, 1961. Hardcover. Very Good. Schröder, Otto, ed.. Folio. 114 pp. Sämtliche Werke 5.

Lugduni: Claudium Bachelu, in viâ Mercatoria, 1675. Octavo. Full dark brown leather. 1f. (recto title, verso blank), 3-75, [i] ("Permission" and colophon dated Lyon, Pierre Guillimin, 1675) pp. With music printed from type in square-head notation throughout. Woodcut headpiece and small decorative initial to first page of music. Verse in contemporary manuscript to recto of free front endpaper with musical phrase in square-head notation in manuscript to verso; verse in contemporary manuscript to rear pastedown; several horizontal rules and short annotations to title. Binding quite worn, rubbed, and bumped with small portions lacking; joints split; endpapers worn and soiled; small hole to free front endpaper from oxidation of notation to verso. Slightly worn; light uniform browning throughout; light dampstain to upper inner margins; occasional soiling; lower outer corners of first few leaves slightly creased. Quite a nice, crisp copy overall despite defects as described. OCLC (one copy only, at the… Read More

Lucca: Stab. Lippi, 1927. Folio. Original publisher's heavy ivory wrappers illustrated by Italian artist Ezio Ricci (1885-1968) printed in dark red and black. 1f. (recto with commemorative note, verso text of the song printed in dark red), 8 pp. facsimile of the composer's autograph musical manuscript. With a lengthy autograph inscription signed by the composer to upper inner corner of recto of first leaf to "Prof Cav. Pardini" dated Pisa 21.9.37. Wrappers slightly worn and soiled. Occasional foxing; staples rusted. First Edition. Rare (no copies located outside Italy). Both the music and the song text, by Italian poet Augusto Garsia (1889-1956), were written to celebrate the achievement of pioneering Italian aviator and native of Lucca, Carlo Del Prete (1897-1928). Del Prete, together with Francesco de Pinedo and Vitale Zacchetti, completed a record-breaking flight over four continents on June 16, 1927. Their 29,180-mile flight took 123 days. Wikipedia Marucelli appears to have been primarily… Read More

Berlin: Union Verlag, 1958. Hardcover. Very Good. Quarto. Original publisher's full ivory cloth with titling gilt to upper, black title label gilt to spine. 226, [i], [i] (colophon) pp. With numerous illustrations. In pictorial dustjacket. Title slightly split at gutter.