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2020 NEW YORK ANTIQUARIAN BOOK FAIR

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Cover Image: Item 49 (Original Photograph of a Jug Band, c. 1900) Schubertiade Music & Arts 617-308-4019 [email protected] https://www.schubertiademusic.com New York Book Fair 2020 Catalog

1. [American Music] Gifford, Isaac. (1772-1843) Decorated Tenor Partbook from Early American Fa-Sol-La Tradition, dated 1797. Autograph musical manuscript, dated 1797, approx. 70 pp., handwritten in ink throughout, followed by additional blank leaves and containing nearly 50 songs in total (with titles such as "French tune", "London tune", "York tune", "Dundee tune", "Dublin tune", "Martyrs tune", "Aby tune", "Newton tune", St. David's tune", etc.), consisting of a combination of popular tunes from the period and apparently original compositions penned by Isaac Gifford. Entries are embellished throughout the book with assorted decorative border patterns painstakingly hand-drawn by Gifford. 3.75 × 6.5 inches (9.5 × 16.5 cm), leather-backed paper-covered boards. Cover worn and partially detached, some loose leaves, one leaf lacking, scattered staining and minor tearing, mild toning, ink bold and legible throughout. A fascinating early American manuscript music book kept by Isaac Gifford of Huntingdon County, Pennsylvania, founded just ten years previous, in 1787.

This manuscript is an early witness of the American singing tradition that encompassed shape-note singing and the Sacred Harp. The present collection is a partbook for the “tenner” or tenor voice, which in this tradition sang the melody in the middle of a texture, harmonized by higher and lower voices. Its notation was designed for readers and singers who possessed differing kinds of musical literacy. Instead of note heads, the letters F, S, L, and M were written on a five-line staff: the whole-step syllables fa-sol-la repeated within the octave, along with the half-step syllable mi. In the present manuscript, a single tune is given on each opening of the book: the musical staff with letter notation on the right (recto) and the metrical verse text on the left (preceding verso). Most texts are iambic (weak-strong syllable pairs; 8.6.8.6). This regular meter allowed for interchangeability among texts and melodies; for instance, no. 44, Rochester, sets the well- known text of "Joy to the World" to a different tune. Many texts meditate upon devotional themes, including death and grace, although not for singing in worship; the collection also includes love songs and songs with profane references, such as tobacco (no. 30) and Virgil (no. 40). Unpaginated with numbered tunes. Two gaps in tune numbering (between nos. 4 and 6; and nos. 44 and 47) suggest scribal error or lacking leaves.

The compiler of this manuscript was born in New Jersey and spent most of his life in Tell Township, Pennsylvania. Historical records indicate he and his wife Sarah Cluggage Gifford (1781–1827) had eleven children, some whose names appear in the book towards the end. Isaac Gifford's ownership inscription to front flyleaf indicates he purchased the volume from noted merchant Peter Swoope [aka Swope] (1763–1839) in the borough of Huntingdon. Swoope was "engaged in the merchandising and the iron business, and accumulated a nice fortune." (see History of the Swope Family and Their Connections, 1678–1896 by Gilbert Ernest Swope, 1896, p. 364). The borough of Huntingdon had just been incorporated the previous year, in 1796. Isaac Gifford traversed a distance of about 35 miles from the rural township of Tell to the county's population center of Huntingdon where he purchased book from Swoope.

The tunes are numbered and captioned as follows, with incipits: 1. French tune (O franch thou art plesent Land) 2. London tune (When jacobs Days drew near an End) 3. York tune (O york thou art a plesent tune) 4. Dundee tune (My Dearest dear take me along) 6. Dublin tune (I Love the prity virtuous Maid) 7. Martyrs tune (This is the tune the Martyrs sung)

1 8. Aby tune (Aby thy walls are beate gold) 9. Newton tune (As I was going up newton street) 10. St. Davids tune (King David but a striplin was) 11. St. Mareys tune (An angel did apear and say) 12. Savoy tune (When this livery I put on) 13. The Isle of White tune (The Isle of white is my delight) 14. Brunswick tune (New Brunswick stands near rariton) 15. St Humphrey's tune (Thare is a fairmade in this place) 16. Litchfield or London old (Thare is a fairmade in this place) 17. Middlesex tune (The lisard lies upon the grass) 18. Lunenburgh tune (The Clark asends the seat) 19. London new tune (My love Come walk along with me) 20. Standish tune (Come let us all stand to the dish) 21. Calvory tune (This night is dark and something wet) 22. Canterbery tune (The maids will dress in ornament) 23. Westminster tune (My love and I sat up last night) 24. Windsor tune (My Dearest dear I love you well) 25. Gloucester tune (I think I Can with honer say) 26. St. James's tune (I wish my Love was a Red Rose) 27. The 90eth psalm (I wish my love was in this hous) 28. Bedford tune (The features of my true loves face) 29. South Wells tune (I'll Marvel the abaut) 30. Norwich tune (Its he that doth tobacco chew) 31. Old common tune (Our days begin with trouble heir) 32. Oxford tune (O Marvel not my Dearest dear) 33. Exeter tune (Come let us walk to yonder shade) 34. The New 100 psalm tune (Then wisdom learn from follay past) 35. St. Ann's tune (Wish I was thare that I know whare) 36. Ely's tune (Hast my beloved come away) 37. The judgment tune (When the fierce North wind) 38. The 98th psalm tune (The spacious firmement on high) 39. The Angel's song (Behold the blind Receive thare sight) 40. Converse tune (Mine Ears are rais'd when virgil sings) 41. Bangor tune (Whilst man is in his youthful days) 42. Wells tune (Life is the time to serve the Lord) 43. Virginia tune (Thye word the Ragin winds Contrauls) 44. Rochester tune (Joy to the world the Lord is Come) 47. Montgomery tune (Lord of the worlds above how plesent and how fair) 48. Jophronia tune (Grace is a sacred plant of heavenly berth) 49. Amanda tune (Death like an overflowing streame) 50. Sherburne tune (Song of Immortil praise be long to my almighty god) (18259) $6,500.00

2. [English Anthems and Services] Gibbons, Orlando. (1583–1625) & Lawes, Henry. (1596–1662) & Child, William. (1606/7–1697) & Blow, John. (1648/9–1708) & Aldrich, Henry. (1648–1710) etc Seventeenth-Century English Anthems and Services—Manuscript Partbook. Original manuscript partbook, containing bass parts to 38 verse anthems and pieces of church music by some of the most important English composers of the seventeenth century - including Thomas Wilkinson, Orlando Gibbons, Henry Lawes, Pelham Humfrey, Michael Wise, William Child, John Blow, and Henry Aldrich - as well as by a remarkable assortment of rarely attested composers including John Hutchinson (son of organist Richard Hutchinson, and organist of

2 York Minster); Thomas Mudd (organist of Peterborough and Exeter cathedrals and of York Minster); William Tucker (Gentleman of the Chapel Royal); George Loosemore (organist of Jesus College and of Trinity College, Cambridge); Benjamin Rogers (organist at Eton and Magdalen College, Oxford); Thomas Tudway (Professor of Music at Cambridge); John Badger; and William Ottis (alias Otty or Ottey). Stamped or inscribed on the covers with "BASSUS CANTORIS" (the bass of the cantor's side, rather than the dean's side, of the choir in the English cathedral tradition), this book was in active use at an English cathedral.

The volume is dated and initialed "C. I. H. Decem. 31 1699" to one of the front free endpapers and it is possible that some of the writing dates from a somewhat earlier or later period. Multiple hands are evident, including square and round styles of notation. On verso of the final, trimmed leaf of service music: the addition in pencil of an untexted Anglican chant for SATB in B-flat major by Maurice Greene, matching an untitled version scored for organ from Hereford Cathedral, first half of 18th c., GB-H 30.A.30, p. 126. Text-block 8 × 12 1/4 inches (20 × 31 cm). Several pages missing or partially torn out. Pages neatly ruled 10 staves to the page. Fully notated with text underlay. Most titles at the head of each piece with the composer's name at conclusion. Music has been copied into the book from both ends. One end of the book contains anthems, unpaginated, pp. [1]–[28]; reversed, the book contains services, unpaginated, pp. [1]–[22]. Complete contents and composers, where legible, listed below.

Leaves written from front cover: Anglican anthems p. [1] O how amiable—John Blow (1648/9–1708) p. [2] If the Lord himself had not been on our side—Henry Aldrich (1648–1710) p. [4] O praise the Lord all ye heathen—anonymous p. [5] Awake up my glory—Michael Wise (c.1647–1687) p. [6] I will magnify thee, O God my King—William Tucker (d.1679) p. [8] Let God arise—anonymous p. [11] Rejoice in the Lord—Pelham Humfrey (1647/8–1674) p. [12] O God wherefore art thou absent from us—John Blow (1648/9–1708) p. [13] Glorious and powerful God—Orlando Gibbons (1583–1625) p. [14] O Lord thou hast searched me out—Thomas Wilkinson (fl. ?1575–?1612) p. [17] This is the day that the Lord hath made—William Tucker (d.1679) p. [18] The Lord liveth, and blessed be—Henry Lawes (1596–1662) p. [21] Zadok the Priest—Henry Lawes (1596–1662) p. [22] Prepare—Michael Wise (c.1647–1687) p. [23] O worship the Lord in the beauty of holiness—George Loosemore (1619–1682) p. [24] Psalm 15, Lord who may abide—Thomas Mudd (d.1667) p. [25] Psalm 13, How Long—Orlando Gibbons (1583–1625) p. [25] Psalm 51, Have mercy—William Ottis (fl. 17th c.) p. [26] O Lord, let it be thy pleasure—John Hutchinson (d. c.1657) p. [27] Awake, awake, put on thy strength—Michael Wise (c.1647–1687)

Leaves written from back cover: Anglican services p. [1] Jubilate—Benjamin Rogers (1614–1698) p. [1] Hymnus Apocalipticus—anonymous p. [3] Out of the Deep—John Hutchinson (d. c.1657) p. [4] My song shall be of mercy—Henry Lawes (1596–1662) p. [5] We praise thee O God— anonymous p. [6] O be joyfull in the Lord all ye lands—anonymous p. [7] Magnificat and Nunc Dimittis—anonymous p. [9] Magnificat and Nunc Dimittis—John Badger (fl. 17th c.) p. [11] Blessed is the people O Lord—Thomas Tudway (c.1650–1726) p. [12] Psalm 124 if the Lord himself—William Child (1606/7–1697)

3 p. [13] I will always give thanks—Thomas Mudd (d.1667) p. [14] Evening service—Henry Aldrich (1648–1710) p. [15] Evening service—Benjamin Rogers (1614–1698) p. [17] Te Deum—John Badger (fl. 17th c.) p. [19] Lord, teach us—Pelham Humfrey (1647/8–1674) p. [20] Teach us, O Lord—Benjamin Rogers (1614–1698) p. [21] Have mercy upon us O God—Pelham Humfrey (1647/8–1674) p. [22] Untitled—Maurice Greene (1696–1755)

Laid in loosely, a table of contents consisting of anthems and page numbers entitled "Anthems & Services," heavily worn, tear repaired with needle and thread, not corresponding to the present volume. Inscriptions to endpapers of present volume: name "George Holo.”, incipits ("Be it Known", "The Lord is King"), ledger of numbers, and graffiti. Contemporary dark brown leather boards, "CAN" stamped on front and rear, with "BASSUS" added in ink; border in blind tooling around the edges, with floral ornaments stamped in four corners. Boards rather heavily worn and warped; internally worn and toned, but structurally sound, very legible throughout, and overall very good.

We are aware of very few manuscripts comparable in origin and repertoire to have come on the market in recent decades; similar partbooks are attested in RISM, including from the cathedrals of Durham and Hereford. The present manuscript is a new and apparently unrecorded source of seventeenth-century English music and certainly worthy of further research.

(18207) $12,500.00

3. [Berg, Alban. (1885–1935)] Berg, Helene. (1885–1976) An important series of Letters about the completion of Berg's final opera Lulu. A highly important grouping containing revelatory materials about the completion of Berg's final opera Lulu, including two autograph letters in German from Helene Berg, Alban's widow, written to the biographer Dr. Hans Ferdinand Redlich, on September 14 and 30, 1954; a large envelope for safety deposit in which these letters had been sealed with wax and the signatures of Redlich's widow in 1969; and a shorter postcard, typed and signed, from Helene Berg to George Perle in 1970. All present items from the collection of Perle, noted American composer and music theorist, who had founded the Alban Berg Society with Stravinsky and others in 1968. In fine condition overall; letters 6 pp. total, 8 1/4 inches × 11 3/4 (21 × 30 cm); envelope 10 × 15 inches (25 × 38 cm), with three large wrinkles across and worn edges; postcard 4 × 6 inches (10 × 15 cm) with stamp-deckled edges.

In this remarkable correspondence, Alban Berg's widow explains the circumstances surrounding this famously unfinished work, the orchestration of the third and final act of Lulu, which was left incomplete upon Alban's death in 1935. In the earlier of the present letters, written on September 14, 1954, Helene replies to Dr. Redlich, who had sent a draft of his influential book, Alban Berg: Versuch einer Würdigung (Vienna, 1957), trans., abridged as Alban Berg: The Man and His Music (New York, 1957). The importance of this letter to the performance history of Berg's work and to Berg scholarship is difficult to overestimate, affirmed by the attached photocopy letter by Perle and by the draft of the letter published by Helene's nephew Erich Alban Berg as "Bergiana," Schweizerische Musikzeitung 120/3 (May–June 1980): 147–55, at 149 ff. Our translation, beginning in the middle of p. 2, as follows:

In principle I was not against Lulu being fully orchestrated. Confirmation exists, as a matter of fact: a facsimile of a letter from me to Schönberg in 1936, in which I thank him for proposing to undertake the orchestration of the third act of Lulu. Unfortunately, after perusal he later declined it (!), after which the manuscript wandered to Zemlinsky and then to Webern, that they might undertake the work. Here too, both gentlemen were against it. So it was not because of me that the completion of the opera was withheld from posterity. But it really needed to be a musician or composer of Alban Berg’s standing! I knew that he treasured and recognized the three friends as “chosen family,” and no other composers to the same extent! Please, I tell this only to you! It is far from me to want to trample down anyone, for I also treasure so many of the gentlemen as good musicians and composers, even if they were not at the same level of Alban and his dearest friends. Even Professor Apostel would not be suitable for this, because he is not a dramaturge, and stage orchestration is of course something different from chamber music.

And something more! Alban was truly a “specialist” (a dreadful word!) in setting the horrific— in brief, the demonic—to music. (I would like to remind you of Wozzeck, Act I,

4 Scene II!) In Lulu, the last scene—in which the eternal laws of justice are fulfilled and retribution takes place—so completely riveted him. Indeed he wanted the men who visit Lulu in the attic to be played by the same singers against which Lulu had sinned. (Jack—Dr. Schön) How exactly Alban would have orchestrated this attic scene, with its uncanny aura, in which so much unending horror is hidden! “That can only be expressed through music——” he said once——

[Ich war prinzipiell nicht dagegen, dass Lulu fertig instrumentiert würde. Es existiert sogar eine Bestätigung, eine Faksimile eines Briefes von mir an Schönberg vom Jahre 1936, wo ich ihm danke, als er sich bereit erklärte, die Instrumentation des III. Aktes von Lulu zu übernehmen. Leider lehnte er es später, nach Durchsicht—ab!—daraufhin wanderte das Manuskript zu Zemlinsky u. dann zu Webern, dass sie die Arbeit übernehmen mögen. Auch hier waren beide Herren dagegen. Es lag also nicht an mir, dass ich der Nachwelt die Vollendung der Oper vorenthalten wollte. Aber es mussten doch Musiker u. Komponisten vom Range Alban Bergs sein! Ich wusste, das er die drei Freunde als “Wahlverwandte” schätzte u. anerkannte. Nicht aber im gleichen Mass andere Komponisten! Bitte, das sage ich nur Ihnen! Es liegt mir ferne, jemand damit nahe treten zu wollen, denn auch ich schätze so manchen der Herren als guten Musiker, u. Komponisten, wenn er auch nicht [p. 3] auf gleicher Höhe wie Alban und seine liebsten Freunde steht. Auch Prof. Apostel wäre dazu nicht geeignet, da er ja kein Dramatiker ist u. Bühneninstrumentation doch etwas anderes ist, als für Kammermusik.

Und noch etwas! Alban war geradezu “Spezialist” (ein furchtbares Wort!) im Vertonen von Grauenhaftem—kurzum, Dämonischem. (—Ich möchte Sie da an Wozzeck II. Scene I. Akt erinnern!) In Lulu hat ihn gerade die letzte Scene,—wo sich die ewigen Gesetze der Gerechtigkeit erfüllen und die Vergeltung geschieht,—so ganz besonders gefesselt. Er wollte ja auch die Männer, die Lulu in der Dachstube besuchen, von den selben Sängern spielen lassen, an denen sich Lulu versündigt hatte. (Jack—Dr Schön) Wie hätte Alban gerade diese Dachstubenscene, mit ihrer unheimlichen Aura, in der sich so unendlich viel Grauenhaftes verbirgt—instrumentiert! “Das kann man nur durch die Musik ausdrücken——“ sagte er einmal——]

The large envelope in the present grouping had contained the letters and illustrate the secrecy and urgency of the information within them. Marked as the property of Erika Redlich, who had married Dr. Redlich in 1961, and dated February 1969, months after Dr. Redlich's death, they are inscribed "confidential", "originals etc. re. Alban Berg research," with instructions for bank safe-deposit box. Stationery stamp: University of Manchester, where Redlich had been professor since 1962. On verso, four seals in red wax at four corners, superimposed with ink signatures of Erika Redlich.

The last item in the present grouping is the typed postcard, written in Vienna on February 14, 1970, to George Perle at Queens College, in which Mrs. Berg refers to a recently-published book about her husband, lamenting the fact that she had been unable to read the publishing proofs or to include her personal name and subject indices. She responds to Perle's questions about Berg's mother and the financing of the first published score of Wozzeck, and repudiates a matter regarding May Keller, the sometime lover of Alban's lesbian sister, Smaragda.

(18253) $4,500.00

4. Brahms, Johannes. (1833–1897) Early CDV Photograph - INSCRIBED TO A PIANO STUDENT. Carte de visite photograph of the great composer as a younger man, ca. 1860's. The composer has inscribed on the verso to Marie Geissler, a singer who also studied piano with Brahms: "Fräulein Marie Geissler (mit schönsten Dank) und herzlichem Gruss, J. B." ("To Miss Marie Geissler (with many thanks) and best wishes, J. B.") Photographed by Carl von Jagemann of Vienna. 2.5 x 4 inches, attractively matted and framed in a double-sided frame to an overall size of 6 x 8 inches (15.5 x 20 cm). Overall very fine.

Marie Geissler was part of a small choral group who met at the Gundelhof flat of the Asten sisters to sing under Brahms's direction in the early 1860's. According to Kalbeck, Geissler also took piano lessons with Brahms (Peter Clive, Brahms and his World, p. 10).

A very similar image, possibly from the same sitting and dated to 1864, is shown in Michael Musgrave, A Brahms Reader (2000), the third plate following page 66; and in Otto Biba, Johannes Brahms und Franz Schubert (1997), no.83. This must be one of the earliest photographs of Brahms following his move to Vienna in the autumn of 1862.

(17320) $6,500.00

5. Chopin, Frédéric. (1810–1849) [Cortot, Alfred. (1877–1962)] [Marmontel, Antoine François. (1816–1898)] 1er. Concerto pour le Piano - From the Collections of Antoine Marmontel and Alfred Cortot. Paris: Chez Maurice Schlesinger. [1833]. First Edition. 1er Concerto pour le Piano avec accompagnement d'orchestre, dedié à Monsieur F. Kalkbrenner par Fréd. Chopin. Op.

5 11. Discbound upright folio. 44 pp. [PN] M. S. 1409. From the collection of Alfred Cortot, with his green stamp to the lower right of the title. Occasional fingerings and other annotations in pencil. Notes on the verso of the last page in pencil, in French, indicate that this copy belonged to pianist Antoine François Marmontel and suggest that the fingerings may be in his hand. Translated from the French: "This copy belonged to Marmontel, judging by the dedications of the pieces bound in the same volume. Perhaps the notes in pencil are from Marmontel..." Toning and foxing; wear to the spine; overall very good. 10 x 13.25 inches (25.5 x 34 cm). Grabowski & Rink 11-1-Sm. A historic copy, having been owned by two of the most important pianists in history.

Pianist, teacher and musicologist Antoine François Marmontel became Professor of Keyboard at the Paris Conservatory in 1848, succeeding Pierre Zimmermann, and beating out his former teacher Charles-Valentin Alkan. He achieved renown as a pedagogue; among his many notable students were Georges Bizet, Vincent D'Indy, and Claude Debussy. Marmontel was the author of a large number of pedagogical works, as well as musicological works which are among the best sources for the history of the piano and pianists.

One of the 20th century’s most influential — yet inimitable — classical figures, Alfred Cortot was born in 1877 in Switzerland to a French father and a Swiss mother, and he based his long career as a pianist, conductor and teacher in Paris. Cortot was one of his era’s most renowned interpreters of Chopin, his best recordings setting an enduring standard for poetry in motion. In 1925, the pianist made the first electrical recording of classical music, for the Victor label in New Jersey, featuring music by Chopin and Schumann. Among his hundreds of subsequent recordings was the first complete version of Chopin’s Preludes Op. 28. In holding up Cortot as a paragon of Chopin playing even decades after his death, The New York Times described his method as combining “lucidity with spontaneity.... It is almost modern in its lack of sentimentality and attention to structure; yet it is unmistakably Romantic in its insistence on freedom and variety. Each line is suffused with subtle detail, with interior contours and dynamic shadings. But these are not indulgent ornaments; they reveal rather than cloud the music’s intentions.”

The Piano Concerto No. 1 in E minor, Op. 11 was composed in 1830, when Chopin was twenty years old, and was first performed on 11 October of that year, at the Teatr Narodowy (the National Theatre) in Warsaw, Poland, with the composer as soloist, during one of his “farewell” concerts before leaving Poland. The first of Chopin's two piano concertos to be published, it was therefore given the designation of Piano Concerto “No. 1” at the time of publication, even though it was actually written immediately after the premiere of what was later published as Piano Concerto No. 2.

(18021) $3,000.00

6. Chopin, Frédéric. (1810-1849) Signed 1840 Agreement with the Publisher Troupenas. Signed document from the Polish composer and pianist, confirming receipt of an advance of 1000 francs on delivered manuscripts to the Parisian publisher Eugène-Théodore Troupenas. 1 page. Paris, March 14, 1840. 10.3 x 20,5 cm. The document prepared by a representative of the publishing company, signed by the composer in full "Fréderic Chopin." The verso of the present receipt is printed "Dépôt Central de la Librairie et de la Musique, Rue des Filles St. Thomas № 5/Place de la Bourse" and "Paris, le 183/M." Some modest toning and wear along the left edge, overall very fine. A great rarity.

Acknowledgement of receipt of an advance payment from Eugène-Théodore Tropupenas (1798-1850), who lead the important musical publishing firm in Paris for a quarter of a century, beginning in 1825. Due to a conflict with the publishers Schlesinger and Pleyel from around 1839, Chopin decided in March of 1840 to contract with Troupenas and cooperation between the firm and the the composer continued through 1841. During this time, Troupenas issued Chopin's Op. 35-41, among which were the Piano Sonata No. 2 and some of the composer's most celebrated works. It is not known whether this agreement also included op. 43, which was issued by the same Publisher in 1841.

The present document has been authenticated by Hanna Wroblewska-Straus, Emeritus Director of The Frederick Chopin Institute in Warsaw and one of the leading Chopin scholars in the world. (11402) $35,000.00

6 7. Debussy, Claude. (1862–1918) Pelléas et Mélisande. Drame lyrique en 5 actes et 12 tableaux de Maurice Maeterlinck [...]. Partition pour piano et chant. - Signed and Inscribed First Edition Score. Paris: E. Fromont. 1902. First Edition, First Issue. 283 pp. [PN] E. 1416 F.. Signed and inscribed by the composer on the page opposite the title to the French restauranteur Xavier Marcel Boulestin and dated June 1902. Pencil annotations to the front. Page [1] stamped in violet ink "Hommage de l'Editeur." Handling wear, scattered soiling, toning and foxing mostly to the printed wrappers, the score nicely rebound in a pale green cloth with gilt leather title plate to spine. 4to.

Pelléas et Mélisande is an opera in five acts with libretto adapted from Maurice Maeterlinck's Symbolist play. First performed at the Opéra-Comique in Paris on 30 April 1902 with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André Messager, it is the only opera Debussy ever completed and considered a landmark in 20th-century music.

Before becoming a successful restauranteur in England (the Restaurant Boulestin, opened in 1927, was known as the most expensive in London), the young Xavier Marcel Boulestin worked as secretary and ghostwriter to the author "Willy" (Henry Gauthier-Villars). Gauthier-Villars and his wife, the novelist Colette, were associated with Debussy, with Colette leaving some evocative descriptions of the composer. (15457) $7,500.00

8. [Gershwin, George. (1898-1937)] Duncan, Todd. (1903-1998) "Porgy and Bess" - INSCRIBED BY THE FIRST PORGY. New York: Gershwin Publishing Corporation. 1935. First edition, 2nd issue. A remarkable copy of this important work, inscribed by Todd Duncan, the first singer to play the role of Porgy. Signed and inscibed on the title verso, opposite the Index of Scenes "To --- / Best wish from 'Porgy' 1935 / Todd Duncan 1989."

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 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, Index of Songs; r. Story of Porgy and Bess, v. dedication), 559 (music), [i] (blank) pp. Title without price and the word "negro" printed uncapitalized in the fourth line of the Story of Porgy and Bess. Covers worn, but still a good copy with a remarkable dedication. First Edition, second issue released with the song index but without the capitalization of "Negro," in the fourth line of the story (corrected by the time of the Limited Edition, within a month of the first publication). Fuld p. 539. In fine condition, original grey wrappers a little worn.

Porgy and Bess, a folk opera in three acts, was first performed at the Colonial Theater in Boston on September 30th, 1935. It opened in New York at the Alvin Theater on October 10th of that same year. The work includes a number of Gershwin's best-known and loved tunes, including Summertime, I Got Plenty o' Nuttin, It Ain't Necessarily So and A Woman Is a Sometime Thing.

Duncan was the first black member of the New York City Opera, where he first appeared as Tonio in 1935. Also active in musical theater, his performance in Weill’s "Lost in the Stars" (1949-50) won him the Donalson and New York Drama Critics Award in 1950. He created the role of Porgy at the Alvin Theater in 1935.

(13194) $1,200.00

9. [Gershwin, George. (1898-1937)] Price, Leontyne. (b. 1927) & Warfield, William. (1920–2002) Signed Photograph in Porgy & Bess. Signed photograph of the great soprano and bass-baritone, who were married for a time and whose collaboration as Porgy and Bess included international tours. Shown here in a promotional photograph and signed and inscribed by William Warfield, "Sincere greetings from 'Porgy & Bess,'" and signed by Leontyne Price, who subsequently won a Grammy award for her portrayal of Bess in the 1963 RCA recording. Foto Willott, Berlin. Mounting

7 remnants to verso, else very fine. 3.5 × 5.5 inches (9 × 14 cm). (18281) $250.00

10. Hindemith, Paul. (1895–1963) Symphony in E flat - Autograph Manuscript Sketches inscribed to Dimitri MITROPOULOS. An important and hitherto un-researched notebook volume of autograph sketches for the second and third movements of Hindemith's Symphony in E flat, signed and inscribed by the composer to conductor Dimitri Mitropoulos. On the title page, Hindemith has penned (translated from the German): "For Dimitri Mitropoulos with most hearty thanks for the wonderful premiere. December 1941. Paul Hindemith." 56 pp., hand numbered. Title page reads: "Symphonie in Es / 2. Satz / 3. Satz / P. H. / 1940 / New Haven." The music consists of sketches for the second and third movements of the symphony, written in a condensed score with only occasional indications of instrumentation, but with the music in a fairly worked-out stage of composition. Hindemith has also added three charming small drawings of centaur-like creatures to one page of sketches (p. 49.) Manuscript paper notebook with green paper slipcover, 7 x 5.5 inches (18 x 13.8 cm). Some light toning and edge wear, but overall in very fine condition.

This manuscript, gifted by Mitropoulos to a younger colleague and subsequently inherited from him by still another conductor, has not previously been offered for sale. We believe it to be the most significant Hindemith autograph manuscript to have appeared on the market in at least 30 years.

The sketches for the second movement follow the published version closely up until rehearsal number 20, where there are some differences (two bars of a reduction added and circled, p. 7); the sketch and final version line up again from 5 measures after rehearsal 20 to rehearsal 22, where there are some differences. A slightly different motive in the flute part is written at rehearsal 27 (p. 17); six measures later there is a slightly different rhythm, with the string parts not fully written out. The final 10 measures of the movement are not fully complete, but the chords are present. Throughout the movement, many variant enharmonic spellings are present. Following the second movement, there are 7 pp. of disjunct sketches for various sections. The sketches for the third movement show more significant differences at the beginning of the movement, with a repetitive eighth-note theme starting in m. 12 of the sketch which does not correspond to the completed version. The sketches later align for a time with the final version again, with the oboe solo on p. 40 of the manuscript corresponding to 9 measures after rehearsal 38, but are overall more fragmented than in the second movement; Hindemith adds a page of numbered notes and drawings (p. 49) amid these shorter sketches. The final page of the manuscript (p. 56) corresponds to the abrupt ending of the movement.

Hindemith's Symphony in E flat was one of the first works the composer wrote after his arrival in the United States in 1940. A refugee from Nazi Germany, Hindemith joined the faculty of Yale University in 1940 and later became an American citizen. The symphony was begun shortly after his arrival, initially for Serge Koussevitzky and the Boston Symphony Orchestra, but after a falling-out between the composer and the BSO, it was instead premiered by Dimitri Mitropoulos and the Minneapolis Symphony Orchestra in November 1941.

According to David Fanning, Hindemith's "only full-on engagement with the [symphonic] genre was his punchy Symphony in E flat of 1940." ("The Symphony since Mahler" in The Cambridge Companion to the Symphony, p. 101). Although he wrote several other "symphonies," such as the Symphony: Mathis der Maler and the later Pittsburgh Symphony, the Symphony in E flat was Hindemith's only attempt to carry on the Austro-Germanic tradition of the "pure" symphony. At a time when composers such as Stravinsky and Schoenberg were writing for orchestra, but with radical techniques such as the twelve-tone system, Hindemith was relatively conservative. Philip Huscher writes that "for Hindemith, composing a “tonal” symphony was a rallying cry [...he] thought of his finest works, such as this E-flat symphony, as part of a grand, centuries-spanning continuum." (Program notes for the Chicago Symphony Orchestra, May 10, 2011.)

The symphony was generally well-received at its premiere in Minneapolis, but not by one prominent listener: "As it happened, another composer was in town that week: Sergei Rachmaninoff. [...] Since Rachmaninoff would be in town for the first performance of the Hindemith symphony, Mitropoulos invited him to sit backstage (where he would not be

8 bothered by autograph seekers) and listen. This was really a good symphony, the conductor insisted. Rachmaninoff took a chair and stationed himself just out of sight behind the proscenium arch. At the conclusion of the symphony... [Mitropoulos] tapped Rachmaninoff on the shoulder, and said: 'Well?' Rachmaninoff looked up at him with a doleful expression and lugubriously intoned: 'No gooooood.' " (William R. Trotter: Priest of Music: The Life of Dimitri Mitropoulos, pp. 197–198.) (17836) $60,000.00

11. [Japanese Popular Music] Ishimoto, Miyuki. (1924–2009) & Eguchi, Yoshi. (1903–1978) etc Collection of Pre- and Post-War Japanese Sheet Music. An interesting and graphically striking collection of Japanese popular song printed sheet music dated 1917-1950, authored by an assortment of composers and lyricists, and including two songs by the popular songwriting team Miyuki Ishimoto and Yoshi Eguchi as well as a Japanese translation of “O sole mio." Most pieces with light wear along edges and binding, occasional spotting, but in generally fine condition unless otherwise noted.

The present collection reflects dramatic shifts that had occurred in Japanese popular music as the country came out of 250 years of isolationism. Prior to the 1870's, Japanese music had been predominantly, if not exclusively, pentatonic (based around a 5-note scale), but following the Meiji Restoration, official efforts were undertaken to introduce Western scales and modes and to accustom schoolchildren and the broader public to European tonalities. As a result, by 1917, when the earliest of the present pieces were published, music in Japan already sounded, in many respects, like music abroad. The designation of "Popular Music" really arrived in Japan in the late 1920's, when radio broadcasting reached the country. Some of the earlier publications in this collection are folk songs and translations of opera; later ones conform more to the familiar Western popular music genre conventions of cover art, subject matter and musical characteristics, including the example here published by HMV Victor. Pieces like "憧れのハワイ航路 " seem to interestingly straddle a middle ground between traditional Japanese styles and Western models of musical vocabulary. Other evidence of cultural transitions are also evident: the title of "The Gondola Song" is printed reading right to left, a convention that was less common over time and indeed not reflected in most of the works included here.

Twenty-two pieces in total, the complete collection as follows:

喜びの日 (“Day of Joy”), written by Tsanak. Cover featuring a charming woodcut of a young woman with a bird resting on her hand. Published by Senoo Music Publishing. 4 pp. 1921. Small mark on the left edge of the cover.

小窓 (“Little Window”), a collection of five songs by an unidentified writer, possibly Kamejiro Kushiki. The booklet includes photos of Kushiki and two women, neither identified by name. Printed font throughout in a beautiful calligraphic style. Publisher unknown. 20pp. 1922. Bound with string.

憧れのハワイ航路 (“A Voyage to Hawai”), music by Yoshi Eguchi and lyrics by Miyuki Ishimoto. This song, published in 1948, was the basis for a Japanese film of the same title released in 1950. Published by Shinkou Music Publishing. 6 pp. foldout.

君待てども(“Waiting for You”), song by Tatzuzou Azuma, arranged by Sano Spade. 1948. 6 pp. foldout. Tajima Music Publishing.

波浮の港 (“Habu no minato”), by Yoshie Fujiwara. Volume four in the Shinpei Nakayama Folk Song collection. Cover featuring a woodcut of a woman in kimono, running her hands through her hair. 1928. 8 pp. Cover sheet split at binding, upper left corner bent, discolored from old paperclip, condition good.

東京の花売娘 (“Tokyo Flower Girl”), music by Gento Uehara and lyrics by Sasa Tsumeo. Cover reproducing a watercolor illustration of a flower girl in modern dress. All Music Publishers. 6 pp. foldout. 1946.

9 長崎のザボン壳り(“Nagasaki Pomelos”) music by Yoshi Eguchi and lyrics by Miyuki Ishimoto. Another song by the popular songwriting team of Eguchi and Ishimoto. Shinkou Music Publishing. 6 pp. foldout. 1949.

出船の港 (“Port of Departure”), by Shigure Otowa. Cover featuring three fisherman in silhouette on a boat in the open ocean. Inside pages heavily spotted, overall good. 8 pp.

唄のラドソゴ ("Gondola Song”) by Shinpei Nakayama. Cover featuring a woman in a dress, looking out over the ocean. A boatman can be seen on the water. Hard horizontal crease along the middle, interior spotting and wear, overall condition good. 4 pp. 1917.

A volume called “Popular Songs,” which includes two short pieces, along with the full lyrics. 4 pp. 1920.

三百六十五夜 (“365 Nights”), music by Masao Koga and lyrics by Saijo Geju. From the Toho film of the same name. All Music Publishers. 1936.

松竹映画小唄全集 (“Shouchiku Movies Complete Works”) Vol. 1. A collection of ten songs from various movies released by the Shouchiku Co. Published by Kouta Music. 1930.

春秋 (“Spring and Fall”), by Aira Owada. A collection of two pieces, called “Spring” and “Fall”. 8 pp. 1922. Some wear along the corners, overall fine.

Santa Lucia, the Neapolitan folk song. Published by Senow Music Publishing. 4 pp. 1923. Considerable wear along the edges, water staining, tape along spine.

かっぽれ (“Kappore”), by Waki Miyoshi. Cover illustration of a ship on the water at night. 4 pp. 1917.

君戀し (“Your Love”), music by Kosasa Sasa and lyrics by Shigure Otowa. Published by HMV Victor in 1929. 4 pp. Marking on back cover, else fine.

"O sole mio”, by Eduardo di Capua and Giovanni Capurro. Undated Japanese translation, published by Senow Music Publishing. 4 pp. Significant wear along edges and binding, some small creases. Overall good.

黒い眸よ今いつこ (“Kuroihitomi yo imaidzu ko”), a foxtrot written by Keizo Horiuchi. 4 pp. 1929.

“At a Sea Shore” by Joseph Mazzinghi, Japanese lyrics by I. Yoshimaru. Part of the Kogakusha Normal Vocal Music Series, published in 1926. 6 pp.

Collection also includes: a program for a concert at Yokohama High School, dated November 1st, 1931; the first volume of a publication called 樂劇亂舞 (“Drama”), which includes a short script published in magazine form as well as printed music, publisher unknown. 24 pp. 1922; a hand-written Japanese arrangement of a piece by Felix Mendelssohn scored for two mandolins, mandola, and guitar, signed by an unknown hand; and one further printed song, as yet unidentified (due to the type of calligraphy employed).

(18327) $3,500.00

12. Kushenov-Dmitrievsky, Dmitri. (1782-1835) Cabinet Musical pour les Dames - A RARE EARLY 19TH CENTURY RUSSIAN METHOD FOR COMPOSING MUSIC BY CHANCE. St. Petersburg: [Department of National Education] Tipografii Departmenta narodnago prosvieshcheniia. 1828. Cabinet Musical pour les Dames, contenant l'art de composer différentes pièces par le moyen des tables explicatives,

10 pour le piano-forte, comme des Airs, Romances et Chansons Russes. Composé par D. Dmitrévsky. Première Partie and Seconde Partie. 8vo. 14; 14; [7]; 20–28; 27 pp. Including five engraved inset illustrations on musical themes. A very rare and interesting work by the Russian guitarist Dmitri Kushenov-Dmitrievsky, describing a method of generating simple pieces for the piano by combining given musical motives, selected by chance decisions, in various combinations. The book contains tables of numbers, together with sets of two-measure musical phrases which can be used and combined according to his formula. Contemporary painted boards consolidated and nicely rebacked in brown leather. A few minor stains and small tears within, but overall in fine condition throughout. 8 x 10 inches. Worldcat records only a single copy on microfilm, and none in the United States.

This volume followed Kushenov-Dmitrievsky's 1822 publication "An experiment of musical art with dice, or the best method to compose songs without knowledge of notes or music for the piano-forte." In this volume, he offers a method for composing Ariettes, Romances, Chansons Russes (in the first part) and Quadrilles, Masurkas, Ecossaises, and Valses (in the second part).

The preface explains the highly convoluted procedure for creating a piece: you choose a random number, such as 9; consulting the first table and looking under 9 and A, you find the number 542. 542+9=551, thus the first measure of the piece will be the fragment of music numbered 551. Choosing another number, such as 19, you proceed to the second table and look under 19 and B, finding 37. 37+19=56, but in this case no. 56 is not the next fragment of music. Rather, you must now go to the third table, look under 19 and 9 to find 30, then subtract 30 from 56 to get 26; hence no. 26 will be the second fragment of music. Rather miraculously, no. 551 and no. 26 are both in F major and feature the same motif in the left hand—a promising sign. However, we have not been able to follow the procedure any further than this, and can only wish good luck to anyone who wants to try! (14989) $2,400.00

13. [Paganini, Nicolò. (1782–1840)] [Automaton] 1833 Broadside Playbill advertising A FULL-LENGTH AUTOMATON FIGURE OF SIGNOR PAGANINI. Broadside playbill for the Royal Victoria Theatre, London,Sept. 1833, advertising a remarkable evening of variety in the theater. First Mr. Warde starring in Richard the Third; then “the band” played an overture; then came a pantomime Harlequin Yorkshireman, or The Fairy’s Gift, then: “A FULL-LENGTH AUTOMATON FIGURE OF SIGNOR PAGANINI which will perform several favorite airs on the flageolet, violin etc. and afterwards fall to pieces showing the audience the wonderful mechanism of this great instrumental performer.” As if that weren’t enough, then came the celebrated dying and skeleton scenes from Harlequin and Oberon, ending with a BRILLIANT DISPLAY OF FIREWORKS. 8 x 13 inches professionally restored and mounted to acid free backing. Some paper loss at the top right, else fine.

This is a rare and extraordinary memento related to the great violin virtuoso and the early craze for automatic musical instruments in London. Paganini himself had been rapturously received there the previous years. Indeed, by the time Paganini had arrived in London in 1831, the English public was desperate to hear the great virtuoso, and to pay exorbitant sums for private lessons. At his first concert, he played his Concerto no. 1 in E flat and the Military Sonata for the Fourth String, impressing the audience greatly. More than ten further concerts followed, as well as private appearances and a performance at court for George IV.

"His first appearance at the King's Theatre took place on 3 June 1831 and was an immediate success. The Times critic wrote: ‘He is not only the finest player that ever has existed on that instrument, but he forms a class by himself’. William Ayrton, editor of The Harmonicon, remarked that 'his powers of execution are little less than marvellous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument.' " (Edward Neill, Grove Music Online.) (18328) $1,500.00

14. Porter, Cole. (1891–1964) & Astaire, Fred. (1899–1987) Two Signed Letters with Signed Photograph.

11 Two signed letters from Cole Porter and Fred Astaire, both to the German-American caricaturist Julius Kroll and regarding a caricature of Astaire commissioned by Porter as a gift. TLS (1 p.; July 20, 1949) from Porter: "Dear Mr. Kroll: The wonderful caricature arrived and I gave it to Fred Astaire last night. He was delighted with it and I thank you for sending it so quickly. Your check will be sent next Saturday by my accountant. Sincerely yours, Cole Porter." ALS (1 p., n.d.) from Astaire: "Dear Mr. Kroll, Just a line to tell you how much I enjoyed receiving the caricature drawn by you, which Cole Porter sent me. I think it is swell & appreciate it a lot. All best wishes - Sincerely - Fred Astaire." Together with a small signed photograph of Porter (2.75 x 3.75 inches). A wonderful ensemble from one of the most important artistic collaborations in popular music history.

Julius Kroll caricatured for a Berlin newspaper until in 1933, wary of the rising power of Hitler and the inherent hazards of his cartooning, he emigrated to America. Soon, his work appeared regularly in the Saturday Evening Post and the New York Times and while he drew almost every political figure in the World for these publications, he became most well known for his work caricaturing Hollywood figures. (18216) $1,500.00

15. Piazzolla, Ástor. (1921 - 1992) Important Collection of Copyist Manuscripts of Unpublished 1958 Arrangements. An important collection of previously unknown and unpublished works by the Argentine tango composer and bandoneón player who revolutionized the traditional tango into a new style termed 'nuevo tango', incorporating elements from jazz and classical music. These five sets of arrangements for voice and small band are in the hand of pianist and copyist Carlos Rausch, friend and frequent collaborator of the composer during his time in New York City, 1958-1960, each part signed by Rausch lower right and inscribed "Arranged by Astor Piazzolla for Yolanda Tornell," and with her ownership stamps on various pages. Over the Rainbow by Arlen & Harburg. Arrangement by Astor Piazzolla for Yolanda Tornell. Autograph copyist manuscript in the hand of Carlos Rausch. Black ink on Passantino Number 12 Stave Medium manuscript paper, with additional markings in red ink and blue pencil. Piano score. 3pp. Lower right cover signed "Carlos Rausch." Tenderly by Gross-Lawrence. Arranged by Astor Piazzolla for Yolanda Tornell. Autograph copyist manuscript in the hand of Carlos Rausch. Black ink on Passantino Number 12 Stave Medium manuscript paper, with additional markings in red ink and blue pencil. Parts for: Voice (3pp), Piano ("celeste") (4pp), Violin A (2pp + 3 copies in facsimile), Violin B (2pp + 3 copies in facsimile), Viola (3pp + 2 copies in facsimile), Cello (3pp), Clarinet (2pp), Flute (2pp), Oboe (2 pp), Bass (3pp), Drums (3pp). Each copy signed lower right "Carlos Rausch." I am In Love by Cole Porter. Arranged by Astor Piazzolla for Yolande Tornell. Autograph copyist manuscript in the hand of Carlos Rausch. Black ink on Passantino Number 12 Stave Medium manuscript paper, with additional markings in red ink and blue pencil. Parts for: Voice (3pp), Piano ("celeste") (4pp), Violin A (3pp each, 3 copies including one marked in pencil "Corrected/Corregida"), Violin B ((3pp each, 3 copies), Viola (3pp, 2 copies - one notated "24 de Julio/58 - Michel Leroux), Cello (3pp), Clarinet (2pp, notated "Oscar Pagan / Ciudad Trujillo / Rep. Dominicana / Julio-58"), Flute (3pp), Oboe (3 pp), Bass (3pp, inscribed and signed "...Dominicana / Ciudad...19-8-V8), Drums (3pp). Each copy signed lower right "Carlos Rausch." Jurame by Maria Grever. Arranged by Astor Piazzolla for Yolanda Tornell. Black ink on Passantino Number 12 Stave Medium manuscript paper, with additional markings in red ink and blue pencil. Parts for: Voice (3pp), Violin A (1p + 3 copies in facsimile), Violin B (1p + 3 copies in facsimile), Viola (1p + 2 copies in facsimile, one notated "24 de Julio/58 - Michel Leroux"), Cello (2pp), Clarinet (2pp, notated "Oscar Pagan / Ciudad Trujillo / Rep. Dominicana / Julio-58"), Flute ( 2pp), Oboe (2 pp), Bass (2pp, inscribed and signed "La voz Dominicana / C. Trojillo 30-8-58), Drums ("Bongo") (2pp). Each copy signed lower right "Carlos Rausch." Non Ti Scordar di Me by DeCurtis. Arranged by Astor Piazzolla for Yolanda Tornell. Autograph copyist manuscript in the hand of Carlos Rausch. Black ink on Passantino Number 12 Stave Medium manuscript paper, with additional markings in red ink and blue pencil. Parts for: Voice (3pp), Piano ("celeste") (5pp), Violin A (2pp + 3 copies in facsimile), Violin B (2pp + 3 copies in facsimile), Viola (2pp + 2 copies in facsimile), Cello (3pp), Clarinet (2pp, notated "Oscar Pagan / Ciudad Trujillo / Rep. Dominicana / Julio-58"), Flute (2pp), Oboe (2 pp), Bass (3pp), Drums (2pp). Each copy signed lower right "Carlos Rausch." ---

12 Dating from Piazzolla's time in New York ca. 1958, these works, previously presumed lost or uncompleted, are referenced in Marai Susanna Azzi and Simon Collier's Le Grand Tango: The Life and Music of Astor Piazzolla (p. 67): "Piazzolla was still casting around for solid work....An agent found him some arranging work for the singer Yolande Tornell, with a $250 advance and a fee of $2,000 for twenty arrangements. The deal fell apart; Tornell claimed to find the arrangements too complicated, though Piazzolla told Dedé that they were simple enough for [his son] Daniel to sing." "Between [Piazzolla's] upward rise culminating with the artistic success of his Octeto Buenos Aires, and the turning point marked by “Adios Nonino”, the requiem to his father, who died in late 1959, there were two years of misty uncertainty, spent mainly in New York City, from February 1958 to June 1960....Piazzolla was struggling with the American dream. His recollections of it, bittersweet, hardly come up in the memoirs compiled by with Natalio Gorín. The portrait of Piazzolla's life in New York is somewhat blurry. Beyond the stories of those who knew or worked with him, his name hardly appears among press notices; even though these note some of his performances, he rarely gets a name check.... The great Piazzolla was, in fact, just another anonymous musician among the thousands who made a living in late-1950s New York, a golden age for studio work in the city. Argentinian Carlos Rausch was a pianist and copyist for hire in New York at the time, and he worked with Piazzolla oftentimes." (Fernando Ortiz de Urbina, "Piazzolla in New York (IV): Rausch on Piazzolla, 1958-1960" accessed on http://jazzontherecord.blogspot.com, Saturday, April 20, 2013) We have found performance records for the singer Yolande Tornell appearing throughout the 1950s in both Florida and New York. She apparently had a short-lived radio program "En Casa de Yolande Tornell" which was a broadcast of informal performances in her living room of "numbers ranging from the classical to the popular in six languages." Some of the present manuscripts also bear notations from various other performers, as well as a few markings evidently giving specific performance locations and dates (as noted above). Piazzolla was the greatest composer of the tango, which he transformed in the mid twentieth century, combining it with classical and jazz techniques to form the tango nuevo. The characteristic Argentinian instrumental colours, such as the use of the bandoneón, are enriched with "classical" orchestral instruments, counterpoint, chromaticism, novel instrumental forms and elements of jazz, especially jazz fugue. Piazzolla studied with Alberto Ginastera in Buenos Aires and with Nadia Boulanger in Paris, and collaborated with artists like the Chronos Quartet, Rostropovich and Milva. He is comparable in some respects to Django Reinhardt, Stéphane Grappelli and Jacques Loussier, but his contribution to the enrichment of the classical repertory sets him apart. (12577) $18,000.00

16. Ravel, Maurice. (1875-1937) & Long, Marguerite. (1874-1966) Boléro - Autograph Musical Quotation. Rare autograph musical quotation on an album page, two measures, the instantly recognizable tune from Boléro, signed "Maurice Ravel" and dated 17/1/32 and signed additionally beneath on the same date by the important pianist so closely associated with the composer, Marguerite Long. In fine condition, also signed on the verso by the pianist Alexander Borovsky. 5.2 x 7.5 inches [13 x 19 cm].

The premiere of the G major Concerto by Ravel, conducted by the composer and featuring the pianist Marguerite Long, had taken place just three days prior, on January 14, 1932 at the Salle Pleyel, after which the two musicians had immediately embarked together on a European tour that would last until April. At the premiere, in a program largely repeated on the tour, the Concerto had appeared in a program of Ravel works exclusively, including Pavane pour une infante défunte and Boléro. Long herself reported that Ravel grew so tired of Boléro that when she would hum the tune in his presence he would snap: "Quit singing that," to which she would retort "Oh! my friend, you shouldn't have composed it, then!" (As quoted in Cecilia Dunoyer, "Marguerite Long: A Life in French Music, 1874-1966," p. 95)

Originally composed as a ballet commissioned by Russian actress and dancer Ida Rubinstein, the one- movement orchestral piece Boléro was premiered in 1928, and is Ravel's most famous musical composition. Nevertheless it is surprisingly uncommon in musical quotations from the composer, perhaps, as Long reports, because he himself grew to find the tune tiresome! (13580) $10,000.00

17. Reich, Steve. (b. 1936) Drumming - SIGNED Leporello Score and LP Record. New York and Los Angeles: John Gibson and Multiples. 1972.

13 Drumming, for eight small tuned Drums, three Marimbas, three Glockenspiels, male and female Voices, Whistling and Piccolo. Signed leporello format score of the American composer's percussion work, described as "minimalism's first masterpiece," with accompanying signed 2 x Vinyl gatefold LP recording. Reich has signed in pencil on the final page of the score and in pen on the back of the record sleeve, and numbered 100/500 on both. The inside cover of the record features a photograph of the work's first performances in 1971 at the Museum of Modern Art, Student Center of NYU, and New York Town Hall, where the recording was made. Some wear to the edges and upper part of the first score page; gatefold sleeve with a few rubbed spots along extremities. Overall very good. Score 11 x 14 inches (28 x 35.5 cm), record 12.5 x 12.5 inches (31.5 x 31.5 cm).

Reich's 1971 work Drumming was begun after the composer visited Ghana and observed master drummers performing there. Inspired by the Ghanaian tradition, the work also employs Reich's trademark technique of phasing: two players begin playing a repeated pattern, and one slowly changes tempo until they are out of sync. K. Robert Schwarz describes the work as "minimalism's first masterpiece," also noting that it marks a transition between Reich's earlier, more austere compositions and his later, freer pieces. (17626) $800.00

18. Reich, Steve. (b. 1936) Music for 18 Musicians - Signed Promotional LP. Signed LP of the influential composer's minimalist work Music for 18 Musicians, together with an original program from a performance of the work at Columbia University on October 18, 1978. The LP, a not-for-sale promotional copy of the 1978 first recording, has been signed and dated by Reich on the cover at the October 1978 performance. Light water staining to the LP sleeve, but overall in fine condition, 12.25 inches (31 cm) square. Program 5 stapled pages, very fine; 8.5 x 11 inches (21.7 x 28 cm).

Music for 18 Musicians is a work of musical minimalism composed by Steve Reich during 1974–1976. Its world premiere was on April 24, 1976, at The Town Hall in New York City. Following this, a recording of the piece was released by ECM New Series. The work was Reich's first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of psycho-acoustic effects, which fascinated Reich. An important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece. (16649) $750.00

19. Stravinsky, Igor. (1882–1971) [Diamond, David. (1915–2005)] Three Autograph Musical Quotations Signed with Photographs to DAVID DIAMOND. A remarkable composition of three autograph musical quotations from the important composer, penned in a circle around two clipped and mounted half-tone photographs, and signed and inscribed to American composer David Diamond. N.d. [August 1943]. Stravinsky has penned at the head: "To David Diamond—Greetings from" and at the foot: "Igor Stravinsky." Along the left edge, an autograph musical quotation of four measures in mixed meter from the first movement of the Concerto in E flat "Dumbarton Oaks" (1937–38); along the right edge, two further autograph musical quotations, one of two measures in 4/4 time and one of four measures in 2/4 time. On a sheet 5 x 8 inches (12.7 x 20.3 cm), tipped to a larger card mount of 6.5 x 9.75 inches (16.4 x 24.5 cm). Together with a sheet from the backing of an earlier framed presentation, which dates the inscription to August 1943. Light toning; upper photograph partially torn; otherwise fine overall.

20. Wagner, Richard. (1813–1883) "To be, or not to be" - Autograph Quotation Signed. AQS on a small slip, signed "Richard Wagner." Wagner pens the iconic line from William Shakespeare's Hamlet, "To be, or not to be." Affixed to a piece of scrapbook paper and in very good condition, with some creasing, soiling, and small

14 areas of surface paper loss; overall in very good to fine condition. 4 x 2.25 inches (10 x 5.8 cm), mounted to 4.5 x 2.75 inches (11.3 x 7 cm).

Wagner had a lifelong affinity for the works of Shakespeare, beginning as a young man when, he recalled, he dreamt of meeting the Bard: "I dreamt that Shakespeare was alive, and that I met him and spoke to him, actually, in the flesh; the impression this dream left on me was indelible..." Wagner's first major work, Leubald (written in 1827–28 while he was at school), was a six-hour play whose plot is clearly directly inspired by Hamlet, Romeo and Juliet, Macbeth, King Lear, Henry IV Part One and Richard III; one of his first operas, Das Liebesverbot, was a lighter reworking of Measure for Measure. As many of his acquaintances recall, Wagner was also fond of reading the works of Shakespeare aloud, especially while in Bayreuth. (15387) $7,500.00

Beethoven at 250

21. [Beethoven at 250] [Beethoven, Ludwig van. (1770-1827)] Einladung zu Ludwig van Beethoven’s Leichenbegängniss. ORIGINAL INVITATION TO BEETHOVEN'S FUNERAL. Single sheet black-bordered invitation to Beethoven's funeral, the text composed by Beethoven's life-long friend Stephan von Breuning. Vienna, March 29, 1827. Printed on heavy paper, cut by hand, measuring 19.2 x 13.1 cm. "...Man versammelt sich in der Wohnung des Verstorbenen im Schwarzspanier-Hause Nr. 200, am Glacis vor dem Schottenthore. / Der Zug begibt sich von da nach der Dreyfaltigkeits-Kirche / bey den P. P. Minoriten in der Alsergasse. Die musikalische Welt erlitt den unersetzlichen Verlust des berühmten Tondichters am 26. März 1827 Abends gegen 6 Uhr. / Beethoven starb an den Folgen der Wassersucht, im 56. Jahre seines Alters, nach empfangenen heil. Sacramenten ...“

["The Meeting of Mourners will take place at the residence of the deceased, in the Schwarzspanier House, No. 200, at the Glacis before the Schotten Gate. The cortege will proceed from there to the Trinity Church of the Minorites in Alser Street. / The irretrievable loss to the musical world of the celebrated tone-master took place on the 26th March, 1827, at 6 p.m. Beethoven died in consequence of dropsy, in the 56th year of his age, after having received the Holy Sacrament. / The day of obsequies will be made known by L. van Beethoven's Worshippers and Friends."]

In fine condition with a light crease lower right and somewhat rough lower edge, else a well-preserved and evidently cherished page announcing the death of the composer, exceedingly rare. Matted with a portrait line engraving of the composer by McRae.

"Ten thousand or more (some estimated the throng at double and even triple that number) crowded the streets on March 29 to witness the great procession, which wound through the streets from the courtyard of the Schwarzpanierhaus to the Trinity Church of the Minorites in the Alsergasse and thence to the nearby village of Wahring, where the eloquent funeral oration written by Franz Grillparzer was rendered by the actor Heinrich Anschutz and Beethoven was buried in the parish cemetary. The pallbearers were eight kapellmeisters; the torchbearers included many of Beethoven's closes friends as well as Vienna's leading musicians. A choir sang a solemn Miserere, WoO 130, to the somber accompaniment of trombones." (Maynard Solomon, "Beethoven," p. 383) (18238) $18,000.00

22. [Beethoven at 250] Beethoven, Ludwig Van. (1770–1827) [Edmond de Coussemaker. (1805–1876)] Ire Grande Simphonie... Oeuvre XXI. Partition. BEETHOVEN'S FIRST SYMPHONY FIRST GERMAN EDITION—THE COPY OF EDMOND DE COUSSEMAKER. Bonn et Cologne: N. Simrock. [1822]. First German edition.

Octavo. Engraved throughout. Title (v.b.); [i, ii]; 3–108 pp. [PN] 1953. Original period boards and marbled flyleaves, nicely rebacked in brown leather with gold titling. Remnants of original front wrapper remain along left edge of front gutter with some losses to t.p. itself along that side. Price on t.p. has been erased but all other points conform; presumed to have been printed as 'Prix 9 Frs'. Kinsky-Halm, 55; Hoboken 2, 122; Hirsch IV, 258. Book plate to inner front board,

15 from the library of Percy Digby Hawker, dated by hand April 1877. Ownership stamp in lower margin of first page of score: Bibliothèque de E. de Coussemaker.

The present first German edition is also the first edition of Beethoven's First Symphony as an independent work; it follows an edition printed in London 1809, in which the work was included among a collection of symphonies by Haydn, Mozart, and Beethoven.

Dedicated to Baron Gottfried Van Swieten, an early patron of the composer, Beethoven's Symphony No. 1 in C major, Op. 21 was composed at the age of 29. Fittingly, it was the dawn of a new century, and it appeared late in what scholars define as the first period of Beethoven's career, just a year or two before the crisis brought about by his gradual loss of hearing. The premiere took place on 2 April 1800 at the K.K. Hoftheater nächst der Burg in Vienna. Most sources agree that the concert program also included Beethoven's Septet as well as a symphony by Mozart, but there is some disagreement as to whether the remainder of the program included excerpts from Haydn's oratorio The Creation or from The Seasons and whether Beethoven's own Piano Concerto No. 1 or No. 2 was performed. This concert effectively served to announce Beethoven's talents to Vienna.

This particular copy of the score formed part of the personal library of over 1,600 items—including first edition print scores, manuscripts, and musical instruments—of the prolific medievalist and musicologist Charles-Edmond-Henri de Coussemaker, whose scholarship encompassed chant, liturgical drama, early polyphony, the history of music notation, and music theory.

(18251) $2,500.00

23. [Beethoven at 250] Beethoven, Ludwig Van. (1770–1827) [Edmond de Coussemaker. (1805–1876)] IIme Grande Simphonie... Oeuvre XXXVI. Partition. BEETHOVEN'S SECOND SYMPHONY FIRST GERMAN EDITION—THE COPY OF EDMOND DE COUSSEMAKER. Bonna e Colonia: N. Simrock. [1822]. First German edition.

Octavo. Engraved throughout. Title (v.b.); 1–162 pp. [PN] 1973. Original period boards and marbled flyleaves, nicely rebacked in brown leather with gold titling. A small number of leaves with slight tears in lower margin, not affecting music; very clean copy with no foxing. Kinsky-Halm, 91; Hoboken 2, 195. Book plate to inner front board, from the library of Percy Digby Hawker, dated by hand April 1877. Ownership stamp in lower margin of first page of score: Bibliothèque de E. de Coussemaker.

The present first German edition is the earliest edition of Beethoven's Second Symphony as an independent work; it follows the edition printed in London 1808, in which the work was included among a collection of symphonies by Haydn, Mozart, and Beethoven.

This particular score formed part of the personal library of over 1,600 items—including first edition print scores, manuscripts, and musical instruments—of the prolific medievalist and musicologist Charles-Edmond-Henri de Coussemaker, whose scholarship encompassed chant, liturgical drama, early polyphony, the history of music notation, and music theory.

(18249) $2,000.00

24. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) IIme Grande Simphonie en Re majeur de Louis van Beethoven AND Sinfonia eroica...dedicata a... il Prince di Lobkowitz. Bonn: N. Simrock. [1822]. First German Edition of the Full Score. IIme Grande Simphonie en Re majeur (D Dur) de Louis van Beethoven, Oeuvre XXXVI, Prix 14 Fr. [PN] 1959. Bound together with: Sinfonia eroica composta per festiggare il sovenire di un grand'uomo. Dedicate a sua Altezza serenissima Il Principe di Lobkowitz. Op. 55. No. III. Prezzo 18 Fr:. Partizione. [PN] 1973. Large 8vo (25 x 16 cm). Kinsky/Halm p. 127. [Title]; 162 pp; [title]; [blank]; 231 pp. All engraved. Both titles with traces of pink wrapper, foxed corners, some

16 spotting and soiling, Sinfonia Eroica with some dampstains to inner margin, a larger stain to the last leaf. Contemporary brown half calf, gilt spine, marbled paper covers. Signed on the inside cover by the Swedish composer Adolf Fredrik Lindblad.

The symphonies were first published in London in 1808 and 1809. Beethoven's Second Symphony was premiered in Vienna on April 5 in 1803, and was conducted by Beethoven himself. The Eroica was composed in 1804 and was originally dedicated to Napoleon, but Beethoven changed this after Napoleon declared himself Emperor. Adolf Fredrik Lindblad (1801-78), was a Swedish Romantic composer and friend of Felix Mendelssohn-Bartholdy and Jenny Lind.

(13915) $3,000.00

25. [Beethoven at 250] Beethoven, Ludwig Van. (1770–1827) [Edmond de Coussemaker. (1805–1876)] Sinfonia eroica... Op. 55... Partizione. BEETHOVEN'S EROICA SYMPHONY FIRST GERMAN EDITION—THE COPY OF EDMOND DE COUSSEMAKER. Bonna e Colonia: N. Simrock. [1822]. First edition.

Octavo. Engraved throughout. Title (v.b.); dedication (v.b.); 1–231 pp. [PN] 1973. Original period boards and marbled flyleaves, nicely rebacked in brown leather with gold titling. Instrumentation written in ink in left margin of left pages, roughly first half, else fine. Kinsky-Halm, 131. Book plate to inner front board, from the library of Percy Digby Hawker, dated by hand April 1877. Ownership stamp in lower margin of first page of score: Bibliothèque de E. de Coussemaker.

The present first German edition is the first edition of Beethoven's Eroica as an independent work, and the first edition authorized by the composer; it follows an edition printed in London 1809, in which the work was included among a collection of symphonies by Haydn, Mozart, and Beethoven.

The "Eroica" is one of Beethoven's greatest and most epoch-making works: it changed the nature of the symphony forever. The first movement alone is the length of most entire symphonies by Haydn and Mozart. Hence Beethoven's preface to this edition, advising placing the work near the beginning of a concert rather than near the end..."Questa Sinfonia essendo scritta apposta più lunga delle solite, si deve eseguire più vicino al principio ch' al fine di un Academia e poco doppo un Overtura un' Aria ed un Concerto; accioche, sentita troppo tardi, non perda per l'auditore già faticato dalle precedenti produzioni, il suo proprio proposto effetto." Beethoven originally intended to dedicate the work to Napoleon, whose republican ideals he espoused - he even titled the work "Bonaparte" at one stage. Ries describes how the composer mutilated his autograph title-page bearing the dedication, but an echo of it can be found in the present title to the work, which Beethoven describes as having been "composed to celebrate the memory of a great Man."

(18248) $2,500.00

26. [Beethoven at 250] Beethoven, Ludwig Van. (1770–1827) [Edmond de Coussemaker. (1805–1876)] Grande Simphonie.... Op. 60. Partition. BEETHOVEN'S FOURTH SYMPHONY FIRST EDITION—THE COPY OF EDMOND DE COUSSEMAKER. Bonn et Cologne: N. Simrock. [1823]. First edition.

Octavo. Engraved throughout. Title (v.b.); 1–195 pp. [PN] 2078. Original period boards and marbled flyleaves, nicely rebacked in brown leather with gold titling. Small remnants of front wrapper stuck to title page, otherwise an exceptionally clean and fine copy throughout. Kinsky-Halm, 145; Hoboken, 282. Pencil ownership signature from composer Gordon Day on upper right of title page. Book plate to inner front board, from the library of Percy Digby Hawker, dated by hand April 1877. Ownership stamp in lower margin of first page of score: Bibliothèque de E. de Coussemaker.

17 The present first issue of the first edition of the score of Beethoven's Fourth Symphony is not recorded in the collection of the Beethoven-Haus in Bonn. The more commonly-found second issue, entitled “4me Grande Simphonie”, appeared later the same year. This is thus a rare copy of the full score of the symphony Robert Schumann characterized as "like a slender Greek maiden between two Norse giants" [The Third & Fifth Symphonies]. The fourth- published symphony by Beethoven was composed in 1806 and premiered in March 1807 at a private concert in Vienna at the town house of Prince Lobkowitz. The first public performance was at the Burgtheater in Vienna in April 1808.

The present copy formed part of the personal library of over 1,600 items—including first edition print scores, manuscripts, and musical instruments—of the prolific medievalist and musicologist Charles-Edmond-Henri de Coussemaker, whose scholarship encompassed chant, liturgical drama, early polyphony, the history of music notation, and music theory.

(18247) $6,000.00

27. [Beethoven at 250] Beethoven, Ludwig Van. (1770–1827) [Edmond de Coussemaker. (1805–1876)] Cinquième Sinfonie.... Oeuvre 67. Partition. BEETHOVEN'S FIFTH SYMPHONY FIRST EDITION—THE COPY OF EDMOND DE COUSSEMAKER. Leipsic: Breitkopf & Härtel. [March 1826]. First edition.

Octavo. Title lithographed, engraved music. Title (v.b.); 1–182 pp. [PN] 4302. Original period boards and marbled flyleaves, nicely rebacked in brown leather with gold titling. Somewhat browned with scattered foxing throughout. Small tear along right edge of title page, else fine. Kinsky-Halm, 160; Fuld, 557; Hoboken, 302. Book plate to inner front board, from the library of Percy Digby Hawker, dated by hand April 1877. Ownership stamp in lower margin of first page of score: Bibliothèque de E. de Coussemaker.

This is the first edition of the score of arguably the most famous symphony in the entire repertoire. Beethoven's Fifth Symphony has been known variously as the Fate Symphony and the Victory Symphony, and played as the signature work in the inaugural concerts of several symphony orchestras since its famous première in a four-hour concert in Vienna on December 22, 1808. “Beethoven struggled for over four years with The Fifth Symphony in C minor (op. 67), the most loved & widely performed symphony of all time. The work seems to exemplify the defiant spirit of the human race to continue to strive against adversity” (Duval, Essential Canon of Classical Music).

The present copy of the first edition of Beethoven's Fifth Symphony formed part of the personal library of over 1,600 items—including first edition print scores, manuscripts, and musical instruments—of the prolific medievalist and musicologist Charles-Edmond-Henri de Coussemaker, whose scholarship encompassed chant, liturgical drama, early polyphony, the history of music notation, and music theory.

(18246) $10,000.00

28. [Beethoven at 250] Beethoven, Ludwig Van. (1770–1827) [Edmond de Coussemaker. (1805–1876)] Sixième Sinfonie Pastorale.... Oeuvre 68. Partition. BEETHOVEN'S PASTORAL SYMPHONY FIRST EDITION—THE COPY OF EDMOND DE COUSSEMAKER. Leipsic: Breitkopf & Härtel. [May 1826]. First edition.

Sixième / SINFONIE / Pastorale / en fa majeur / F DUR / de / Louis van Beethoven / Oeuvre 68. Partition. Octavo. Title lithographed, engraved music. Title (v.b.); 1–188 pp. [PN] 4311. Price given as 3 Thlr. Book plate to inner front board, from the library of Percy Digby Hawker, dated by hand April 1877. Ownership stamp in lower margin of first page of score: Bibliothèque de E. de Coussemaker. Light foxing throughout, mostly affecting the margins. Instrumentation lightly written in pencil in unidentified hand on second page, else clean. Original period boards and marbled flyleaves, nicely rebacked in brown leather with gold titling. A generally fine copy. Kinsky-Halm, 163; Fuld, 560; Hoboken, 304; Hirsch IV, 311.

18 “The Sixth Symphony… was composed almost wholly in 1808, and was completed by late summer of that year. Like the Fifth Symphony, it was jointly dedicated to Lobkowitz and Razumovsky…The return to Nature is on the surface of this “characteristic” or genre symphony, which is entitled “Pastoral Symphony, or Recollections of Country Life” on the autograph score… This innocent work is exceptional in Beethoven’s output… As many have observed, in composing the Pastoral Symphony Beethoven was not anticipating Romantic program music but rather was continuing in the Baroque pastoral tradition, as manifested in many works by Bach, Handel, Vivaldi, and more particularly in Haydn’s two oratorios.” (Solomon: Beethoven, pp. 205-206) Few premières have acquired the fame of Beethoven's Fifth and Sixth Symphonies, a famous four-hour concert in Vienna on December 22, 1808. The first movement, entitled Awakening of cheerful feelings upon arrival in the countryside (‘Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande’), emphasized Beethoven's statement that the symphony is “more an expression of feeling that a painting.” But the symphonic effects evoking birdsong, the small-town brass band, thunder, lightning, and shepherd's song, represent program music at its best.“To the end of his life Beethoven was a lover of the country. Thus he earns a good mark which history does not award to Bach, Handel, Mozart, Berlioz, Schumann, Chopin, Liszt, Wagner and Brahms. It was a love that went deeper than the townsman's delight in pretty places and fresh air.… In the presence of field, trees and hills Beethoven felt himself nearer to the spirit of divine things than he did among men and buildings; and his art responded in like degree, for it was during his lonely rambles that his inspiration came most fluently and his compositions most readily assumed their nature and course” (Grove I, 556).

The present copy of first edition of Beethoven's Sixth Symphony formed part of the personal library of over 1,600 items—including first edition print scores, manuscripts, and musical instruments—of the prolific medievalist and musicologist Charles-Edmond-Henri de Coussemaker, whose scholarship encompassed chant, liturgical drama, early polyphony, the history of music notation, and music theory.

(18245) $5,000.00

29. [Beethoven at 250] Beethoven, Ludwig van 1770-1827 Siebente Grosse Sinfonie in A dur von Ludwig von Beethoven. 92tes Werk. Vollstandige Partitur. [Full Score]. Vienna: S. A. Steiner. [1816]. First Edition, First Issue. First edition of the Seventh Symphony, preceding the parts issue. 224 pages, 4to (c.24.5 x 20 cms), engraved title and dedication leaf to Moritz von Fries, lithographed music, plate no.2560, unpriced on title. The prodigy organist William Crotch's signed copy dated August 1827. Later three-quarters morocco gilt, untrimmed. 10 1/4 x 8 inches (26.2 x 21 cm); with engraved title, dedication and pages 2-224 of lithographed music (p. 1 blank). Old dampstain to gutter causing short split to lower gutter margin and affecting first leaves, small paper replacement to lower right corner of title, p. 39, and final leaf, early London bookseller's stamp to title, spotted throughout, the binding rubbed along joints and extremities. [ Hoboken 396; Fuld, p.561; Kinsky, p.259; Hirsch IV.346]

This is the first appearance of Beethoven's Seventh Symphony in A major, written between 1811-12, which features an allegretto that was encored on opening night and was performed separately from the symphony on many occasions. Many were enamored of the symphony and Wagner described it as the "Apotheosis of the Dance." This copy with the interesting provenance of William Crotch, who at the time he dated the title page was Principal of the Royal Academy of Music. The modern endpaper of this copy is also signed by the organist A.H. Mann of Kingsfield, Cambridge. Rare. James Fuld's own copy, now at the Pierpont Morgan Library in New York, containing "at least 25 [errors] on the first page alone", is possibly a proof copy.

(13399) $12,500.00

30. [Beethoven at 250] Beethoven, Ludwig van. (1770–1827) Grand concert pour le piano-forte...Oeuvre 15. Bonn: N. Simrock. [1802]. Upright folio. Disbound. 1f. (title with engraving of wreath, ribbon); verso of title page notice in French and German

19 regarding the three manners of performing the work; 3-27 pp. Price: "10 francs." Engraved throughout. [PN] 187. Left edge rough, first (title) and final leaves separated from the block, else a very clean and crisp copy. Kinsky p. 35.

The present early edition was published shortly after Mollo's first edition appeared in 1801 and is in striking agreement with that edition, even reproducing a number of errors of engraving found there. As with the first edition, this Simrock copy of the solo piano part includes figured bass and orchestral cues, but adds in many places small notes for the right hand, thus giving the player a choice of three different modes of performance (see title page notice): with stringed instruments only, with a few wind-instruments, or with full orchestra.

Beethoven's so-called First Piano Concerto in C major was actually not his first: the one known as the 'Second Concerto', op. 19 in B-flat major, was written much earlier. However, he spent so much time elaborating the B-flat major Concerto that the C-major Concerto preceded it into print, and is thus called his 'First'. But even the First was revised several times. Beethoven probably performed it for the first time at the Hofburgtheater during an academy of the Tonkünstler Society on 29 March 1795.

(18322) $2,000.00

31. [Beethoven at 250] Beethoven, Ludwig van. (1770–1827) Grand Concerto pour le Pianoforte avec Accompagnement de l'Orchestre compose et dedie a Son Altesse Imperiale Roudolphe Archi-Duc d'Autriche etc....[No. 5, in E flat major] . . . Ouev. [sic] 73. Leipzig: Breitkopf & Härtel. [1811]. First German edition, first issue. . Upright folio [piano part only]. Disbound. 1f. (title), 3-42 pp. Price: "4 Rthlr." Engraved throughout. [PN] 1613. Ticket of the Rotterdam publisher L. Plattner overlayed on title printed Breitkopf publisher identification. Tempo of last movement: "Allegro ma non troppo." Small stain along the upper edge throughout, small tears along left edge, occasional markings in (contemporary?) pen and red ink in blank margin, else a very clean copy. First German edition, first issue. Kinsky p. 196; Hoboken 2, 332; Hirsch, IV, 319.

Kinsky considers the Breitkopf & Härtel edition to be the first, however, it is actually predated by the edition published by Clementi in 1810. The present first issue of the German first edition is very rare. No copy of this piano part has appeared at auction in nearly 70 years.

Beethoven, L. van. Grand Concerto Pour le Pianoforte avec Accompagnement de l'Orchestre. Oeuv.73. Leipsic, Breitkopf & Härtel, n.d. (1811), plate no.1613, 42p., engr. title and score, contemp. hcalf w. paper title ticket on frontcover, sm. folio. - Sl. dampstained/ yellowed in blank margins; occas. marking in (contemp.?) pen and red ink in blank margin. Binding worn; backstrip dam. = Publisher's address pasted over w. engr. address of L. Plattner, Rotterdam. BOUND WITH: 3 other early editions of works by Beethoven, i.a. Grand Concert pour le Piano-forte (...) Oeuvre 15 (Bonn, Simrock, n.d., plate no.187, engr. title-p. and score) and Grande Sonate Pathétique Oeuvre 13e (Paris/ Lyon, Erard, n.d., plate no.22, engr. title and score). - AND 2 others.

The Fifth Piano Concerto - the Emperor - is composed on a large scale, is the most ambitious in scope and longest of all the concertos by Beethoven, and is regarded by many as his finest essay in this form. Unquestionably the best known of Beethoven’s piano concerti, it is perhaps the best known piano concerto by any composer. One of Beethoven's great iconoclastic works, it is a composition in which the composer reinvents the piano concerto, demolishing the older structure of the eighteenth-century form and paving the way for the celebrated Romantic concertos of Schumann, Liszt, Brahms and Tchaikovsky. With the appearance of the soloist after the stirring opening chord, Beethoven announces his unmistakable intention to make the piano an equal protagonist with the orchestra in the unfolding musical drama. The composer had anticipated this in the Fourth Piano Concerto, Op.58, a more reticent work, in the first movement of which the piano enters alone and the orchestra quietly follows. Here in the "Emperor", however, Beethoven introduces the solo piano in stark opposition to the orchestra by giving it a titanic flurry of arpeggios in alternation with thunderous chords from the orchestra. Beethoven's radical approach is manifest in other ways too. Not only do its vast proportions dwarf

20 those of any previous concerto, its harmonic reach is also enormous, encompassing remote keys scarcely used before, notably in the C-flat passage in the first movement, a kind of precursor to the famously remote key of B major used for the slow movement. This new breadth of vision is reflected too in the tonal scope of the piano, Beethoven employing the highest and lowest ranges of the keyboard as never before. The shimmering, unearthly beauty of the slow-movement 'adagio', is scarcely paralleled in all Beethoven. The first edition was announced for sale in February 1811. (18222) $6,000.00

32. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Bound Collection of the Middle String Quartets in First Edition. Nicely bound collection of the complete Middle-period string quartets [Opus 59 - 1,2,3; Opus 74; Opus 95], all first editions in score. 4to. Black cloth, half black leather, gilt-stamped and with four raised bands. As follows:

PARTITIONS / des / trois grands Quatuors / Oeuvre 59 / (suite de l'oeuvre 18) / pour / deux Violons, Alto / et Violoncelle. No. 1. Offenbach s/M, chez J. André. [1830] 39 pp. [PN] 5276. First edition of the full score. Kinsky-Halm p. 142.

PARTITIONS / des / trois grands Quatuors / Oeuvre 59 / (suite de l'oeuvre 18) / pour / deux Violons, Alto / et Violoncelle. No. 2. Offenbach s/M, chez J. André. [1830] 31 pp. [PN] 5299. First edition of the full score. Kinsky-Halm p. 142.

PARTITIONS / des / trois grands Quatuors / Oeuvre 59 / (suite de l'oeuvre 18) / pour / deux Violons, Alto / et Violoncelle. No. 3. Offenbach s/M, chez J. André. [1830] 35 pp. [PN] 5300. First edition of the full score. Kinsky-Halm p. 142.

PARTITION / du / dixième Quatuor / (Oeuvre 74) / pour / deux Violons, / Alto et Violoncelle. Offenbach s/M, chez J. André. [1833] 35 pp. [PN] 5284. First edition of the full score. Kinsky-Halm p. 199.

PARTITION / de l'onzième Quatuor / (Oeuvre 95) / pour / deux Violons, / Alto et Violoncelle. Offenbach s/M, chez J. André. [1835] 37 pp. [PN] 6137. First edition of the full score. Kinsky-Halm p. 268. (4327) $1,800.00

33. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Quatuor pour Deux Violons, Viola et Violoncelle... Oeuv. 74. Leipzig: Breitkopf & Hartel. [1810]. First edition. Engraved folio, in parts. 11pp, 7pp, 7pp, 7pp. [PN] 1609. Folio, engraved general title-wrapper, preceding first violin part, other parts without title wrappers as issued, all unsewn, spine of first violin part repaired, minor dampstaining to first violin part, scattered light foxing, a few annotations in margins. In custom green cloth folding box. Kinsky p. 198, Hoboken 333.

The “Harp” Quartet (so named for its extended pizzicato passages in the first movement) was commissioned by Prince Lobkowitz of Russia & composed in 1809. (9402) $4,500.00

34. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Quatuor pour 2 Violons Alto & Violoncelle Composé & dédié à son ami Johann Wolfmeier... Oeuvre posthume. Oeuv. 135. No. 17 des Quatuors. Berlin: Ad. Mt. Schlesinger... Paris: Maurice Schlesinger: [Sept. 1827]. First edition, second issue. Engraved folio, in parts [engraved throughout]. [PN] 1444. Vl I: 1f. (title), 2-11 pp; Vl II: 9 pp; Va: 9 pp.; Vc: [1] (blank), 2-8 pp. With printed initials "FJ" to lower right corner of title, possibly those of the engraver. All parts in very fine condition with scattered light foxing and toning, housed in custom green cloth clamshell box. Kinsky-Halm p. 410. Hirsch IV, 412. Dorfmüller- Weinhold p. 234. Hoboken 2, 528.

Composed in October of 1826, Beethoven's F Major Quartet was the last substantial work he finished, with only the last movement of the Quartet op. 130, written as a replacement for the Grosse Fuge, written later. Under the introductory slow chords in the last movement Beethoven wrote in the manuscript "Muss es sein?" (Must it be?) to which he responds, with the faster main theme of the movement, "Es muss sein!" (It must be!). The whole movement is headed "Der schwer gefasste Entschluss" (The Difficult Resolution). (5550) $1,800.00

21 35. [Beethoven at 250] Beethoven, Ludwig van. (1770–1827) Troisieme Quatour pour 2 Violons, Alte & Violoncelle des Quatuors... Oeuvre 130. Vienna: N. Artaria. [1827]. First edition.

Full score to Beethoven's String Quartet in B flat, op. 130. [PN] M.A. 870. 67 pp. Wear to spine and edges; significant foxing and scattered water damage to the internal pages, mostly around the margins, but overall very good. Upright folio. 10.5 x 14 inches (26.5 x 36 cm).

First edition of the score of the quartet which was first performed on March 21, 1826—the third and last of the great quartets commissioned by Nikolai Galitzin.

"After completing the Ninth Symphony in early 1824, Beethoven spent the two and a half years that remained to him writing... exclusively in the medium of the string quartet. The five late string quartets [ops. 127, 130, 131, 132, 135] contain Beethoven's greatest music, or so at least many listeners in the 20th-Century have come to feel..." (New Grove, 2: 387). Kinsky-Halm, 394-395

(17431) $2,500.00

36. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Grande Fugue tantôt libre, tantôt recherchée pour 2 violons, alte & violoncelle....Oeuvre 133. Vienne: Chez Artaria. [1827]. First edition. Parts. Folio (32 x 25.5cms). Violin I: 10 p. Violin II, viola & cello: 9 p. each. Engraved throughout. [PN] 877. In fine condition, with a small red pencil "16" to the head of each part. Rare first edition of one of the central masterworks of Western Music. Hoboken 524; Kinsky p.405.

The 'Grosse Fuge' , Op. 133, is a single-movement composition for string quartet, a massive double fugue, which originally served as the final movement of Beethoven's Quartet No. 13 in Bb major (Op. 130). He then replaced it with a new finale and published the Fugue separately in 1827 as Op. 133. Composed in 1825 when Beethoven was completely deaf, it was first performed in 1826, as the finale of the Bb quartet, by the Schuppanzigh Quartet. Now considered among Beethoven's greatest achievements, Igor Stravinsky called it "an absolutely contemporary piece of music that will be contemporary forever." (Stravinsky/Craft "Dialogues and a Diary," p.24) (7233) $4,000.00

37. [Beethoven at 250] Beethoven, Ludwig van. (1770–1827) Grande Sonate Pathetique Pour le Clavecin ou Piano-forte...Oeuvre 13. Paris: Chez Mlles. Erard. [1801]. First French Edition. Upright folio Disbound. 1f. (title), 1-17 pp. Price: "6." Engraved throughout. [PN] 22. Ticket of the La Haye publisher F.T. Weigano overlayed on title printed Erard publisher identification. With the publisher's handwritten authentication signature "[C.?] Erard" in ink l.r.. Left edge a little rough, many pages with early paper fill repairs along the inner margin, two pages with tears in margins to just outside the plate, else a very clean and crisp copy. Kinsky p. 30.

Issued by the firm of Erard, from whose instrument manufacturing wing the composer would order a piano in 1803, the present publication was advertised in the Journal de Paris, January 31, 1801.

The Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. Dedicated to his friend Prince Karl von Lichnowsky, it has remained one of his most celebrated compositions. Although commonly thought to be one of the few works to be named by the composer himself, it was actually titled Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.

(18321) $1,500.00

38. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Grosse Sonate für das Hammer-Klavier...Op:106 ["Hammerklavier Sonata"]. Vienna: Artaria und Comp.. [1832/33]. 59 pages, 4to (c.31.5 x 24.8cm). Engraved

22 throughout, [PN] 2588. Priced at "3 f. 12 x C.M." and including the "Catalogue des Oeuvres." Printed from the plates of the first edition. Scattered foxing throughout, toned around the edges, else fine. Hoboken 437. Kinsky p. 295 [3]. Contained in a custom cloth box.

Beethoven's Piano Sonata No. 29 in B flat major, Op. 106 (known as the Große Sonate für das Hammerklavier, or more simply as the Hammerklavier) is widely considered to be one of the most important works of the composer's third period and one of the greatest of all piano sonatas. (13428) $1,400.00

39. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Sonata quasi una Fantasia / per il Clavicembalo o Piano-Forte / Composta, e dedicata / a Sua Altezza la Signora Principessa / GIOVANNI LIECHTENSTEIN / nata Langravio Fürstenberg / da / Luigi van Beethoven. / Opera 27. No. 1. In Vienna: presso Gio. Cappi [without address]. [before 1815]. Oblong folio. 13 pp. [PN] 878. Printer: Joh. Schäfer. Price: f. 2. Contemporary ownership signature to lower right of title page of the pianist, Agnes Jagatitsch. Later paper boards with handwritten title plate. Scattered foxing throughout, one small corner margin repair, else fine. Kinsky p. 66.

The Piano Sonata No. 13 in E-flat major "Quasi una fantasia", Op. 27, No. 1, was composed in 1800–1801. Written in a fantasy style, it is notable for the absence of Sonata form in any movement, where instead, Beethoven uses formats which repeat entire sections (Binary form and Rondo). All four movements are connected with one another. (12089) $1,200.00

40. [Beethoven at 250] Beethoven, Ludwig van. (1770–1827) Rondeau en Sol pour le Piano-Forte [Op. 51, Nr. 2]. Mayence: Charles Zulehner. [ca. 1805]. Upright folio Disbound. 1f. (title), 1-9 pp. Engraved throughout. [PN] 67. Ticket of the Rotterdam publisher L. Plattner overlayed on title printed Charles Zulehner publisher identification. A few small stains and stamps to title edges, else a very clean and crisp copy. Kinsky p. 120.

The second of two rondos for piano composed in 1797, the present work bears a dedication to Countess Henriette von Lichnowsky. Richer and on a larger scale than its earlier counterpart, the G major Rondo is full of tender affection. One of the first things to strike the listener is the greater exchange of material between the hands where the left hand frequently takes an active role. (18323) $500.00

41. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]. Wien: bey A. Diabelli et Comp. Graben No. 1133 ; Leipzig : bey H.A. Probst. [1824]. Oblong folio. disbound. [i] (title), 4-43, [i] (blank) pp. Engraved throughout. [PN] 1380. On t.p. above imprint: No. 1380.; Eigenthum der Verleger.; Pr. 2f. 45x.C.M; At head of 1st. line of music: Thema von A: Diabelli; At foot of p. 43: Gestochen v: Jos: Sigg. Tears and repairs to margins of first and final leaves, those two pages also somewhat browned, stamps of E. Hoffmann Musikalienhandlung of Dresden, else a clean and wide- margined copy throughout. Titelauflage of the Cappi u. Diabelli first edition of 1823 (ie printed from the same plates) but with the edition of a secondary "collection" title page "(Vaterländischer Künstlerverein Veränderungen...") not present here, the main title of the present copy being an updated version of the title from the first issue (1823), where pp. 2 and 3 were left blank. Kinsky p. 350-51. Dorfmüller p. 345 (copy in Bavarian State Library, Munich). Hoboken 2, 485. Hirsch IV, 387 (with "2. Abtheilung" angebunden). Beethoven-Haus C 120/1 (or Schorn 39?).

Best known in his time as a publisher (he was Schubert's first publisher), Diabelli is most familiar today as the composer of the waltz on which Ludwig van Beethoven wrote this celebrated set of thirty-three "Diabelli Variations." (18325) $1,500.00

42. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Vier Arietten und ein Duett (italienisch und

23 deutsch) mit Begleitung des Pianoforte…(Der unterlegte deutsche Text ist von Dr. Chr. Schreiber.) Op.82. Leipzig: Breitkopf & Härtel. [1811]. First edition. Typeset oblong folio, 16 pp. [PN] 1474, printed on pages 3, 5 and 7 only. Kinsky pp.220-22; Hoboken Vol.2, No.360.

An attractive and untrimmed copy bound in simple blue paper wraps with an ink annotation in the lower right corner. Contained in a fine custom marbled box with brown leather corners and spine with gilt-impressed title.

The autograph of the four airs is lost, which lends added importance to this rare first edition. Composed by Beethoven in 1809, the author of the first arietta text (“Dimmi, ben mio”) is unknown and the remaining three ariettas and the duet were written by the renowned Italian librettist Pietro Metastasio. The duet, “Odi l’aura, che dolce sospira,” for Soprano and Tenor, was probably sketched in part while Beethoven was studying with Antonio Salieri, circa 1800. The original Italian lyrics were here translated into German by Dr. Christian Schreiber (1781-1857), a distinguished theologian and an associate of publisher Härtel. “Like Op. 75, the five Italian songs published together as Op. 82 by Breitkopf & Härtel in July 1811 were published by Clementi [in London] singly and without opus number. They were all entered at Stationers Hall on February 1, 1811” (Tyson, 84). (6594) $2,200.00

43. [Beethoven at 250] Beethoven, Ludwig Van. (1770-1827) Sonate per il Piano-forte ed un Violino obligato, scritta in uno stile molto concertante, quasi come d’un concerto ... dedicata al suo amico R. Kreuzer. Opera 47. Bonn: Simrock. [1805]. First edition. Oblong 4to. 35 p. Engraved. [PN] 422. Werkverz. (2014) Bd. 1, p. 260; Kat. Hoboken 2 Nr. 228; Weinhold (in Dorf- müller, „Beiträge“) p. 254f and plate 3a. Lower corner of title repaired with paper, closely trimmed to the top plate mark, overall a very clean copy. Sold together with a facsimile of the first edition violin part (12 p).

RARE FIRST EDITION OF THE PIANO SCORE OF THE SO-CALLED "KREUTZER SONATA", a slightly later issue with the small correction to the title of "uno stile" (instead of 'un stilo) and the addition of "per" before the composer's name.

The Violin Sonata No. 9, commonly known as the Kreutzer Sonata, was published as Beethoven's Opus 47. It is known for its demanding violin part, unusual length (a typical performance lasts slightly less than 40 minutes), and emotional scope — while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant. It was originally dedicated to the violinist George Bridgetower (1778–1860), who performed it with Beethoven at the premiere on 24 May 1803 at the Augarten Theatre. But following a dispute after the concert, Beethoven removed the dedication and changed it instead to the great virtuoso Rodolphe Kreutzer. (11805) $2,500.00

44. [Beethoven at 250] Beethoven, Ludwig van. (1770–1827) Sammelband of Piano, Cello and Violin Sonatas in early editions. Sammelband of early and mostly lifetime Parisian or Mainz editions of four Beethoven piano sonatas, as well as the piano parts for four violin sonatas and two cello sonatas. Engraved throughout, with several title pages signed or stamped by the publishers. Red and brown full leather with gold stamps to the boards and spine. 210 pp. total. Foxing and toning; heavy wear to covers with some repairs; structurally sound and overall very good. 10 x 13 inches.

The contents bound in the following order:

Trois Sonates pour le Piano-Forte, avec Accompt. de Violon obligé, dédiées à Alexandre 1er, Empereur de toutes les Russies, par L. V. Beethoven. Oeuvre 30. Paris: chez Sieber père, Éditeur et Md. de Musique, rue Coquillière No. 22 [before 1823]. 1re, 2e. and 3e. Livraison, each with a separate title page signed by Sieber. [PNs] 2009, 2058, and 2061. 52 pp. Piano parts to violin sonatas nos. 7, 6, and 8 (the complete op. 30, with the order of the first two sonatas reversed.) Very rare; we have not been able to locate any copies in WorldCat.

Deux Sonates pour le Piano-Forte composées par Louis van Beethoven, Oeuv. 31 [number added by hand]. A Mayence chez Charles Zulehner, [ca. 1807]. [PN] 123. 43 pp. Piano sonatas no. 16 and 17. Rare; 2 copies listed in WorldCat and 1

24 in the Beethoven-Haus Bonn. Kinsky p. 80.

Sonate pour le Piano-Forte composée par Louis van Beethoven, Oeuv. 57 [57 added by hand and incorrectly changed by hand to 56]. A Mayence chez Charles Zulehner, [ca. 1808]. [PN] 154. 25 pp. Piano sonata no. 23, "Appassionata." Rare; 2 copies listed in WorldCat and 1 in the Beethoven-Haus Bonn. Kinsky p. 135.

Grande Sonate pour le Forte-Piano, avec Accompagnement de Violoncelle obligé, par L. van Beethoven, Opera 59 [i.e. 69 ]. Paris: Chez J. Pleyel, [ca. 1808–1815]. Stamped on the title by Pleyel. [PN] 1065. 25 pp. Piano part to cello sonata no. 3 in A major op. 69. Rare; 1 copy listed in WorldCat.

Grande Sonate pour le Forte-Piano, avec Accompagnement de Violoncelle obligé, par L. van Beethoven, Op. 64. Paris: Chez Pleyel Père et Fils Ainé, [1817?] [PN] 1124. 27 pp. Piano part to the arrangement of Beethoven's string trio op. 3 for piano and cello. This arrangement, first published in 1807 by Artaria, is now considered probably not to have been made by Beethoven himself. Rare; 1 copy and 1 microfilm listed in WorldCat.

Les Adieux, l'Absence et le Retour. Sonate Dramatique pour le Piano-Forte, composée par L. van Beethoven. Op. 81. Paris: Chez Ice. Pleyel et Fils ainé, [ca. 1830] [PN] 1140. 17 pp. Piano sonata no. 26 in E flat. Rare; 1 copy listed at the Beethoven-Haus Bonn. Kinsky p. 218.

Sonate pour le Piano Forté avec Accompagnement de Violon obligé, dédiée à l'Archiduc Rodolphe par Louis Van Beethoven. Op. 96. Paris: Chez Richault (Simon) [and] Mr. de Momigny, [ca. 1816–1823]. Signed on the title by Simon Richault. [PN] 740. 21 pp. Violin sonata no. 10 in G major. Very rare; we have been unable to locate any copies in WorldCat.

(16352) $2,500.00

45. [Beethoven at 250] [Beethoven, Ludwig Van. (1770-1827)] 1815 Broadside Program for Wellington's Victory. Original concert broadside programme. Theatre Royal, Drury-Lane. Wednesday, March 1, 1815. "Leader of the Band...Mr. H. Smart. The Whole Under The Direction of Sir George Smart." 18.5 x 31.5 cm. In very fine condition.

Following selections from Handel's "Acis and Galatea" and "The First part of the late Dr. Haydn's Sacred Oratorio of the Creation," the performance concluded with a very early performance of Beethoven's Wellington's Victory, or, the Battle of Vittoria, Op. 91, billed as "The Grand Battle Sinfonia composed by Beethoven. [Which, in consequence of its very great attraction, will again be performed on Friday next,] - Descriptive of the Battle & Victory at Vittoria, Gained by the Armies under the Command of Field-Marshal, His Grace, The Duke of Wellington. This Sinfonia is dedicated by Beethoven, and the M.S. presented by Him to His Royal Highness The Prince Regent, By whose Gracious Permission it is performed at these Oratorios."

Lifetime programs of major Beethoven performances are rare. The present performance was conducted by George Smart (1776 - 1867) who would later conduct the first English performance of Beethoven's Ninth Symphony in 1826.

First performed in Vienna on December 8, 1813 on a concert program to benefit Austrian and Bavarian soldiers wounded at the Battle of Hanau, Beethoven himself conducted the orchestra. "Beethoven's 'Battle Symphony,' more correctly entitled 'Wellington's Victory or the Battle of Victoria' (op. 91), came into being as the result of an idea by Maelzel that Beethoven should write a work for his latest invention, the panharmonicon, a sort of mechanical orchestra. The timing coincided with Wellington's defeat of Napoleon in 1813, and Maelzel believed that a work depicting this would be sufficiently succesful to finance a trip to England. He drew up a plan for the piece which Beethoven followed. Although Maelzel later decided that it would be more effective for a 'real' orchestra, he allowed Beethoven to retain his plan. The title 'symphony', which derives from the original English edition (1816) of the piano arrangement, is totally misplaced, but no doubt contributed to the work's popularity. Although it is probably one of Beethoven's most notorious

25 compositions, it reaped immense financial rewards for him, both in Vienna and England." (Barry Cooper, "The Beethoven Compendium," p. 220) (5273) $1,500.00

46. [Beethoven at 250] [Beethoven, Ludwig Van. (1770-1827)] Liszt, Franz. (1811-1886) LISZT CONDUCTS BEETHOVEN - Original 1844 Weimar Broadside Program, "Egmont.". Original program from Liszt's tenure as Kapellmeister at the Weimar Hof-Theater. At the January 27, 1844 performance of Goethe's "Egmont," Liszt conducted the overture and incidental music by Beethoven. As was usually the case, the conductor is not listed on the program, but it has been established that Liszt conducted the present performance. (1461) $700.00

47. [Beethoven at 250] [Beethoven, Ludwig Van. (1770-1827)] Zur Enthüllung des Beethoven-Denkmals in Wien am 1. Mai 1880. Wien. [Program from the unveiling of the Beethoven Monument in Vienna]. Pamphlet, 19.5 x 26.5cm. Vienna, May 1, 1880. 23pp. With contributions by E. Hanslick ("Beethoven in Wien") and L. A. Zellner ("Chronik des Denkmals"), a directory of monetary contributions to the monument's construction, and a listing of the Monument Committee, listing first the name of Johannes Brahms. Toned, a few chips and stains, overall very good.

The creation of a monument to Beethoven was the brainchild of the Gesellschaft der Musikfreunde in Wien, the musical society that continues today and whose concert hall is possibly the world’s greatest classical music venue (and also home to the Wiener Philharmoniker orchestra). The sculptor Caspar von Zumbusch eventually won the design commission and his bronze statue saw the light of day in 1880, some 53 years after the composer’s death and just following the composer's Centenary.The monument lives on Beethoven Square (Beethovenplatz) and features the composer sitting imperiously on a plinth above various mythological and symbolic figures that include Prometheus (himself the subject of a ballet with music composed by Beethoven).

(10681) $375.00

48. [Beethoven at 250] Beethoven, Ludwig van. (1770-1827) Life Mask - with eyes!. Plaster life mask of the important composer, made in the early 20th century after the one created by sculptor Franz Klein in 1812. Beethoven's distinctive facial structure can be discerned, with the difference that open eyes have been added to this mask. Metal hanger at the upper edge. Very fine. 10.5 inches (27 cm) tall. (17033) $850.00

Jazz & Song

49. [Jazz & Song] [African-American Music] Original Photograph of a Jug Band. Original ca. 1900 photograph of an unidentified jug band, five African-American men holding an accordion, a horn, and traditional African instruments. In the background, several women in long dresses are visible. A rare image. Small edge and corner losses, some creases; laid down to a larger card. Overall very good. Photograph 8.5 x 6.5 inches (21.7 x 16.7 cm), overall size 11.75 x 10 inches.

From the collection of internationally known ragtime pianist and historian Johnny Maddox, Gallatin, TN.

Early jug bands were typically made up of African-American vaudeville and medicine show musicians. Beginning in the urban South (namely, Louisville, Kentucky, and Memphis, Tennessee), they played a mixture of blues, ragtime, and jazz. The history of jug bands is related to the development of the blues. The informal and energetic music of the jug bands also contributed to the development of rock and roll. (17853) $2,500.00

50. [Jazz & Song] Armstrong, Louis. (1901–1971) [Skogholm, Carl Werner. (fl. ca. 1935–1965)] "A very good picture" - Signed Portrait Drawing. Original portrait sketch signed by the great jazz musician "Best wishes / Louis Armstrong" who adds also "A very good picture." Portrait drawn by well-known Danish autograph collector Carl Werner

26 Skogholm, with the inscription to Armstrong on verso: "I know you are busy and I only shortly tell you: I admire you so much, still more after the concert yesterday, and I do hope you will kindly sign my sketch and return it to me. Yours truly, Carl Werner Skogholm." 5 × 8 inches (13 × 20 cm). Verso stamped with Skogholm's address, small loss to verso upper left corner, else in fine condition.

(18198) $650.00

51. [Jazz & Song] Baker, Josephine. (1906–1975) Signed Color Topless Photograph. Attractive color 6.75 x 9.25 paperstock photo of the celebrated singer, dancer, and actress wearing a topless pearled outfit with red feather tail, signed and inscribed in fountain pen, "To Madame and Mr. Casaravilla, with sincer[e] admiration and best wishes, Josephine Baker, Buenos Aires, July 15/39.” In very good to fine condition, with some light staining, and scattered flecks of surface loss. Nicely matted and framed to an overall size of 16.5 x 20.25 inches (42 x 51.5 cm).

Baker's response to her own nudity: 'I wasn't really naked. I simply didn't have any clothes on.' Signed nude portraits of Baker are generally uncommon, especially in color and larger-than-postcard size. (17659) $2,500.00

52. [Jazz & Song] Basie, Count. (1904–1984) & Byas, Don. (1912–1972) & Clayton, Buck. (1911–1991) & Edison, Harry. (1915–1999) & Green, Freddie. (1911–1987) & Jones, Jo. (1911–1985) & Killian, Al. (1916–1950) & Lewis, Ed. (1909–1985) & Page, Walter. (1900–1957) & Tate, Buddy. (1913–2001) & Warren, Earle. (1914–1994) & Wells, Dicky. (1907–1985) Collection of Signed and Unsigned Photographs of Count Basie Orchestra. Original and promotional photos of Count Basie and members of his orchestra, including three of the full band. The first, a sepia-tone of Basie leading the band in front of a piano-styled backdrop, is unsigned. The second is inscribed "To Harry/ Count Basie", and is additionally signed by many members of the band, including Don Byas, Harry Edison, Freddie Green, Jo Jones, Al Killian, Ed Lewis, Walter "Wally" Page, Buddy Tate, Earle Warren, and Dicky Wells. The last is an original photo inscribed, "To Phip/ Best wishes/ Count Basie," together with piece of cardboard inscribed "Picture taken at the Apollo Theatre, Harlem, N.Y.C. Given to me by Earle Warren on Jan. 19, 1941/ Pic taken about two weeks before that" and including a list of personnel: "Trumpets: Harry Edison, Al Killian, Ed Lewis, Buck Clayton. Trombones: Dan Minor, Dicky Wells, Ed Cuffee. Saxes: Buddy Tate, Earle Warren, Tab Smith, Jack Washington, Don Byas. Rhythm: Jo Jones (Drums); Freddie Greene [sic.] (Guitar); Walter Page (Bass). Basie (in front). Helen Humes (Vocalist)" All three are 10 x 8 inches (25.5 x 20.5 cm). General light wear along edges, small surface creases, otherwise fine.

Two prints of the same dynamic photo of Basie at the piano, cuing the trombones and trumpets. One slightly trimmed, the first 10 x 8 inches (25.5 x 20.5 cm) with small creases, one small corner tear, otherwise good; the other 8 x 7 inches ( 20.5 x 17.5 cm) with small tear and general edge wear, else fine.

Also included are several photographs of individual members of the band, generally 8 x 10 inches (20.5 x 25 cm and in fine condition: A signed James J. Kriegsmann N.Y. headshot of alto saxophonist Earle Warren (identified as "Earl" in the typed label) inscribed "To 'Phil'/ One of my greatest friends - Success always/ Earle"; a publicity photo of Jo Jones, drummer, inscribed "To Phippie Young/ 'Best of luck'/ Joe Jones/ Count Basie orch. '42"; a halftone photo of Herschel Evans, mid-solo; an unsigned photo of Don Byas playing a featured solo on the saxophone; an original photo of Harry Edison playing a featured solo on the trumpet; and an original photo of Tab Smith playing a featured solo, this image cut from a larger photograph (7.25 x 8 inches; 18.5 x 20.5 cm) and with a partial Earle Warren signature "You're a real pal Phip, E" and an unidentified signature at left, significant crease on the right side, rough edges from trimming, else good. Together with three halftone photos; a clipping from an unidentified publication that shows Basie and vocalist Jimmy Rushing during a performance; a clipping from another unidentified source, showing Lena Horne, Count Basie, and Thelma Carpenter at the piano; and a picture of Count Basie at the piano with members of his band, signed by Basie and

27 Buck Clayton with writing on the back identifying the source of the clipping as "Jazz; Hot & Hybrid". The first measures 4.5 x 4 inches (11.5 x 10 cm). Uneven trimming, otherwise fine. Second measures 6 x 8 inches (15 x 20 cm). Creasing in corners and tearing along the bottom, otherwise good. The third is 5.5 x 7.75 inches (14 x 19.5 cm) with light wear and toning, overall fine.

One of the most prominent jazz performing groups of the swing era, The Count Basie Orchestra was founded by Count Basie in 1935 and recorded regularly from 1936. Despite a brief disbandment at the beginning of the 1950s, the 16 to 18 piece big band survived long past the Big Band era itself and the death of Basie in 1984.

From the collection of Phillip Young, who developed close personal friendships as as teenager with Count Basie, Rex Stewart, and Red Allen, having approached them following performances. Stewart eventually secured him a press pass, allowing Young to attend an incredible number of jazz performances by some of the greatest artists of the time. He corresponded with Stewart while stationed abroad during WWII and maintained the friendship through his life. (18308) $1,800.00

53. [Jazz & Song] Broonzy, Big Bill. (1893–1958) Big Bill Blues: William Broonzy's Story - SIGNED ON HIS PORTRAIT PHOTOGRAPH. London: Cassell & Company. 1955. First Edition. Rare signed volume from the American blues singer, songwriter and guitarist who was one of the key figures in the development of blues music in the 20th century; he became an international star in the 1950s when he returned to his traditional folk-blues roots and became one of the leading figures of the emerging American folk music revival. Hardcover, 5.25 x 8.75, 139 pages. Signed on the frontispiece in blue felt tip, "Best wishes, from, Big Bill Broonzy." In fine condition. (18324) $3,000.00

54. [Jazz & Song] Bruguière, Francis. (1879–1945) Original Jazz Revue Photograph. Striking original photograph, ca. 1930, from the American photographer best-known for his experimental multiple- exposure and abstract photographs. The photograph shows a scene from a jazz revue, with figures posing provocatively around a large piece of scenery depicting a face with horns. Gelatin silver print with studio stamp to the verso. One small loss to the lower right corner; some light edge wear and silvering around the edges; overall fine. 10 x 12.75 inches (25.2 x 32.7 cm). Provenance: The Collection of Ileana Sonnabend, thence by descent.

Born in San Francisco, Francis Bruguière was a painter, musician, and photographer. A 1905 visit to New York and a subsequent metting with Alfred Steiglitz spawned his initial interest in photography. By 1912 he had begun to develop an interest in abstraction and a system of multiple exposure. After moving to New York and opening a studio in 1918, Bruguière photographed for Vogue, Harper's Bazaar, and Vanity Fair. He was also the official photographer for the Theatre Guild until 1927. He continued to experiment with photographic abstractions and cut-paper designs, and in 1928 exhibited his work at der Strum gallery in berlin. That same year, Bruguière moved to London and began a new series of light experiments. In 1930, he and Oswell Blakeston produced England's first abstract film, Light Rhythms, based on a series of Bruguière's light abstractions. In the last years of his life, he moved to Northamptonshire to devote himself to painting.

(16525) $3,500.00

55. [Jazz & Song] Dylan, Bob. (b. 1941) & Baez, Joan. (b. 1941) Bob Dylan & Joan Baez 1965 Concert Handbill. Scarce and desirable original color handbill for Bob Dylan and Joan Baez's US tour held between February and March 1965, featuring the now iconic folk rock artwork of Eric Von Schmidt. In fine condition. 5.5 x 9.5 inches.

In 1965, folk singer and artist Eric Von Schmidt was commissioned to create a painting of Dylan and Baez for their tour, which was reproduced on posters and handbills. His stylized “VS” can be seen in the lower left corner of the handbill. Dylan was unhappy with his appearance in the painting, and ordered that those that had been distributed be recovered and destroyed—making these handbills quite scarce today. This classic portrait has nevertheless come to be regarded as one of the iconic images from Dylan's early folk days.

28 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. (17347) $2,400.00

56. [Jazz & Song] Ellington, Duke. (1899-1974) & Band [Rex Stevens, Joya Sherrill, Johnny Hodges, Sonny Greer, Harry Carney, Claude Jones, Lawrence Brown, Shelton Hemphill , Otto Hardwick, Jimmy Hamilton] Collection of Signed and Unsigned Photographs of Ellington and his Band. A bounty of Duke Ellington materials, including signed and unsigned photographs of his orchestra and individual members, a concert program, and two oversized magazines. First and foremost, an autographed picture of the band on stage, signed by Duke Ellington, Harold Baker, Lawrence Brown, Harry Carney, Sonny Greer, Fred Guy, Chauncey Haughton, Johnny Hodges, Wallace Jones, Ray Nance, Joe Nanton, Alvin "Junior" Raglin, Rex Stewart, Juan Tizol, and Ben Webster. Together with several performance shots, including an original photograph of Ellington playing alongside his drummer Sonny Green while others gather around the piano; of trombone player Joe Nanton, clarinetist Harry Carney, and trumpet player Wallace Jones performing a trio; of cornetist Rex Stewart taking a solo; two candid shots of the bandstand, showing Johnny Hodges, Fred Guy, Ray Nance, Alvin Raglin, and Harry Carney; and two full-band pictures taken from the audience during the same performance. Together with two further headshots, one a Maurice of Chicago image of the young Ellington, and the other a bust portrait of vocalist Thelma Carpenter inscribed "To Phil./ Friendship is so much better than any thing two people could have./ Sincerely, Thelma Carpenter"

Also included are a program for a Duke Ellington and his Orchestra Swing Concert at Symphony Hall in Boston (December 12, 1943) and two oversized publications: Duke Ellington and his Famous Orchestra, a single-issue publication dedicated to the man and his band, and the Ellingtonia Issue of Jazz magazine (Vol. 1, Nos. 5 and 6), dated 1943. Both publications include numerous photos and articles about Ellington and his band, and Jazz Magazine includes Ellington's full discography.

Most photographs measure approx. 8 x 10 inches (20.5 x 25 cm), with some light surface creases or small tears, else fine. The oblong signed photograph of the band with various creases and dings to the margins, one strong horizontal crease to the upper quarter and three somewhat lighter vertical creases within the center area. The Ellington Maurice solo portrait heavily worn. The photograph of Ellington and Greer measures 9 x 7 inches (23 x 18 cm). The program measures 7.5 x 11 inches (19 x 27.7 cm), with creases from being folded into quarters, otherwise fine. Duke Ellington and his Famous Orchestra is in fine condition. The lower right corner of Jazz is dog-eared, and the discography has some light writing. Overall good. Both measure 9 x 12 inches (22.5 x 30 cm)

57. [Jazz & Song] Ellington, Duke. (1899-1974) "Three Cent Stomp" - Original Autograph Lead Sheet. Original autograph lead sheet in Duke Ellington's hand for his swing-era favorite, "Three Cent Stomp." Three lines of melody and chords have been written out in pencil and signed by Ellington at the upper right. A "Tempo Music" label has been affixed on the lower half of the sheet. 1 p. on manuscript paper, with some stains, edge wear, small edge tears, and one significant horizontal tear along the central folding crease; overall in good condition. 9.5 x 12.5 inches (24 x 31.7 cm). Provenance: Duke Ellington Estate.

First recorded in the 1940's and frequently re-released, "Three Cent Stomp" is an exuberant showpiece for Ellington's

29 orchestra. (14236) $8,500.00

58. [Jazz & Song] Ellington, Duke. (1899–1974) & Wood, Booty. (1919–1987) & Carney, Harry. (1910–1974) & Hodges, Johnny. (1907–1970) & Jacquet, Illinois. (1922–2004) Ellington Medley - SIGNED 1955 Record. 1955 HMV EP of Duke Ellington and his Orchestra playing the "Ellington Medley," signed on the sleeve by Ellington, trombonist Booty Wood, and saxophonists Harry Carney, Johnny Hodges, and Illinois Jacquet. Toning, light stains and wear to the sleeve, with bottom edge partially split. Record untested but visually fine. Overall very good. 7 x 7 inches (18 x 18 cm).

The medley on the A side includes: Don't Get Around Much Anymore/In A Sentimental Mood/Mood Indigo/I'm Beginning To See The Light/Prelude To A Kiss/It Don't Mean A Thing If It Ain't Got That Swing/Solitude/I Let A Song Go Out Of My Heart. On the B side, "Perdido" by Juan Tizol. (17269) $675.00

59. [Jazz & Song] [Fitzgerald, Ella. (1917–1996)] Ella Fitzgerald Sandal-Foot Stockings. A rare set of two pairs of Ella Fitzgerald-branded stockings in their original packaging. Nude nylon stockings, size 10R, manufactured by Beautiful Bryans, sandal foot seamed (with a seam down the back of the leg which extends all the way along the bottom of the foot), and with decorative faux diamonds on the toe. Unworn and in their original tissue paper wrapping and box, the pink box printed with a photograph of Fitzgerald and "Ella Fitzgerald Hosiery." Box with some foxing, chips, and small tape repairs; overall very fine in very good box. 7.25 x 9.5 inches (18 x 24.5 cm). (17773) $250.00

60. [Jazz & Song] Fitzgerald, Ella. (1917-1996) & Webb, Chick. (1905–1939) & Ali, Bardu (1906–1981) & Jordan, Taft. (1915–1981) Signed and Unsigned Concert Ephemera from Ella's early years. A graphically-striking ensemble of three signed and unsigned pieces from the early years of Ella Fitzgerald's career and her earliest associations with Chick Webb and his band, 1937–1940. The signed item is an unusual format shaped cutout table tent, dated March–May 1938, from Levaggi's Flamingo Room in Boston, signed in pencil inside by Ella Fitzgerald and on the back in pencil by Chick Webb and in pen by Bardu Ali. Cover features print portrait in red and black of Chick Webb at his drums, with bass drum labeled Napoleon of Swing. Closed, 3 1/2 × 5 1/8 inches (9 × 13 cm). Fine condition.

This grouping also includes a printed pre-concert flyer handbill for the performance of Chick Webb and his N.B.C. Orchestra featuring Ella Fitzgerald at the Alcazar Ballroom in Baltimore on April 30, 1937, at the first annual Swing Cotillion presented by the Pi Xi Chi Fraternity. Chick Webb is portrayed in red and black graphic print on cover at drums with musical staff in background and surrounded by musical notes. 6 × 9 inches (15.25 × 22.85 cm), in fine condition. Together with a publicity pamphlet for Ella Fitzgerald and her Famous Orchestra featuring Taft Jordan, dated after Chick Webb's death; likely 1940. Color lithograph with wide tonal range of red and blue, including vivid portrait of Fitzgerald on the cover. Header reserved for venue and date and back cover for details left unprinted. Closed, 6 × 8 7/8 inches (15.25 × 22.5 cm). Very faint vertical crease at center, else fine.

Drummer Chick Webb's 1930's orchestra was a force to be reckoned with at the Savoy Ballroom, often defeating other bands such as the Benny Goodman Orchestra and the Count Basie Orchestra in the famous "battle of the bands." When Ella Fitzgerald joined the group as a relative unknown, she cemented their success with her modern sound, precise articulation and charisma. Her fame was established with the 1938 hit "A-Tisket, A-Tasket." Chick Webb died tragically early in 1939, leaving Fitzgerald to carry on as the leader of the orchestra until 1942. (18243) $650.00

61. [Jazz & Song] Garland, Judy. (1922-1969) Judy Garland Award Proclamation from New York City Mayor Robert F. Wagner in Custom Presentation Folder. Original 1959 certificate for "distinguished and exceptional service," in presentation folder, signed by Mayor Wagner and dated 11 May, 1959. Measures approx. 9.5 x 12.25 x .25 inches. Exhibiting age, handling, surface marring and edge

30 wear. Overall, in very good condition. From the collection of Liza Minnelli.

On the 11th of May, Judy opened at The Metropolitan Opera House in New York and was the first female pop singer to play there. The engagement benefitted the Children’s Asthma Research Institute and Hospital in Denver, Colorado, and grossed $190k during its run through May 17, 1959.On this same day, the mayor of New York, Robert Wagner, presented Judy with the present special citation for her work and her charitable work. (18312) $2,200.00

62. [Jazz & Song] Hampton, Lionel. (1908-2002) Used Vibraphone Mallet. Used mallet from the American jazz vibraphonist, percussionist and bandleader. Well-worn and used, "Good Vibes M - 235" printed to the wooden handle, obtained by our consignor directly from Hampton himself. Sold together with a marvelous original 1968 press photograph of Hampton jumping on top of a drum. (11420) $1,200.00

63. [Jazz & Song] [Harlem/Jazz] Group of 1930's Matchbook Covers. Group of four colorful 1930's night-club and jazz-related matchbook covers. Included are covers advertising Cab Calloway, with a portrait and a brief text about him; Bill "Bojangles" Robinson, with a facsimile of his signature and the line "Everything is Copesetic"; Issy Bushkoff's Creole Revue at the Club Esquire; and the Cotton Club, with a drawing of African dancers. Folding creases and staple marks with some light wear; overall very good. Each ca. 1.5 x 4.5 inches (4 x 11.5 cm). An evocative grouping of ephemera! (17794) $475.00

64. [Jazz & Song] Hines, Earl "Fatha." (1903–1983) "Boogie-woogie on St. Louis Blues" - Plaster Cast Hines's Right Hand. An original and apparently unique plaster cast of the jazz great's right hand, realized by the Chirothèque Française. Captioned on the side: "Boogie-woogie on St. Louis Blues." Repaired breaks to the fingers, with a few further losses and light soiling. Approx. 29 x 16 cm. Provenance: from the collection of the Parisian art dealer and collector Michel de Bry, who together with the legendary jazz impresario Hugues Panassié organized the 1948 Festival International du Jazz in Nice.

The “St. Louis Blues” is perhaps the most venerable of all standards. Composed and published in 1914 by W.C. Handy, the song was not the first to incorporate the blues, but it was Handy’s greatest success, recorded thousands of times by musicians of nearly every genre. Earl Hines’ 1940 rendition “Boogie Woogie on St. Louis Blues” was a hit record for his big band. Hines maintains the boogie pattern for the first minute or so, then hints at it for the rest of the arrangement. (15697) $3,000.00

65. [Jazz & Song] Holiday, Billie. (1915–1959) Signed Photograph. Signed photograph of the legendary jazz singer, who is shown in an attractive promotional photograph for the Associated Booking Corp, posing with a cigarette in her hand. She has signed and inscribed at the left. Several small tape remnants and surface losses to the edges; otherwise in fine condition overall, nicely matted and framed with all described faults out of view.

Revered as one of the greatest and most individual vocalists in the history of blues and jazz, Holiday died from cirrhosis of the liver at the age of 44. Signed photographs of her are very scarce. (17689) $6,000.00

66. [Jazz & Song] [Holiday, Billie. (1915-1959)] Stern, Phil. (1919-2014) Original Photograph recording the album Music for Touching, August 25, 1955. Large original photograph of the great jazz vocalist by the American photographer Phil Stern, noted for his iconic portraits of Hollywood stars. Billie is shown holding a cigarette in a relaxed pose, apparently mid-conversation during the recording the album "Music for Touching," August 25, 1955. Signed by Stern on the verso. 16 x 20 inches. Simply framed and in fine condition. (14767) $2,800.00

31 67. [Jazz & Song] Holmes, Odetta. (1930–2008) Signed Photograph. Signed photograph from the American singer and activist often known as "The Voice of the Civil Rights Movement." She is shown singing and playing guitar, and has signed and inscribed in green ink at the right. Dated in pencil on the verso: 1959. Very light damp-staining to the edges, a few light surface creases, else fine. 10 x 8 inches (25.3 x 20.3 cm). Uncommon. (16340) $450.00

68. [Jazz & Song] [Jazz] Gordon, Dexter. (1923–1990) & Gillespie, Dizzy. (1917–1993) & Clayton, Buck. (1911–1991) & Basie, Count. (1904–1984) & Culley, Wendell. (1906–1983) & Eldridge, Roy. (1911–1989) & Procope, Russell. (1908–1981) & Royal, Marshal. (1912–1995) & Middleton, Velma. (1917–1961) & Mezzrow, Mezz. (1899–1972) & Hamilton, Jimmy. (1917–1994) & Bishop, Walter. (1927–1998) & Hampton, Lionel. (1908–2002) & Coleman, Bill. (1904–1981) & Nance, Ray. (1913–1976) & Byas, Don. (1912–1972) & Richards, Red. (1912–1998) & Banks, Buddy. (1927–2005) & Williams, Nelson. (1917–1973) & Armstrong, Lil. (1898–1971) & Sedric, Gene. (1907–1963) Signed Tie. Blue necktie, signed by an impressive group of more than 30 jazz musicians, including: Dexter Gordon, Dizzie Gillespie, Buck Clayton, Count Basie, Wendell Culley, Roy Eldridge, Russell Procope, Andy Downes, Marshal Royal, Velma Middleton, Milt Mezzrow, Jimmy Hamilton, Wally Bishop, Leo Hampton, Lionel Hampton, Bill Coleman, Ray Nance, Don Byas, Red Richards, Buddy Banks, Nelson Williams, Della Grayson, Lil Armstrong, Gene Sedric, and others. 44 inches (110 cm) long, apparently sized for a child. Some small repairs in black thread; some scattered stains; signatures in varying condition but overall very legible. Due to the difficulty of writing with ballpoint on silk, a number of the signers have written their names in block letters rather than their usual signing styles. Overall very good.

(17556) $2,800.00

69. [Jazz & Song] [Lennon, John. (1940–1980)] Ono, Yoko. (b. 1933) Strawberry Fields, Central Park - Archive of Signed Letters and Documents. An interesting archive of typed letters signed and other documents relating to the creation of the Strawberry Fields memorial in Central Park, honoring John Lennon. Included are two typed letters signed from Yoko Ono, one inviting "all countries of the world [...] to offer plants, rocks and/or stones of their nations for Strawberry Fields" (1 p., n.d.), and one announcing the positive response of many countries (2 pp., April 19, 1982), together with a typed list of the countries participating (1 p.). Also included are a typed letter signed from Samuel Havadtoy, assistant to Ono, to Kathleen Osborne, personal secretary to Ronald Reagan, regarding the memorial (2 pp., May 7, 1982); a typed transcript of remarks from a public hearing on April 16, 1981, at which Yoko Ono was awarded the Handel Medallion in honor of Lennon's memory (2 pp., with a further page of information about the medal); an 8 x 10 photograph of Yoko and John in Central Park; and a copy of a landscape plan for the memorial (1 p.) In very fine condition overall.

Provenance: White House Correspondence Office staffer Katherine Shepherd.

"In 1984, Yoko Ono contributed $500,000 to redesign and renovate Strawberry Fields, and an equivalent amount for an ongoing maintenance endowment. Landscape architect Bruce Kelly designed a meditative Garden of Peace, rich in trees, shrubs and flowers, which was integrated with the historic landscape of Frederick Law Olmsted (1822–1903) and Calvert Vaux (1824–1895). At the western apex of the garden, Neopolitan artisans crafted a circular black and white mosaic emblem into the pavement, containing a starburst pattern and the solitary word, “Imagine,” the title of one of Lennon’s most famous songs. 150 nations were enlisted to contribute plants to the garden, thus embodying the principle of world peace for which Lennon was such an influential advocate. On October 9, 1985, on the 45th anniversary of Lennon’s birth, Strawberry Fields was dedicated, and has become a pilgrimage site for visitors to New York from around the world." (NYC Parks website.)

(17492) $2,500.00

32 70. [Jazz & Song] Minnelli, Liza. (b. 1946) Liza Minnelli—15 pairs of her signature false eyelashes. Original collection of Liza's unworn black false eyelash sets. Includes 12 pairs of Elite brand eyelashes (100% human hair, trimmed, feathered, self-adhesive), 2 pairs of Andrea brand eyelashes (style 45 black), and 1 pair of Mac brand eyelashes. The iconic pixie cut and exuberant eyelashes of the singer and actress have remained constant throughout evolutions of her style. All in unused fine condition. Provenance: Liza Minnelli Collection. (18285) $1,500.00

71. [Jazz & Song] Parker, Charlie. (1920–1955) Signed Photograph. Signed photograph of the legendary jazz musician, who is shown with his sax in a small cropped half-tone photograph and has signed across the image. The photograph was signed ca. 1950 during a tour to Sweden, where Parker performed at the Stockholm club Nalen. Fine. 2.75 x 3.5 inches (6 x 8 cm), nicely matted and framed to an overall size of 8.5 x 10.75 inches. (17744) $3,500.00

72. [Jazz & Song] Simone, Nina. (1933–2003) Collection of Family Photographs. Collection of 29 unpublished glossy candid photos from the estate of singer-songwriter and Civil Rights activist, dating from between 1967 and 1996, ranging in size from 3.5 x 4.25 to 7 x 5, and several annotated on the front or reverse in Simone’s own hand. The majority of the images consist of Simone posing with friends, touring musicians, and various members of her family, with other photos showing Simone on holiday and playing the piano. Includes a few seemingly unrelated photos. In overall fine condition. (17349) $1,500.00

73. [Jazz & Song] Simone, Nina. (1933–2003) Signed Photograph. Signed photograph of the legendary jazz singer and civil rights activist, who is shown in a promotional photograph for Colpix Records, ca. 1959-1964. She has signed and inscribed at the left to Paul McMahon. Very fine. 8 x 10 inches (20.2 x 26 cm).

Colpix was the first big label for singer and pianist Nina Simone after having made her debut on Bethlehem Records. She recorded albums for the label from 1959 (The Amazing Nina Simone) through 1964 (Folksy Nina). In 1966 Colpix released Nina Simone with Strings, an album of left-overs with strings added, when Simone was already signed to Philips Records.

From the collection of Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications. (17954) $1,500.00

74. [Jazz & Song] Stewart, Rex. (1907–1967) Collection of letters to Phillip Young, including advice on playing the trumpet. Interesting collection of eight letters, 1944-56, from the cornetist in Duke Ellington's orchestra from 1934–1945, to Phillip Young, who developed close personal friendships as as teenager with Stewart as well as Count Basie and Red Allen, having approached them following performances. Stewart eventually secured him a press pass, allowing Young to attend an incredible number of jazz performances by some of the greatest artists of the time. He corresponded with Stewart while stationed abroad during WWII and maintained the friendship through his life. The present grouping of letters, which begin with Young's entry into military service in World War II, include Stewart's encouragement that the young man keep practicing, stories of Stewart's experiences entertaining the troops after the end of the war, and praise of Young's mother's cake ("the World's Finest"). A charming window into their friendship over the span of a decade, and also including a page of handwritten advice from Allen for an aspiring trumpet player. Included letters as follows:

[no. 1, postcard, 5.5 x 3.25 inches (14 x 8.3 cm), 04/29/44, New York, NY addressed to Milton, MA]. In part: "Hey Phip - are you in the service or not?..."

33 [no. 2, 1 p., 7 x 10.5 inches (17.8 x 26 cm), 10/10/45, New York, NY to El Paso, TX]. In part: "Am glad to hear you are still blowing + trying, perhaps by the time you are out of the service I'll have a band + a job for Phip!!" ... "By the way, I want to make a showing in the Down Beat + Metronome polls this year, so if I send you some cash, how about some votes?"

[no. 3, holiday card, 5 x 6 inches (12.5 x 15.5 cm), 12/21/45, New York, NY to Roswell, NM]

[no. 4, 1 p., 6 x 9 inches (15.4 x 23 cm), 03/09/46, New York, NY to Roswell, NM]. In part: "I've a record contract with Mercury records + I've hopes of getting a good record but the deal– well, that's the dope."

[no. 5, 1 p. 8.5 x 11 inches (21.5 x 27.8 cm), 03/21/54, Johnsonville, NY to Watertown, CT]. In part: "Phip Ole Fellow... [Ruth and I] were away 3 years... toured F - E - Italy Germany Belgium Swuisse [sic.] etc. then on to Australia. Made nice dough and bought a farm upstate N.Y... [it was] great fun having a tooth pulled by the ship's baker in the Indian Ocean during a monsoon!... P.S. Where the hell is Watertown, Conn.?"

[no. 6, 1 p. typewritten w/ autograph, 8.5 x 11 inches (21.5 x 27.8 cm), 04/21/54, Johnsonville, NY to Watertown, CT]. Highly amusing account of how Stewart came to meet an acquaintance in Europe during his tour.

[no. 7, postcard, 5.5 x 3.25 inches (14 x 8.5 cm), 06/07/54, Johnsonville, NY to Watertown, CT]. In part: "Dear Phip, Hello!! Busy??"

[no. 8, 1 p. typewritten w/ autograph, 8.5 x 11 inches (21.5 x 27.8 cm), 10/16/56, Albany, NY to Watertown, CT] Written on Hudson Valley Broadcasting Company stationary, discussing Stewart's fees for university lectures on Jazz.

This grouping also include a page of Stewart's handwritten advice for an aspiring trumpet player: "1. Tongue - exercise 2. Whole scales very slowly, tone by tone 3. Grown from throat, 4. "Relax" 5. Take it easy 6. Blow softly when practising [sic ]. 4 x 5.75 inches (10 x 14.7 cm). Creased, some spotting, else fine. All letters with slight creases toning, else fine.

Together with a signed clipping of Stewart in a presentation portfolio. The Charles Peterson photo is inscribed "Keep Trying Phip, there's something there!!/ Rex" Folio is 6 x 7.75 inches (15.5 x 20 cm). Clipping measures 4.75 x 5.75 inches (12 x 15 cm). Portfolio has spotting and a tear along the inside of the spine, condition good. Clipping has adhesive residue at the top, otherwise fine. (18303) $1,500.00

75. [Jazz & Song] [The Temptations. (1960–)] Theme from Shaft - Autograph Score with Set List and Musical Fragments. An interesting sheet of autograph music and other notes from the beloved Motown group, ca. early 1970's. 4 pp. manuscript paper bifolium. The first page has a partial score for the 1971 Isaac Hayes song "Theme from Shaft"; the second page six lines of rhythm and text with two lines of chords below; the third page a set-list of Temptations classics; and the final page one instrumental part for "Take a look around," with a further two lines of sketched music at the foot and the note "Rehearsal 5:00 pm" at the head. Some light toning and pencil smudges, but overall fine. 9.5 x 12.5 inches ( 24.3 x 31.8 cm).

The influential 1971 film Shaft stars Richard Roundtree as the eponymous private detective, hired by a Harlem mobster to rescue his daughter from the Italian mobsters who have kidnapped her. One of the first and most successful blaxploitation films, the movie touched on themes of race, masculinity, and sexuality. "Theme from Shaft," the theme song by Isaac Hayes, was also wildly successful and was awarded a Grammy for Best Score Soundtrack Album and an Academy Award for Best Original Song. We have found no recordings by the Temptations of "Theme from Shaft," but we take it that this score, evidently in the hand of one of the group's members, was made for a performance during the early 1970's when the film and song were extremely popular.

34 We have also been unable to identify the spoken-word section on the second page in any of their songs, which is a list of their famous song titles, rhythmicized and with the first few phrases assigned to singers "Dennis" [Edwards], "Damon" [ Harris] and the "Group." The seven measures of chord changes at the foot suggest this section may have been spoken over a vamp as part of one of their songs or medleys. The set list on the next page lists the songs Superstar, I Can't Get Next to You, Ain't No Sunshine, Cloud Nine, Take a Look Around, Get Ready, Beauty is Only Skin Deep, I'm Gonna Make You Love Me, Never Can Say Goodbye, Imagination, Ball of Confusion, and We Love You, among others.

From the the collection of Rosa Parks' lawyer, Gregory Reed, who also represented the family members and Estates of members of various Motown groups, including the Temptations.

(16945) $2,500.00

76. [Jazz & Song] Washington, Dinah. (1924–1963) Rare Early Promotional Photograph. Unusual early promotional photograph of the young singer, shortly after she adapted her performing name, captioned at the foot: "Dinah Washington with Lionel Hampton and Band." The very young Washington is shown seated, facing to the side and showing off her crossed legs in high heels. Some surface cracks, light toning, and fingerprints; overall very good. 8 x 10 inches (20.8 x 25.2 cm).

Dinah Washington was born Ruth Lee Jones in Tuscaloosa, Alabama, and grew up in Chicago. As a teenager she began to perform in Chicago clubs such as Dave's Café and the Downbeat Room. Her breakthrough came in 1942, when Lionel Hampton heard her performing upstairs at the Garrick Stage Bar with the band Cats and the Fiddle. (Downstairs, Billie Holiday was performing in the Downbeat Room of the same club.) Hampton was sold on the eighteen-year-old Ruth, whose strong voice he knew would be heard "even with my blazing band in the background," and hired her to front his band—but with the new stage name of Dinah Washington. This early promotional photograph dates from shortly after she adapted this new name.

As to who was responsible for the name, Washington's biographer Nadine Cohodas writes: "Hampton and [his manager Joe] Glaser claim credit for giving Ruth a new name. But verifiable chronology suggests it was Joe Sherman who came up with 'Dinah Washington.' 'You ought to have something that rolls off people’s tongues, like rich liquor,' he explained, and to him 'Dinah Washington' fit the bill." (Nadine Cohodas, Queen: The Life and Music of Dinah Washington, excerpted on JerryJazzMusician.com.)

(17709) $375.00

77. [Jazz & Song] Waters, Muddy. (1915–1983) "Sail On" - Signed Album. Album of greatest hits by the important blues musician, signed and inscribed on the front cover in black felt tip, "To Ken, Muddy Waters". Damp staining and wear to the lower edge, partially split; overall very good. The record is included. 12.5 x 12.5 inches (31.5 x 31.5 cm).

Sail On is a 1969 re-released version of the 1958 album The Best of Muddy Waters, with the tracks re-sequenced. The Blues Foundation Hall of Fame inducted the album as a "Classic of Blues Recording" in 1983. (17658) $1,200.00

Dance, Theater & Film

78. [Dance, Theater & Film] [Ballets Russes] Cecchetti, Enrico. (1850-1928) & Lifar, Serge. (1905-1986) Autograph Pedagogical Manuscript Inscribed to Serge Lifar. A highly important autograph pedagogical manuscript from perhaps the greatest teacher in ballet history, presenting melodic and rhythmic themes as well as technical dance movements performed in his training of Serge Lifar for the

35 Ballets Russes. Accomplished in ink entirely in the hand of Checchetti, he has also inscribed the work to the 21-year-old Serge Lifar and dated it 1926. Occasional pencil inscriptions also in the hand of Checcetti indicate specific movements in the score, and ballets from which music excerpts were drawn, such as La contessa d'Amalfi, music by Petrella (Part II, no. VI), and Paquita, music by Minkus (Part IV, nos. 20–21). The dedication on p. 1, translated from the French reads: "To my dear pupil Lifar. In order to give lessons in our classical dance, one must have a program, a method, a system, a theory. The temps d'Adagio are the most indispensable; that we might become true artists, we must do many of them, and often. Here, dear friend, are the best that we always practiced; I offer the Music as a gift to you so that you may continue to practice them, and I wish that you have your students practice them.... This is so that you may appreciate our lessons and love even longer your old Friend and Master, Prof. Enrico Cecchetti. Milan, 28 October, 1926." 9.5 × 13 inches (24 × 33 cm). Full velum binding. Front endpaper autographed boldly in later ink by Serge Lifar, front and rear endpapers with his ownership stamp: "Serge Lifar, Maître de Ballet, Académie nationale de musique et de danse". 68 pp. In very fine condition. From the Collection of Serge Lifar.

Creator of such roles as the Bluebird and Carabosse in Petipa's The Sleeping Beauty, Enrico Cecchetti was a star at the Imperial Ballet and by 1888 was widely accepted as the greatest ballet virtuoso in the world. As a teacher, he taught and mentored not only Lifar but also Anna Pavlova, Leonide Massine, Vaslav Nijinsky, Olga Preobajenska, Anton Dolin, Alexandra Danilova among many others and traveled extensively as ballet master of Diaghilev's Ballet Russes. He created the ballet technique known now as the Ceccheti Method, still used by many ballet companies around the world.

Born in 1905, Russian-born, Serge Lifar was introduced to dance in 1920 by Bronislava Nijinska, under whom he began to study. Brought to France to join Sergei Diaghilev’s Ballets Russes, Lifar studied with Cecchetti and became premier danseur of the company and created the title roles in a number of George Balanchine’s early ballets, including The Prodigal Son. He later became director of the Paris Opera Ballet (1929) and there created over 50 ballets, including the path-breaking Icare (1935), which was written to be danced without music.

The complete manuscript consists of 61 exercises divided into four parts, as follows: Première Partie: Exercises à la Barre, pp. 1–8 A. Pliées et Port-de-Bras B. Grands Battements C. Battements tendus, degages, etc. D. Rond de jambe à terre, et en l'aire E. Battements frappés sur le cou-du-pied F. Petits Battements sur le cou-du-Pies

Deuxième Partie: Exercises au milieu, pp. 9–16 I. Grands Battements avec le Port-de-Bras II. Battements tendus et degages III. Rond de jambe à terre et en l'aire IV. Battements frappé sur le cou-du-pied V. Petits Battements sur le cou-du-pied VI. Temps de Courante Cecchetti

Troisième Partie: Temps de Adagio: pp. 17–40 No. 1. Relevés No. 2. Rond de Jambe No. 3. Grands Fouettés No. 4. Coupés et Fouettes No. 5. Quatre Pirouettes en dedans No. 6. Trois petits changements et deux grands à deux echappés sur les pointes No. 7. Rond de Jambe Dévelopé

36 No. 8. Dévelopés Cecchetti No. 9. Pas de Chaconne Cecchetti No. 10. Developpés-Fouettés Cecchetti No. 11. Renversés en diagonale en avant No. 12. Coupé Fouetté et deux tours Renversés en diagonale en arrière No. 13. Deux tours pirouete et Renversés No. 14. Temps de Courante sur les poiuntes et sautés No. 15. Pas de Chaconne et Pas de Mascotte No. 16. Première et Second Arabesque No. 17. Troisième et Quatrième Arabesque No. 18. Pas d'Aliance No. 19. Liaissons di Pirouettes No. 20. Glissade, jeté, fouette, et Glissade Cecchetti No. 21. 1/2 Contre-temps, coupé, grand rond-de-jambe, et pas-de-bourré renversé No. 22. Coupé, fouetté, simple

Quatrième Partie: Temps de Allegro, pp. 41–68 No. 1. Deux Grands Echappés sautés, et 4 changements Liaisson des Assemblés No. 2. Assemblé, temps-levé, assemblé, et Grand temps-levé No. 3A. Glissade, assemblé, pas-de-bourré, et assemblé en tournant No. 3B. Pas-de-bourré couru en arrière, grand assemblé en tournant, assemblé et jeté en arabesque No. 4. Glissade, assemblé, jeté, et pas-de-bourré en tournant No. 5. Jeté et petit battement No. 6. Jeté en tournant, assemblé, temps levé en tournant (diagonallement) No. 7. Deux petits jetés en tournant, 3 petits tours, marchés, autour de la scéne No. 8. Jeté, quatre petits battements, et deux ballonnées No. 9. Pas de bourré couru, petit battement (pointés), double petit battement, jeté, pas de bourré, fouetté à terre en tournant, pas de bourré, et pas-de-chat No. 10. Pas-de-bourré couru, petit battement (pointés), fouetté, jeté, glissé, et pas-de-chat No. 11. Echappé (changer) sussous, petit battement double, (deux échappés plus vites un tour d'un côté et de l'autre) No. 12. Petit battement en tournant finir à l'arabesque encroisée (deux fois), pas de bourré en tournant jeté, et fouetté en tournant sur la pointe No. 13. Rond de Jambe (en dedans), Rond de Jambe (en dehors), pas de bourré, pas de chat, gaurgouillade pointée jeté, coupé, et deux gaurgouillades No. 14. 32 Fouettés sur place sur la pointe No. 15. Jeté rélevé, jeté, coupé, (le tout six fois) puis jeté (encroisé en avant) assemblé, temps levé en tournant, jeté, pas de bourré, et tour sur la pointe No. 16. Jeté, Rond de Jambe, assemblé, et Ronde de Jambe en l'air No. 17. Echappé, sussous, echappé, et un tour deux fois très soutenus, deux fois plus vite et quatre fois tres vite (le tout sur les pointes) No. 18. Temps piqués sur les pointes No. 19. Fouetté sauté à six temps No. 20. Coupé, ballonné grand jeté en tournant, ensuite coupé, jeté, coupé et jeté en altitude No. 21. Grands jeté en tournant (deux fois) coupé et cabriole à la quatrième encroisée et sussous sur les pointes No. 22. [uncaptioned] No. 23. Grand Battement à la quatrième en avant bien rélévé, posé en cinquième, glissade et entre-chat-six de côté No. 24. Temps sur les pointes ou Batterie à plaisir No. 25. Pirouette à temps de Musique No. 26. Variation pour Cavalier

37 (8008) $50,000.00

79. [Dance, Theater & Film] [Ballets Russes] Diaghilev, Sergey Pavlovich. (1872–1929) [Pergolesi, Giovanni Battista. (1710–1736)] [Wassenaer, Count Unico Wilhelm van. (1692–1766)] Six Concertinos Attributed to Pergolesi AUTOGRAPH MANUSCRIPT PREPARED FOR AND INSCRIBED BY DIAGHILEV. Bound collection of 6 concertinos for 4 violins, viola, cello, and basso continuo in score, copied from a manuscript at the Conservatoire de Paris, as prepared for and subsequently inscribed by Sergei Diaghilev. Long attributed to Italian Baroque composer Pergolesi, these pieces are a famous case of reattribution within the canon of classical music, having been identified in recent decades as the work of the Dutch composer and statesman Count Unico Wilhelm van Wassenaer. Half a century before this musicological consensus had been established, Diaghilev wrote his opinion in an inscription on the cover of the present manuscript (translated as follows from the French):

"In my opinion, only the sixth (last) concertino was composed by Pergolesi. The others are of different authors who have nothing in common with him. I believe the autograph score does not exist, and that the copy at the Conservatoire de Paris is the sole known copy that belongs to . These works are found in no library in Italy. It is especially strange that they are not to be found in Naples. The quality of the music of these three concertini is very unequal, and one recognizes Pergolesi solely in the last part of the last concertino, which was composed wholly by him (the Adagio movement, recalling his serenades, etc.). S. Diaghilev, 1918."

["À mon avis, il n'y a que le 6me (dernier) Concertino qui est composé par Pergolesi. Les autres sont de différents auteurs, qui n'ont rien de commun avec lui. Je crois que le partition autographe n'existe pas, et que l'exemplaire du Conservatoire de Paris est la copie de l'unique exemplaire connu, qui appartient à . Dans aucune Bibliothèque d'Italie ces oeuvres ne se trouvent pas. Il est étrange surtout, qu'on ne les trouve pas à Naples. La qualité de musique de ces concertini est très inégale, et l'on reconnait Pergolesi seulement dans la dernière partie du dernier concertino, qui fait être tout entier composé par lui (mouvement d'Adagio, rappelant ses serenades etc.) S. Diaghilev. 1918."]

24 pages bound in a single gathering, 10 1/2 × 13 3/4 inches (27 × 35 cm) closed. Each page ruled neatly in 16 staves. Notation neatly penned in the hand of the copyist L. Mathieu, who has stamped lower right corner of cover: "'Copie musicale et littéraire,' L. Mathieu, 30, rue Legendre, Paris." Diaghilev himself has further inscribed at the base of the page "Copiés d'après le manuscrit se trouvant au Conservatoire de Musique de Paris / 1917. S[ergei]D[Iaghilev]" Purple ownership stamp in lower right corner of cover of Serge Lifar, obtained at the sale of his library. Outer sheets (cover and last page of music) ever so slightly darker than openings, else very fine throughout.

Diaghilev, the great impresario of the Ballets Russes, is best known for his prescient assemblage of extraordinarily promising composers, artists, choreographers, and dancers. Perhaps Diaghilev’s most famous musical innovation was his suggestion to Stravinsky that he set some themes by Giovanni Pergolesi (or at least some music, as here, that was then believed to be by Pergolesi). The result was Pulcinella, making Diaghilev at least partly responsible for the transition from Igor Stravinsky's Russian period to his Neoclassical period, and the subsequent broader 1920s fascination with neo- classicism. The present manuscript offers a glimpse into Diaghilev's central own role in evaluating projects for his ensemble, since his inscriptions of 1917 and 1918, two/three years before the Ballets Russes production of Pulcinella, so clearly demonstrate his interest in Pergolesi and the commedia dell'arte. (18294) $25,000.00

80. [Dance, Theater & Film] [Ballets Russes] Nijinsky, Waslaw. (1889-1950) [Adolph de Meyer. (1868 - 1949)] Signed Photograph. An exceptionally rare signed mounted halftone photograph of the dancer shown as a Harlequin in the 1910 Fokine Ballets Russes production of 'Carnaval,' music by Robert Schumann and sets by Leon Bakst. Mounted to a cardstock sheet measuring 18 x 26.5 cm, the image is identified lower left in type "Bon De Meyer - Londres" and has been signed by the dancer in ink with his name alone at the right "W. Nijinsky." In fine condition.

At the time of his celebrated 1910 photographs of Nijinsky, De Meyer was at the height of his talent, flourishing in the

38 pursuit of a painterly style that sought to elevate the practice of photography to a high status alongside the arts in other, traditional media. He had come under the inspiring influence of Alfred Stieglitz and his Secessionist contemporaries, all the while developing skills that became the foundation for his very considerable success as the foremost magazine photographer of fashion and high style. (17024) $8,500.00

81. [Dance, Theater & Film] [Bernhardt, Sarah. (1844–1923)] Dumas, Alexandre. (fils, 1824–1895) L'Étrangère - SIGNED PRESENTATION COPY TO SARAH BERNHARDT. Paris: Calmann Lévy. 1877. Presentation copy of the French author's play L'Étrangère, signed and inscribed by Dumas on the half-title to the important French actress Sarah Bernhardt, who starred in the original production. He pens (translated from the French): "To Mademoiselle Sarah Bernhardt, with the apologies, thanks, and unreserved compliments of the author, A. Dumas." 148 pp. Hardcover, 8vo, handsome contemporary red morocco with gilt; raised bands, title and Bernhardt's initials in gilt at the foot of the spine; silk endpapers. Neatly restored, faint water stain to endpapers; some light internal foxing; overall fine.

Sarah Bernhardt had a long association with Alexandre Dumas père and fils: it was the elder Dumas who took her to attend her first play at age 15 (where she was overcome by emotion and wept uncontrollably), and then coached her for her audition to the Paris Conservatory. Her breakthrough performance was in a revival of Dumas' Kean in 1868. She then went on famously to star in Dumas fils' play La Dame aux Camélias, a role which would become her signature. Among her other Dumas roles was that of Mistress Clarkson in the present play, L'Étrangère, premiered at the Théâtre- Français on February 14, 1876. Although this work, a comedy on modern Parisian life, is not generally considered one of Dumas' finest, Bernhardt won accolades for her performance. (17628) $1,500.00

82. [Dance, Theater & Film] Deburau, Jean-Charles. (1829–1873) Signed Portrait with Autograph Letter and Other Documents. An interesting collection of items from the important French mime, son and successor of the legendary Jean-Gaspard Deburau, including a signed portrait, autograph letter signed, several theater programs, a handwritten synopsis of a pantomime production, and a short monograph on the actor. Contents listed below.

Lithograph portrait published by Dechaume, showing Deburau in his Pierrot costume, standing next to a small statue of his father in the same costume. Signed and inscribed at the foot, dated Orléans, 1856. Together with a later note explaining that this has been in the collector's possession for 30 years and hoping to give it to French actor Sacha Guitry. Rather heavy foxing and soiling; overall good. 6.75 x 10.5 inches (17.3 x 26.4 cm).

Autograph letter signed from Charles Deburau to the Director of a regional theater, asking to perform there with a group of 10 other actors. Paris, October 8, 1857. Creases and several edge tears; overall very good. 8.25 x 10.5 inches (21.2 x 27 cm).

Group of 1850's pantomime programs from the Thèâtre des Funambules, featuring Deburau as Pierrot in six different plays: Pierrot Maçon (undated), Les Deux Pierrots (October 1849; two copies), Le Boeuf Enragé (August 1850), Les Trois Pierrots (November 1850), Les Joujoux de Bric-A-Brac (September 1852), and Pierrot Sorcier (November 1852). With programs from several other Funables productions without Deburau: La Mère Gigogne (March 1859; two copies of the synopsis), Les Enfants du Soleil (n.d., two copies), Le Père Lantimèche (n.d., two copies), La Marche des Tartares (n.d.), and Madame Gargouillard en Train de Plaisir (n.d.) Sizes from 4.5 x 6.5 inches to 6.5 x 10.25 inches. Some toning, overall fine.

Handwritten synopsis of a pantomime show in an unidentified hand, titled "Les Suites d'une soupe à l'oignon" and featuring the exploits of Pierrot, Arlequin, Le Diable, and other pantomime characters. 4 pp. on a bifolium. Toning, creases, edge wear; overall very good. 6 x 7.75 inches (15.4 x 20 cm).

39 Essay on Deburau and the character of Pierrot by Eugène Briffault, from Galerie des artistes dramatiques de Paris, 1841–1842. 4 pp., with lithograph of Deburau as Pierrot by Rigo frères. Loosely sewn in yellow paper wrappers. Toning and foxing, irregularly trimmed; overall very good. 7 x 10 inches (17.7 x 26 cm).

Charles Deburau's father, Jean-Gaspard Deburau (1796–1846) was the celebrated Bohemian-French mime often credited with making famous the character of Pierrot—who would go on to inspire much Romantic, Symbolist, and Modernist art. Deburau senior is immortalized in Marcel Carné's 1945 film Children of Paradise. After his death in 1846, his son Charles was engaged to carry on his role as Pierrot at Paris' Théatre des Funambules. Charles Deburau was not as successful in Paris as his father had been, however, and in the 1850's began to perform in Bordeaux and Marseille. He is often credited with founding a "southern school" of pantomime.

The Théâtre des Funambules ('The Theatre of the Tightrope-Walkers') was a theater located on the Boulevard du Temple in Paris, sometimes called the Boulevard du Crime. Originally an informal venue for acrobatics and pantomime, a theatre was eventually built in 1816. The Funambules became celebrated for the performances of the 'Pierrot' mime Jean- Gaspard Deburau, between around 1819 and 1846, and also the early career of the great classical actor Frédérick Lemaître. (17435) $1,600.00

83. [Dance, Theater & Film] Fosse, Bob. (1927–1987) Signed American Guild of Variety Artists Application, at Age 16. A very early signed document from the important dancer and choreographer, applying for membership in the American Guild of Variety Artists at age 16. November 7, 1943; 2 pp. Fosse has completed both sides of the single-sheet form, giving his name, address, social security number, and details of his act, the Riff Brothers. The form is also signed by Fosse's father, Cyril K. Fosse, and shows that Fosse paid $5.00 as an initiation fee. Folding creases; irregular toning; overall very good. 8.5 x 11 inches (21.5 x 28 cm). Together with a clipped article profiling Fosse from the November 1979 issue of American Film.

Bob Fosse was born in Chicago in 1927, to a Norwegian-American vaudevillian father and an Irish-born mother. As a child, he was one of only a few male students at the local Marguerite Commerford Dancing School. Fosse and another boy from his classes, Charles Grass, formed the dance duo The Riff Brothers as teenagers. Fred Weaver, listed on the present document as their manager, was the husband of their dance teacher, Marguerite Commerford, and an experienced vaudeville performer. The Riff Brothers toured Chicago theaters and clubs, including the seedier ones, through their teen years; Fosse was already working as an emcee in burlesque houses at age 15, and began to create choreography at about the same time. These early years, spent in smoke-filled clubs and strip joints, undoubtedly influenced the style Fosse later became known for, with all its fishnets, bowler hats, and angular and seductive movements.

After World War II, during which he toured in a variety show in military and naval bases in the Pacific, Fosse's career skyrocketed. In 1954 and 1955, he choreographed his first musicals, The Pajama Game and Damn Yankees. He went on to win an unprecedented eight Tony Awards for choreography, as well as one for direction and was nominated for an Academy Award four times, winning for his direction of Cabaret. He was also the first to win a Tony, an Oscar and an Emmy in the same year. Fosse is remembered for his innovative and unique style, with features such as turned-in knees, rolled shoulders, and jazz hands. Married three times, and with a long history of extra-marital affairs, drugs, alcohol, and chain-smoking, Fosse had a difficult personal life. The 2019 miniseries Fosse/Verdon has brought renewed attention to his relationship with his third wife, dancer and actress Gwen Verdon, and to her important role in his work. (17401) $3,500.00

84. [Dance, Theater & Film] [Jacob's Pillow] Lindquist, John. (1910-1985) Collection of Jacob's Pillow Dance Photographs. A large and important collection of original signed and unsigned dance photographs from the Jacob's Pillow Festival, ca. 1940's–1960's, most by the photographer John Lindquist, from the collection of Paul McMahon. The collection contains

40 fourteen 11 x 14 photographs, including images of Carmen de Lavallade (two signed photographs), Niels Kehlet (three signed photographs), James Clouser (five signed photographs), Robert Powell (one signed and one unsigned photograph), a signed photograph of a dancer in American Indian dress, and an unsigned photograph of Ted Shawn and his Men Dancers in mid-air; a signed 8 x 10 photograph of La Meri and Matteo in "Swan Lake," sixty-one 8 x 10 photographs of dancers, most stamped on the verso by John Lindquist; five smaller photographs; two autograph notes from John Lindquist, and invitations to exhibitions of his work. Other dancers pictured in the collection include Ruth St. Denis, Ted Shawn, Foster Fitz-Simons, Valerie Bettis, Alexandra Donilava, José Limón, Iva Kitchell, Mario Delamo, Iris Mabry, Tatiana Grantzeva, Beatrice Seckler, Margaret Severn, Katherine Sergava, Mia Slavenska, Seiko Sarina, Zachary Solov, Joseph Scoglio, Alicia Markova, and many others. In fine to very fine condition overall.

The autograph notes from John Lindquist to Paul McMahon and Ralph Hodgon (undated) are penned on a folded card with a photograph of a male dancer pulling a rope ("Dear Paul and Ralph, Thanks for the card [...] 'Have you any battles today.' Have some very interesting literature. Pretty pictures too. Love, John Lindquist.") and on the verso of an invitation to an exhibition of his works at the Boston Athenaeum in 1976 ("Dear Paul & Ralph, Hope you will see this show. The best I have ever had. J.L." - with original envelope.)

The site of the Jacob's Pillow Dance Festival in Becket, Massachusetts was first bought by Ted Shawn in 1931. There he founded a dance retreat for his all-male corps, who constructed many of the buildings on the site. The retreat had evolved into the location of a summer festival by the 1940's. John Lindquist (1890–1980), who had begun photographing Ted Shawn and His Men Dancers in 1938, was the official photographer of the Jacob's Pillow Dance Festival until his death in 1980. In this role, he knew and photographed many of the most important American dancers of the mid- twentieth century, as well as traditional dancers from cultures around the world. A collection of more than 7,000 of Lindquist's dance photographs is held at Houghton Library at Harvard.

From the library of Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications. (17894) $4,500.00

85. [Dance, Theater & Film] Laurel, Stan. (1890–1965) & Hardy, Oliver. (1892–1957) Collection of Autograph Sheet Music.

A large archive of original handwritten sheet music, over 200 pp. total, for songs from the stage shows of the beloved comedy duo Laurel and Hardy. Undated [ca. 1940–1954], and in various hands, some stamped by arrangers/copyists Harold G. Lindoft, Norman G. Burlingame, and Carlton Kelsey. The collection comprises fairly complete sets of orchestral parts for numbers including the "Fanfare and Opening" from one of their shows, "Jitter Conga," "Merry Oldsmobile," "We Know All the Answers," and "Cupid is a Stinker," as well as a large number of unsorted orchestral parts for "Laugh at Troubles," "Lazy Moon," "Ferry Boat Serenade," "Chrysanthemum," "Policeman's Waltz," and other songs. Also included are 9 folders containing parts used by string players, labeled on the cover of each with the clipped text "Laurel and Hardy" and a clipped color image of the comedians, and containing string parts copied in various different hands for several short numbers: "Ginger You're Balmy," "Nuts in May," "I'm Cuckoo," "Jolly Good Fellow," "Cock Robin," and other music to be played "according to [stage] business." The parts are in good condition overall, some with toning and toned tape repairs, and with extensive markings from use, including annotations, added musical excerpts, taped-on additional pieces of music, etc. Each page ca. 9 x 12.5 inches. A remarkable archive.

The instrumentation of the complete sets as follows:

Fanfare and Opening/Laugh at Troubles (stamped by Norman G. Burlingame): 1st E flat Alto-Clar; 2nd E flat Alto; 1st B flat tenor; 2nd Tenor; 1st Trumpet; 2nd Trumpet; 3rd Trumpet; 1st Trombone; 2nd Trombone; Piano; Conductor/Violin; Violins A-B; Violin C; Guitar; Bass; Drums.

41 Merry Oldsmobile (stamped by Harold G. Lindoft and dated August 15, 1940): 1st E flat Sax; 2nd E flat Sax; 3rd B flat Sax; 4th B flat Sax; Drums; 1st B flat Trumpet; 2nd B flat Trumpet; 3rd B flat Trumpet; 1st Trombone; 2nd Trombone; A- Violins (2x); B-Violins (2x); Bass; Guitar; Piano; Conductor.

We Know All the Answers (stamped by Norman G. Burlingame; with printed score to the song "Tonight you bring a glimpse of Paradise" pasted in): 1st Trumpet; 2nd Trumpet; 3rd Trumpet; 1st Trombone; 2nd Trombone; 1st E flat Alto- Clar; 2nd E flat Alto-Clar; 1st B flat Tenor-Clar; 1st E flat Alto Sax / Clar; 2nd B flat Tenor; Drums; Conductor/Violin; Violins A-B; Violin C; Bass; Guitar; Piano.

Cupid is a Stinker (stamped by Norman G. Burlingame): 1st Trumpet; 2nd Trumpet; 3rd Trumpet; 1st B flat Tenor-Clar; 2nd B flat Tenor; 2nd E flat Alto-Clar; 1st Trombone; 2nd Trombone; Piano; Conductor/Violin; Violins A-B; Violin C; Guitar; Bass; Drums.

Jitter Conga (stamped by Norman G. Burlingame): 1st E flat Alto; 2nd E flat Sax; 1st B flat Tenor; 2nd B flat Tenor + Shakers; 1st Trumpet; 3rd Trumpet + Scraper; 2nd Trombone + Claves; Piano; Conductor; Violins A-B; Violin C; Bass; Drums; and one other unmarked part in pencil in another hand.

Ginger You're Balmy-Nuts in May-I'm Cuckoo-Jolly Good Fellow-Cock Robin-Hurry Music-Fanfare-Cuckoo-Nuts in May (copied in various hands, each part enclosed in a folder; some also include Lazy Moon): one set of 1st Violin, 2nd Violin, 3rd Violin, Viola, and Cello, and one set of Violin A, Violin C, Viola, and Cello.

From the personal collection of Cassidy Cook, Stan Laurel's great-granddaughter.

Composed of Englishman Stan Laurel (1890–1965) and American Oliver Hardy (1892–1957), the duo became well known during the late 1920s to the mid-1940s for their slapstick comedy, with Laurel playing the clumsy and childlike friend of the pompous bully Hardy. They appeared as a team in 107 films, starring in 32 short silent films, 40 short sound films, and 23 full-length feature films. After finishing their movie commitments at the end of 1944, they concentrated on performing in stage shows and embarked on a music hall tour of England, Ireland, and Scotland. This final tour was difficult, as they often performed to half-empty theatres, with Hardy's failing health an anxiety. The tour came to a sudden end when Hardy suffered a heart attack in May 1954.

(17654) $4,000.00

86. [Dance, Theater & Film] [Monroe, Marilyn. (1926–1962)] Doctored "Topless" Photograph. Unusual vintage photograph of Marilyn Monroe in a topless version of the famous flipped-up skirt image from The Seven Year Itch. The photograph appears to have been doctored quite skillfully! Toned tape to the upper corners; very good. 2.75 x 4.5 inches (7 x 11.5 cm). (17999) $750.00

87. [Dance, Theater & Film] Monroe, Marilyn. (1926–1962) Group of Original Candid Photographs. Group of four original candid snapshots of the legendary actress. She is shown in two photographs in a spaghetti-strap dress, coming out of a car and smiling in front of a brick wall; in a collared shirt printed with birds; and in a white feathered boa. Each 3.5 inches (9 cm) square and printed on Kodak paper. Very fine.

88. [Dance, Theater & Film] Monroe, Marilyn. (1926–1962) Large Archive of Photographs. A remarkable collection of 90 original vintage publicity and candid photographs from the legendary actress' most beloved films,

42 together with a small group of candid photographs. Included are photographs from the films Ladies of the Chorus (1), Some Like It Hot (3), The Seven Year Itch (20), Bus Stop (25), No Business Like Show Business (2), River of No Return (10), Don't Bother to Knock (2), The Misfits (2), Gentlemen Prefer Blondes (16); two photographs of Monroe wearing the Moon of Baroda Diamond in a promotional event for Gentlemen Prefer Blondes; three other 8 x 10 portraits of Monroe; one doctored photograph showing Monroe topless in a pose evoking the famous moment in The Seven Year Itch; and four candid photographs of Monroe wearing a light dress and a feather boa at an event (3.5 x 5.25 inches). All other photographs 8 x 10 inches, most being original and of the period though a handful appear to be later issues, and overall in fine condition. (18002) $7,500.00

89. [Dance, Theater & Film] Warhol, Andy. (1928–1987) [Monroe, Marilyn. (1926–1962)] Signed Marilyn Monroe Postcard. Postcard print of one of Warhol's iconic Marilyn Monroe images, boldly signed in black marker at the foot by the artist. Monroe's face is rendered in shades of green and gray in the image usually known as Marilyn Monroe, 1967 (black). Matted and framed. Sight size 4 x 5 inches, matted framed to an overall size of 10 x 11 inches (26 x 28.5 cm). Fine. (17572) $2,500.00

Literature & Art

90. [Literature & Art] Abbott, Berenice. (1898–1991) "The Path of a Steel Ball" - Original Photograph with the pictured Model Train. Original photograph showing "the path of a steel ball ejected vertically from a moving object," by the important and influential American photographer, together with the original model train used in the photograph, a copy of Berenice Abbott: Documenting Science, in which the photograph is reproduced, and a notarized letter describing the provenance of the model train (it belonged to J. Eric Little, a young relative of the MIT physicist Dr. Elbert Little). Gelatin silver print photograph signed at the lower right on the photographer's mount, stamped by the photographer on the verso mount. The photograph has been professionally restored, with surface losses inpainted and the gloss immediately around those areas adjusted to more closely resemble the gloss of the original. 19.25 x 9 inches, mount and frame 30 x 24 inches.

Berenice Abbott, primarily known for her interwar portraits of New Yorkers and 1930's images of New York skyscrapers, was also a pioneering figure in science photography. After working in London and Paris—where she studied with Man Ray and photographed Jean Cocteau, James Joyce and others—and creating her iconic 1930's images of New York, Abbott became photographic editor of Science Illustrated in 1944. In the late 1950's, she began to work as a photographer at MIT with scientists including Dr. Elbert P. Little. She provided photographs for the core textbook Physics, used by millions of high-schoolers from the 1960's on. Her innovative and beautiful scientific photographs bring to light otherwise invisible phenomena: waves, parabolae, ellipses, force, and energy; many were created with the help of photographic apparatus she designed herself. The retrospective Berenice Abbott: Documenting Science was published to accompany a 2012 exhibition at the MIT museum.

(15341) $7,500.00

91. [Literature & Art] Bacon, Francis. (1909–1992) Roger Cornaille with Frankenstein - Original Photograph. An extraordinary and rare original photograph taken by the British artist known for his emotionally charged imagery, fixation on personal motifs, and experimentation. Dye diffusion transfer print, taken ca. 1975 by Francis Bacon at the celebrated Parisian bookstore Librairie Le Minotaure, the image depicts - in a slightly blurred and unsettling fashion reminiscent of Bacon's painted oeuvre - the store's owner Roger Cornaille engaging with a Frankenstein hand puppet. The location and photographer are identified by the subject himself, a friend of the artist, in a handwritten caption on the verso: "Au Minotaure / vu par Francis Bacon!" The photograph is identified with the code on the verso "G511232," possibly establishing the date of film manufacture as July (G), [197]5 according to the dating of Polaroid's 7-digit codes. Some surface wear; overall very good. 4.25 x 3.5 inches (10.9 x 8.5 cm). From the Collection of Denis Cholet, author of

43 "Le Minotaure: souvenirs d'une librairie de Paris, 1948 - 1987." Archivally framed to an overall size of 11 x 14 inches.

Le Minotaur, founded in 1948 a few meters from the Ecole des Beaux-Arts et de la Seine, attracted an extraordinary mix of international celebrities of television and cinema, artists and scholars and was the site of important photography exhibitions by Denise Colomb and Lucien Clergue, among others. Under the store's publishing wing, Roger Cornaille issued the Revue Bizarre and the influential Gazette du Cinema and a number of books on art, including an early volume devoted to the graphic work of Victor Hugo.

Francis Bacon famously found inspiration in photographs, film stills, and mass-media imagery and after his death thousands of photographic prints, magazine reproductions, scientific manuals, were found littered around his London studio. Many were taken by photographer friends – notably John Deakin, his fellow denizen of Soho’s Colony Club, and the wildlife photographer Peter Beard – but he also culled a huge number from published sources and occasionally took photographs himself. For all his brilliant legacy of portraits, he only ever painted four sitters from life and the rest from photographs, this allowing him the space and time for behind the scenes planning. Examples of Bacon's own photographs are reproduced in, among others,"In Camera - Francis Bacon: Photography, Film and the Practice of Painting" (Martin Harrison, 2005), but we trace no original examples of his photography ever appearing at auction or on the secondary market, all verified examples having evidently been retained by the Estate. The present photograph, with remarkable provenance, thus represents a unique opportunity for the collector. (17434) $20,000.00

92. [Literature & Art] Bartlett, Jennifer. (b. 1941) From Rhapsody (A Suite of Three Prints), 1987. A 1987 portfolio of prints titled From Rhapsody (A Suite of Three Prints) by contemporary American artist Jennifer Bartlett (California/New York; born 1941), printed by Patricia Branstead and Sally Mara Sturman with assistance by Susan Rees and published by Parasol Press, Ltd., New York (1987). The three loose prints consist of sugarlift, aquatint and spit-bite over a photo-etching of a grid and are printed on BFK paper. The collection includes images Row 21, Plate 42, Row 36, Plate 252, and Row 138, plate 955 after the original enamel paintings on steel plates in Bartlett’s seminal work Rhapsody exhibited at the Paula Cooper Gallery, New York in 1976. Each is numbered to the verso, and one is signed and dated to the verso. Presented in gray cloth-covered portfolio embossed with title and artist’s name.

Bartlett was born in California and began her art studies at Mills College in Oakland. She went on to earn both a BFA and an MFA from Yale University School of Art and Architecture in New Haven, Connecticut. She began her career working in the Geometric Minimalist style that was prevalent at the time, but soon developed her unique style of juxtaposing conceptual systems and abstraction with painterly representation. Bartlett’s work has been widely exhibited in major international museums, and is represented in the permanent collections of numerous prestigious institutions including The Tate, London; Whitney Museum of American Art, New York; Israel Museum, Jerusalem; The Metropolitan Museum of Modern Art, New York; and The Museum of Modern Art, New York.

(17036) $3,500.00

93. [Literature & Art] Beuys, Joseph. (1921–1986) Zeichnungen von 1949–1969 - SIGNED. [Düsseldorf]: Galerie Schmela. [1972]. Signed and numbered catalog from the important Fluxus artist. [3] facsimile text pages giving Beuys' chronology, 57 black and white plates of his drawings. No. 34 of 500 numbered and signed copies. Original cloth backed blue wrappers. 4to (8.25 x 11.75 inches). Toning.

"Beuys is best known for his sculpture, with its many unorthodox mediums and materials, and for the “Actions” (performances) which made him one of the most visible figures in the art world. But it was in his drawings (generally agreed to exceed 10,000 sheets) that he diagrammed his ideas and first revealed his creative identity. Beuys often likened his drawings as a whole to an energy bank, a vital source of ideas [...] The spidery lines and emphatic markings,

44 often depicting human and animal figures, are a response to the trauma of the war, an investigation of mythologies that might heal a divided world. As the artist himself often pointed out, they already embody crucial elements of his thinking: the universal cycle of birth, death, and rebirth; the fluctuation of the world between “cold” crystalline states and “warm” organic ones; and the unity of the spiritual and material worlds." (Notes to MoMa's exhibition "Thinking is Form: The Drawings of Joseph Beuys".) (17156) $750.00

94. [Literature & Art] Cummings, E.E. (1894–1962) [Diamond, David. (1915–2005)] CIOPW - Signed Presentation Copy to David Diamond, with Original Painting. New York: Covici Friede. 1931. First edition. Collection of artwork by the noted poet and visual artist, inscribed by Cummings on the copyright page to composer David Diamond: "Diamond— W the score of Tom—Cummings", and with an original drawing of an elephant by Cummings in watercolor on the rear free endpaper. One of 391 copies, this copy not numbered, signed by Cummings in green watercolor on the title page. The title is an acronym for Charcoal, Ink, Oil Colors, Pencil, Watercolor - each of which have a section in this book in sequence. Illustrated. Printed in NYC by the Stratford Press. Typography by S.A. Jacobs. Reproductions by the Meriden Gravure Company. 119 pp. 1 vols. Large 4to. Hardcover, brown burlap cloth with silver signature to the front board. Housed in a custom box in quarter leather and brown cloth, printed with "Presentation to David Diamond" at the lower right. Slight splits to the edges of the spine; small toned tape remnants on the endpapers. Overall fine in very fine box. 10 x 13.5 inches (26 x 34 cm).

Published in 1931, CIOPW includes 99 examples of Cummings’s visual art in charcoal, ink, oil, pencil, and watercolor. An extraordinary book, published by Cummings at age 37, "no writer of note had ever done anything like it before (and few have since)...CIOPW epitomizes the genre now known as an artist’s book, or book-art, in which the author selects images, sequences them optimally, and then finds a printer. The subjects here are mostly people important to Cummings — stars such as Charlie Chaplin, as well as his personal friends James Sibley Watson, Scofield Thayer, S.A. Jacobs, Gilbert Seldes, Joe Gould — and also landscapes, nudes (only female), Coney Island, still-lifes, etc. Few of the individual pieces survive as great; but as with any major artist’s book, the whole realizes more than the sum of its parts." (Richard Kostelanetz, "E.E. Cummings's Long-Forgotten Artist's Book," Hyperallergic, 5/15/17)

From the collection of David Diamond, considered one of the preeminent American composers of his generation. He enjoyed wide success in the 1940's and 1950's, before the serial and modernist trends largely pushed him into the shadows. The New York Times described him as "part of what some considered a forgotten generation of great American symphonists, including Howard Hanson, Roy Harris, William Schuman, Walter Piston and Peter Mennin." Among his many close friends in the world of music were Aaron Copland and Leonard Bernstein. Diamond also had a lifelong friendship with E. E. Cummings, which began when, as a young composer, he asked to write the music for Cummings' ballet scenario TOM (based on the story of Uncle Tom's Cabin.) (17660) $4,500.00

95. [Literature & Art] [Dada] Tzara, Tristan. (1896 - 1963) & Picabia, Francis. (1879 - 1953) Festival dada. Mercredi 26 mai 1920 à 3 h, après-midi. Programme. Paris: 1920. Handbill poster, printed in black on pale green stock, overprinted in orange with an elaborate dada mechanomorphic drawing by Picabia (and additional text). On the verso: catalogue of the Dada publishers and gallery Au Sans Pareil. 350 x 250 mm. (13 5/8 x 9 3/4 inches). Design by Francis Picabia and Tristan Tzara. With the typical folds, some areas of toning, small chips and stains to the corners and edges, overall a very good example of this scarce and fragile handbill.

The program is headlined in orange with the announcement “Tous les Dadas se feront tondre les cheveux sur la scène!” ( "All of the Dadas will have their heads shaved at the event!"), though at the event the audience was so upset that the Dadas failed to follow through with this promise that they pelted the participants with tomatoes, rotten eggs, bread rolls, and, from one corner, apparently, veal cutlets! Though there was no head shaving, the program did feature foxtrots played on the organ and Ribemont-Dessaignes's "danse frontière” performed wrapped in a large cardboard funnel oscillating at its tip. The handbill advertises, among other elements of the program: “le sexe de dada,” “le célèbre

45 illusioniste” by Philippe Soupault, “le nombril interlope, musique de Georges Ribemont-Dessaignes, interprété par Mlle. Mar- guerite Buffet,” “festival manifeste presbyte, par Francis Picabia, interprété par André Breton et Henri Houry,” “le rastaquouère” by Breton, “la deuxième aventure de monsieur Aa l’antipyrine” by Tristan Tzara, “vous m’oublierez, sketch par André Breton et Philippe Soupault,” “la nourrice américaine, par Francis Picabia, musique sodomiste interprétée par Marguerite Buffet,” “manifeste baccarat” by Ribemont-Dessaignes, enacted by Soupault, Breton and Berthe Tessier, “système DD” by Louis Aragon, “je suis des javanais” by Picabia, “poids public” by Paul Éluard, and “vaseline symphonique,” by Tzara.

Documents Dada 20; Dada Global 229; Almanacco Dada p. 607; Sanouillet 306; Motherwell/Karpel 45, p. 111ff., illus. p. 179; Dachy p. 136 (illus. in color); Dachy: Archives Dada/Chronique p. 422 (illus. in color); Düsseldorf 257; Zürich 443; Tendenzen 3.112; Pompidou 1472, illus. p. 431; Washington: Dada pl. 360 (15668) $6,500.00

96. [Literature & Art] Dumas, Alexandre. (Père, 1802–1870) [Shakespeare, William. (1564–1616)] Autograph Quotation Signed from his "Billet d'Hamlet à Ophélie". Autograph quotation signed from the distinguished French novelist of such historical classics as The Count of Monte Cristo, The Three Musketeers, and The Man in the Iron Mask. Dumas has neatly penned a quotation of the first four lines from his "Billet d'Hamlet à Ophélie," this opening portion consisting of his translation of Shakespeare. The quotation reads: "Doutez qu'au firmament l'étoile soit de flamme/ Doutez que dans les cieux marche l'astre du jour/ La sainte vérité doutez-en dans votre âme/ Doutez de tout enfin, mais non de mon amour./ Hamlet II acte, Mr. Dumas." There are some small folds in the corners, and light tonight, but otherwise fine. approx. 7 x 9 in (17.7 x 23 cm.)

The present lines are Dumas' translation of the Shakespeare: "Doubt thou the stars are fire;/ Doubt that the sun doth move;/ Doubt truth to be a liar;/ But never doubt I love."

"Billet d'Hamlet à Ophélie" ("Hamlet's Letter to Ophelia") is an extract from Dumas' French-language adaptation of Shakespeare's Hamlet. The first four lines are a direct translation, in verse, of Hamlet's letter to Ophelia from the original Shakespeare. Dumas enlisted the assistance of Paul Meurice, one of his many protégés, to assist with the translation, as Dumas did not speak or read English particularly well. Their rendition of Hamlet was first performed at Dumas' Théâtre Historique in 1847. (18219) $2,200.00

97. [Literature & Art] Fontana, Lucio. (1899–1968) [and Ugo Mulas] Manifesto Blanco 1946. Spazialismo. SIGNED BY FONTANA. Milano: Galleria Apollinaire Edizioni,. 1966. First Edition.

Elephant Folio with color and b/w illustrations. Limited to 2000 copies, this copy signed and inscribed in blue ink by the artist on front free endpaper opposite his portrait photograph. Unpaginated (39 leaves, some printed on verso and recto, some on verso only), including a facsimile of the original "Manifiesto Blanco" published in Spanish in Buenos Aires in 1946 in which he sets forth the parameters for his art movement, "Spatialism," together with translations of the manifesto into Italian, German, French, and English, an homage by Alain Jouffroy, poems by Michel Fougares, Raffaele Carrieri, and Leonardo Sinisgalli, a statement by Fontana, 4 small illustrations, 5 large portrait photographic illus., and 17 large plates (12 in color or tint) showing details of Fontana's work. Some leaves loose or separated from the block. Bound in publisher's binding, cloth backed, with slipcase (upper and lower panels separated). Literature: Harry Ruhé & Camillo Rigo: "Lucio Fontana - graphics, multiples and more ...", Tuja Books, Amsterdam 2006, mentioned and ill. p. 197.

"Lucio Fontana’s respect for the advancements of science and technology during the 20th century led him to approach his art as a series of investigations into a wide variety of mediums and methods. As a sculptor, he experimented with stone, metals, ceramics, and neon; as a painter he attempted to transcend the confines of the two-dimensional surface. In a series of manifestos originating with the “Manifesto blanco” (White manifesto, 1946), Fontana announced his goals for a “spatialist” art, one that could engage technology to achieve an expression of the fourth dimension. He wanted to meld the categories of architecture, sculpture, and painting to create a groundbreaking new aesthetic idiom." (Jennifer

46 Blessing, Guggenheim Online)

(17562) $2,200.00

98. [Literature & Art] [FUTURISM] Bragaglia, Anton Giulio. (1890–1960) Collection of "Teatro Sperimentale" Materials. An interesting collection of materials related to the Italian artist, a pioneer in Futurist photography and cinema who also directed the experimental theater "Teatro Sperimentale degli Independenti" in the 1920's–30's. The collection includes a 6-page typescript titled "Teatro Sperimentale," with autograph corrections in Bragaglia's hand throughout; 4 original black-and-white photographs of modern set designs for Pelléas et Melisande, Oedipe and further productions; two original pastel sketches of Bragaglia, signed "Roch"; two original flyers advertising Bragaglia's theater, art exhibitions, and publications; and several newspaper clippings relating to Bragaglia's work.

Full contents:

Typescript of a text by Bragaglia, titled "Teatro Sperimentale" (corrected by hand from a longer title, apparently "Il Prossimo Teatro Sperimentale di Stato"). 6 pp., in Italian, with extensive typed and autograph corrections throughout. Written during the rise of Fascism in Italy, which "gives us hope for a renewal of our theatre system," the text argues for the necessity of a new "Experimental Theater... where a movement of serious art can begin and which will produce the authors which we are lacking." Toning, creases, and wear, but easily legible and overall very good. 8.25 x 12.5 inches (21 x 32 cm).

Four original silver gelatin photographs of Futurist-inspired set designs, each labelled on the verso: "Bragaglia / Interno di Pelleas et Melisande"; "Bragaglia / Castello di Melisande"; "Bragaglia / Scena surrealista per Apollinaire"; "Pour l'Oedipe de Bragaglia." Some light silvering, overall fine. Three approx. 4 x 6 inches, one 7 x 9 inches.

Two original black pencil drawings of Bragaglia, signed by an unidentified artist (Roch or Rochy) Their subject is identified on the verso of each. Toning; overall fine. 6.5 x 9.75 inches (16 x 25 cm).

Two printed flyers, one advertising Bragaglia's artistic exhibitions and experimental theater, the other referring to a subscription (or a decorative side featuring two woodcut figures) and advertising the publications of the Casa d'Arte Bragaglia. Very good. 8 x 5.5 inches (20.5 x 13.8 cm).

Four newspaper clippings in French related to Bragaglia's theatrical work.

A pioneer in Italian Futurist photography and Futurist cinema, Anton Giulio Bragaglia was a versatile and intellectual artist with wide interests, and wrote about film, theatre, and dance. He published two Futurist manifestos, Fotodinamica Futurista (1912) and Manifesto of Futurist Cinema (1916), founded the avant garde magazine Cronache di Attualità, and the film studio "Novissima-Film." In 1918 he opened an art gallery, the "Casa d'Arte Bragaglia", which became a nexus of avant garde artists and exhibitions. It displayed the work of such modernists as Balla, Depero, De Chirico, Boccioni, Klimt and Kandinsky. In 1922 he opened the "Teatro Sperimentale degli Indipendenti" which he directed till 1936. Bragaglia described his theories on the theater in Maschera mobile (1926), Del teatro teatrale ossia del teatro (1927), and Il segreto di Tabarrino (1933). His younger siblings Arturo (an actor) and Carlo Ludovico (a film director) were both involved in Italian cinema from the 1930s to mid-1960s. (16510) $6,500.00

99. [Literature & Art] Goethe, Johann Wolfgang von. (1749-1832) "Am acht und zwanzigsten August 1826" - SIGNED POEM. Signed printed copy of the poem celebrating his seventy-seventh birthday of the great German writer, scientist, and philosopher who takes a place among the central intellectual and artistic figures of his day. His poetry and dramatic works provided source material for Beethoven, Schubert, and Berlioz, among

47 others. 'Am acht und zwanzigsten August 1826' ("Des Menschen Tage sind verflochten,/Die schonsten Guter angefochten ..."), signed at the foot by Goethe and inscribed "erneut ["again"] d. 28 Aug / 1830," 1 page, 8vo, decorative border, some toning, small tear at the lower right edge, mounted to another sheet, else fine. Overall size 6 x 8.75 inches (15 x 22.3 cm).

An uncommon signed copy of apparently the first printing of this birthday poem, entitled On the Twenty-Eighth Day of August, 1826 (Goethe's seventy-seventh birthday), consisting of three 6-line stanzas. (17360) $7,500.00

100. [Literature & Art] Haring, Keith. (1958–1990) Signed "Safe Sex" Condom Case. Signed "Safe Sex" Bi-Box plastic condom case from the American graffiti artist and social activist. The plastic box shows Haring's drawing of a smiling penis holding a condom, with the words "Safe Sex!" in red. Haring has signed at the left in black marker and dated [19]88. Copyright [19]87. The case opens to reveal space for one condom, and also has a metal clip on the back. Very fine. 2.5 x 2.5 inches (6 x 6 cm). (16983) $2,500.00

101. [Literature & Art] Hockney, David. (b. 1937) Turandot - Mixed Media on paper. Untitled (Turandot). Mixed media with digital pigment print on paper. 11 x 8-1/2 inches (27.9 x 21.6 cm) (sheet). Signed and dedicated lower left: For / Michael / love / David. PROVENANCE: The artist; Michael Roth Collection, Los Angeles, California, gift from the above.

Sheet is hinged to board; a few scattered soft creases throughout the upper half of the work; possible water damage affecting the lower right corner of the mount, not affecting the work. Framed Dimensions 16 x 13.5 inches.

Instantly recognizable with his trademark circular glasses and exuberant personality, Hockney is also one of the most versatile artists, being successful as a painter, photographer, printmaker, stage designer and a draughtsman. The present work uses a print of one of the artist's designs for Puccini's "Turandot," which he designed for the Chicago Lyric Opera and the San Francisco Opera in 1992-3.

(18192) $6,000.00

102. [Literature & Art] Hujar, Peter. (1934 - 1987) Signed Yearbook. New York: School of Industrial Art. 1953. Hardcover Yearbook. Unpaginated, 7 x 8 in. Light soiling and fading to cover cloth, else fine. The copy of Annabelle Simon, who graduated from the School of Industrial Art, New York in 1953, containing 56 personal inscriptions from her graduating classmates and including a signed inscription from the celebrated photographer Peter Hujar.

Hujar has been recognized posthumously as "one of the major American photographers of the late twentieth century," and "among the greatest American photographers." He received his first camera in 1947 and in 1953 entered the School of Industrial Art where he expressed interest in being a photographer. He was fortunate to encounter an encouraging teacher, the poet Daisy Aldan, and following her advice, he became a commercial photography apprentice. Apart from classes in photography during high school, Hujar's entire photographic education and remarkable technical mastery was acquired in commercial photo studios. By 1957, when he was 23 years old, Hujar was making photographs now considered to be of museum quality. Early in 1967, Hujar was one of a select group of young photographers in a master class taught by Richard Avedon and Marvin Israel, where he met Alexey Brodovitch and Diane Arbus. (17866) $500.00

103. [Literature & Art] Lagerfeld, Karl. (b. 1933) 1985 Fashion Design. Signed fashion design by the German fashion designer, artist, and photographer known as the creative director of Chanel and for his own eponymous fashion label. The drawing, in black and gold marker with colored pencil, shows a casual pink dress with large front pockets and

48 loose sleeves, worn with a gold-buckled belt. Lagerfeld has signed at the foot and noted: "Chanel / Couture / fall 85." On notepaper with the Chanel logo. Pinholes at the corners; overall fine. 8.25 x 11.75 inches (21 x 29.6 cm).

From the collection of fashion historian and journalist June Weir-Baron (1928–2015), the first woman Vice President at Fairchild Publications, a major force in her capacity as Fashion Editor and Assistant publisher of Women's Wear Daily and W. She made news as key editor at Vogue, as Executive Fashion Editor at Harper's Bazaar, deputy Style Editor for The New York Times Sunday Magazine and Contributing Editor at Mirabella.

(16633) $2,500.00

104. [Literature & Art] Lagerfeld, Karl. (1933-2019) 1985 Fashion Design. Signed fashion design by the German fashion designer, artist, and photographer known as the creative director of Chanel and for his own eponymous fashion label. The drawing, in black and gold marker with colored pencil, shows a broad-shouldered pink skirt suit with a large black and gold bow at the neck. Lagerfeld has signed at the foot and noted: "Chanel / H. C. / fall 85." On notepaper with the Chanel logo. Pinholes at the corners; overall fine. 8.25 x 11.75 inches (21 x 29.6 cm).

(16632) $3,000.00

105. [Literature & Art] Lopez, Antonio. (1943 - 1987) Portrait of June Weir-Baron. Large-format portrait in pencil and watercolors in the hand of the leading fashion illustrator whose work appeared in such publications as Vogue, Harper's Bazaar, Elle, Interview and The New York Times. Titled and signed in the lower margin "June by Antonio / 1985." 11 x 14 inches. In fine condition.

From the collection of June Weir-Baron (1928 - 2015), Fashion Historian and Journalist, the first woman Vice President at Fairchild Publications, a major force in her capacity as Fashion Editor and Assistant publisher of Women's Wear Daily and W, as an influential editor at Vogue, Executive Fashion Editor at Harper's Bazaar, deputy Style Editor for The New York Times Sunday Magazine and Contributing Editor at Mirabella.

In his influential designs, frequently Lopez explored themes of queer desire and race in his art through cultural references to subjects such as Josephine Baker and The Wild One. Several books collecting his illustrations have been published and in his obituary, the New York Times called him a "major fashion illustrator." Working in close collaboration with Juan Eugene Ramos and Charles James, he also was an associate of Karl Lagerfeld and is credited with the discoveries of Jessica Lange, Jerry Hall and Grace Jones. As seen here, he generally signed his works as "Antonio." He died at the age of 43 from Kaposi's Sarcoma as a complication of AIDS. His work is seldom encountered on the market and this is a fine example with extraordinary provenance. (15416) $2,500.00

106. [Literature & Art] [Mandel, Mike. (b. 1950)] Cunningham, Imogen. (1883–1976) & Adams, Ansel. (1902–1984) & Welpott, Jack. (1923–2007) &Newhall, Beaumont. (1908–1993) & Mann, Margery. & Dater, Judy. (b. 1941) Group of Six SIGNED Photographer Baseball Cards. Group of six 1975 trading cards from the American conceptual artist and photographer Mike Mandel, each depicting a well-known photographer posing in baseball garb and printed with amusing stats on the verso, and each signed by the subject: Ansel Adams, Margery Mann, Judy Dater, Imogen Cunningham, Beaumont Newhall, and Jack Welpott. Offset lithograph. A few small creases to the margins, a few small stains along the edges of Margery Mann, Imogen Cunningham, and Ansel Adams, not affecting the images; moderate toning noticeable to the reverse of most. Overall fine. Each 2.5 x 3.25 inches (6.3 x 8.9 cm).

49 Mike Mandel (born 1950) is an American conceptual artist and photographer whose work "questions the meaning of photographic imagery within popular culture and draws from snapshots, advertising, news photographs, and public and corporate archives." Most of the publications Mandel has been involved with have been self-published: his own, his early conceptual collaborations with Larry Sultan, and his later collaborations with Chantal Zakari.

In 1974 Mandel and Alison Woolpert traveled across America, making portraits in the style of baseball cards of 134 photographers and curators. These included Ansel Adams, Imogen Cunningham, Harry Callahan, Minor White, Aaron Siskind, William Eggleston, Ed Ruscha, and John Szarkowski. They also collected personal statistics and comments. Mandel then created a set of baseball cards and sold them through museums and galleries, in packs of 10, at a dollar a pack. (17489) $850.00

107. [Literature & Art] [Picasso, Pablo. (1881–1973)] Three Photographs of Picasso Artworks from the Collection of Alfred Barr, including ONE SIGNED BY THE ARTIST. Group of three photographs of artworks by Pablo Picasso, one signed on the verso by the artist, from the collection of Museum of Modern Art director and early Picasso authority, Alfred Barr. Included are photographs of:

"Six Bathers" Bronze 1957–58, photographed by Rudolph Burckhardt. Gelatin silver print, ferrotyped, 7.5 x 9 inches (19.4 x 22.7 cm), verso with Burckhardt's stamp (and that of Fine Art Associates), titled in pencil with a note "return to Barr" at upper right. Very light wear.

Pablo Picasso holding a young boy in his arms, next to his bronze "Le Berger", photographed in the early 1950s, Vallauris Golfe-Juan, France, by L. Yvroud. Gelatin silver print, 4 x 6 inches (10 x 15 cm), verso with the photographer's stamp, the notation "Barr", and signed in pencil by Picasso. Minor wear, handling marks etc.

A group of Picasso's works on canvas grouped together, with the artist partially visible at the left holding one of the canvases. Small gelatin silver print, photographer unknown, titled in pencil on verso titled "3 in a row all painted on 26- 4-56", with "Barr" in pencil at upper left. Fine.

Barr was the first director of the Museum of Modern Art, and an authority on Picasso. (17653) $4,500.00

108. [Literature & Art] Prin, Alice. [Kiki de Montparnasse.] (1901–1953) [Ray, Man. (1890–1976)] Kiki Souvenirs - Signed and Inscribed with Self-Portrait Drawing. Paris: Henri Broca. 1929. Signed and inscribed on the first free endpaper with a drawing by Kiki, "a Sven Thempthander en souvernir de nos folles nuits... ta cheri Kiki de Montparnasse, 25 Juin 1930". Small 4to (23 x 18 cm.). Illustrated with 10 reproductions of photographs by Man Ray and with many reproductions of paintings and drawings. With preface by Foujita. Wrappers with a mounted reproduction, worn, partly soiled and stained, upper wrapper partly detached and with repaired tear, spine repaired, corners bumped. Overall very good.

Alice Ernestine Prin (1901–1953), nicknamed Kiki the Queen of Montparnasse, was an artist's model, nightclub singer, painter and artist. Flourishing in 1920's Paris, she helped define the liberated culture of the era. As an artist's model, she posed for painters including Jean Cocteau, Alexander Calder, and Man Ray, who made hundreds of portraits of her and was her companion for many years. Most famously, she appears with a violin's f-holes superimposed on her bare back in his image Le violon d'Ingres. As an artist in her own right, she created paintings and drawings in a light, expressionist style. Her autobiography, Kiki's Memoirs, published in 1929, was immediately banned in the United States but nevertheless found many international readers. (17057) $4,500.00

109. [Literature & Art] Schneemann, Carolee. (1939–2019) [Ed. B. McPherson] More than Meat Joy. Complete

50 Performance Works & Selected Writings - SIGNED TO VAL TELBERG AND LEILA KATAYEN. New Paltz: Documentext. 1979. First. 281,(7)p., numerous photographs and illustrations, orig. boards w. dustwrapper, oblong 4to. One of 2000 printed, this copy inscribed and signed on the ffe "Val - for my dear friend and co-consipirator of the visual depth charge, loving admiration, to you + Leila / Carolee / June '86." In fine condition, with the lightest toning to the upper board edges, a few small tears and marks to the dj.

A fine signed copy of the Catalogue raisonne by the American performance/ body artist known for her multi-media works on the body, narrative, sexuality and gender, containing a performance chronology and bibliography. The recipients of the inscription are the Russian surrealist photographer, filmmaker, and sculptor Val Telberg (1910-1995) and his wife, dancer and choreographer Leila Katayen.

As Oliver Basciano writes for the Guardian, Schneemann’s career is perhaps best encapsulated by the 1964 piece “Meat Joy.” An hour-long, bacchanalian celebration of the flesh, the performance found men and women cavorting around in various stages of undress while slathering each other in paint and exchanging slimy handfuls of raw fish, chicken and sausage. “I thought of 'Meat Joy' as an erotic ritual for my starved culture,” Schneemann reflected in a retrospective held by Manhattan’s New Museum of Contemporary Art in 1996. The work as a concept emerged out of a frustration that sensuality had become synonymous with pornography; she added: “The old patriarchal morality of proper behavior and improper behavior had no threshold for the pleasures of physical contact that were not explicitly about sex but related to something more ancient—the worship of nature, worship of the body, a pleasure in sensuousness.” “Meat Joy” even managed to shock Marcel Duchamp, who declared it the “messiest” work of art France had ever seen. At one Paris performance, an audience member reportedly grew so riled up that he flung himself into the melee and attempted to strangle Schneemann. But for fans, “Meat Joy” was a high-octane thrill of messy, joyous, violent, comical, erotic and off- putting entanglements. It also typified, as Anna Cafolla of Dazed writes, “what is now a universal feminist ideal—celebrating our bodies and our sex.”

The Surrealist-influenced photomontagist Val Telberg had his first major show at the Brooklyn Museum in 1948 and in the mid-1950's he famously collaborated with Anais Nin, creating images for the 1958 edition of her book "The House of Incest." Works by Telberg, who also made paintings, sculptures and films, are part of many public collections, including those in the Museum of Modern Art, the Metropolitan Museum of Art, the Brooklyn Museum and the Los Angeles County Museum of Art. In 1983 the San Francisco Museum of Modern Art organized a retrospective of his photomontages. (18254) $750.00

110. [Literature & Art] Steinbeck, John. (1902-1968) Original Drawing of a Seagull with Autograph Signature. An amusing original drawing of a seagull and autograph signature from the American author who was awarded the Pulitzer and Nobel prizes and whose many important works include The Grapes of Wrath, East of Eden, and Of Mice and Men. Penned on a torn portion of a pillow case for our consignor when she was a teenager in late 1960's in Sag Harbor, where her family was friendly with John and Elaine Steinbeck. Some discoloration from age, overall very good. 3.25 x 1.5 inches (8.5 x 4 cm).

John and Elaine first discovered Sag Harbor when they vacationed there in the summer of 1953, and in 1955 they bought a summer home there. The couple loved the ocean and Sag Harbor was nearly surrounded by water. They purchased a two-acre, pie-shaped wedge of land across from the water. In Sag Harbor, the author had finally found the home he had longed for: a place where he could be immersed in the sights and smells of the ocean, where he could live amongst the hard-working people he felt most comfortable around, and where people treated him as a neighbor, rather than a writer. He was paid the highest compliment by a shop owner in Sag Harbor who said, “He should have been born here and shouldn’t have been famous.” It was in Sag Harbor that Steinbeck wrote The Winter of Our Discontent, his only novel to be set in New England. (17477) $1,200.00

51 111. [Literature & Art] [Taylor, Elizabeth. (1932–2011)] Ruscha, Ed. (b. 1937) They Called Her Styrene - Inscribed to Elizabeth Taylor. Collection of drawings and paintings from the American pop artist, inscribed and signed on the top edge of the pages to Elizabeth Taylor: "Dame Elizabeth! Ed Ruscha 4 7 ’02." 5.25 x 7.5 inches. Corners bumped, a few small stains and marks to boards, overall fine. From the Estate of Elizabeth Taylor.

Reproducing 575 `word' works, assembled into the form of a thick block, these images morph into 'a sort of novel without an obvious plot, a series of words with no narrative.' This is a very special copy, inscribed by the artist who exemplifies West Coast cool to the celebrated screen legend. (18213) $2,200.00

112. [Literature & Art] Warhol, Andy. (1928-1987) & Basquiat, Jean-Michel. (1960 - 1988) Poster for Warhol/Basquiat Paintings - SIGNED BY BOTH. Exhibition poster signed by both artists, from the exhibition at Tony Shafrazi Gallery, September/October 1985. Color printed poster depicting Warhol and Basquiat wearing boxing gloves after the photo by Michael Halsband, signed in black by each artist above their portrait. 19 x 12 inches (49 x 31 cm). Folds, a few ink smudges likely from original signing. Nicely and archivally framed in red and yellow.

A very rare dually-signed example of the original exhibition poster from this important gallery show featuring the now- iconic image of Warhol and Basquiat posing as boxers, designed as though advertising a bout. The show displayed the collaborative paintings Warhol and Basquiat worked on from 1984-1985. These works were the culmination of their friendship, one which began awkwardly in the late 70's with the younger artist breathlessly hawking his postcard paintings to his idol. By 1983 through the intercession of Page Powell (Basquiat's lover and Warhol's friend) and Bruno Bischofberger (Warhol's Swiss dealer) the two artists developed a friendship. During this time, Basquiat makes frequent appearances in Warhol's diaries: traveling, exercising, and attending parties together. Eventually, the two began work on the paintings that would constitute the bulk of this exhibition.

It was Bischofberger who arranged for the works to be shown at the Tony Shafrazi Gallery in New York. Shafrazi had once been a graffiti artist himself, achieving his moment of notoriety in 1974 as the man who sprayed the foot-high words Kill Lies All on Picasso's Guernica. But the process was not without conflict. Warhol, whose work ethic was legendary, grew frustrated with Basquiat's erratic appearances and the two worked very little on these paintings at the same time. The show was a financial and critical failure and marked the end of their friendship.

The poster however, remains one of the most poignant and enduring images of the 1980's NY art scene, stylising the artistic partnership into a prize fight, with Warhol and Basquiat standing shoulder to shoulder, wearing boxing gloves and Everlast shorts.

The opening of the exhibition was attended by the poster's consignor and her recollections of the event, including descriptions of the moment both Warhol and Basquiat signed the piece, were documented in the October 1985 issue of the California College of Arts and Crafts newsletter. In the article, the opening is described as packed and that "it was impossible to see the art work, which served more as a backdrop to the theatre of the moment ... the large, mechanically rendered logo-symbology by Warhol was willingly insulted by the wild, gestural hand of Basquiat." (16758) $20,000.00

113. [Literature & Art] Warhol, Andy. (1928–1987) Signed Bullet. Signed bullet from the influential American artist. The bullet was signed by Warhol at the opening of the exhibition "Guns Knives Crosses" in December 1982 at the Galeria Fernando Vijande, Madrid. Brass, .5 inch diameter x 2 inches high (1 x 5 cm). Older wear to casing as selected by artist. Signature shows no visible signs of loss to pigments. Fine condition, sold together with a leather display shadow box.

In "Guns Knives Crosses," Warhol exhibited works in which he abstracted from images of guns, knives, crosses, and

52 dollar signs, challenging the viewer to question the meaning of these symbols. (17883) $6,000.00

History & Culture

114. [History & Culture] [African-Americana] [Dance] [Hancock, John. (1736-1793)] Original Engraving of the 1793 Equality Ball. A very interesting original print showing John Hancock shaking hands with an African- American man at the "Equality Ball" given by Hancock in Boston in 1793. While other African-American men and women dance and one plays the violin, the governor warmly greets a man named Cuffey. Meanwhile, another white man in the corner holds his nose. The engraving appeared in The Echo, with other Poems (1807), an illustrated collection of poems by a group of "wits" including one satirizing the event. The caption is excerpted from the poem, which mocks free people of color's way of speaking: "While CUFFEY near him takes his stand, / Hale-fellow met, and grasps his hand-- / With pleasure glistening in his eyes, / 'Ah! Massa Gubbernur!' he cries, / 'Me grad to see you, for de peeple say / 'you lub de Neegur better dan de play.'

Engraved by Leney after Tisdale and captioned "Page 66. Echo 10." Overall foxing and toning, with three pen strokes at the upper right and two small mounting remnants; overall in very good condition. 7.5 x 4.75 inches (18.9 x 12.4 cm).

See: Robert H. Gudmestad, 'Dance,' in Encyclopedia of African American History, 1619-1895: From the Colonial Period to the Age of Frederick Douglass, pp. 363-366. Joanne Pope Melish, Disowning Slavery: Gradual Emancipation and 'Race' in New England, 1780-1860. (13738) $350.00

115. [History & Culture] [Anti-Slavery] "Am I Not a Man and a Brother" & "Am I not a Woman & a Sister" - Pair of 19th Century Anti-Slavery Tokens. Rare pair of Anti-Slavery tokens produced for the Society for Effecting the Abolition of the Slave Trade, established by Granville Sharp and Thomas Clarkson in 1787. The first shows the society's emblem of a chained African man, naked and kneeling, "Am I not a Man and a Brother" around the perimeter on obverse, "May Slavery & Oppression Cease Throughout the World" around the perimeter and clasped hands (in print formats generally one is black and one, white) in the center on reverse. The other example shows a kneeling woman and "Am I not a Woman & a Sister" 1838" on obverse, "United States of America" (with backwards "N"), olive wreath with "Liberty / 183[8]" in center on reverse. These were commissioned by the American Anti-Slavery society to evoke pity for enslaved women as well as to foster equal rights for women. Bronze. Diam. 1 5/16 inches (30 mm). First somewhat worn and the "Sister" is slightly worn on recto (just a few high points) and the date below "Liberty" on the verso; the "Brother" with a loss on the recto. Not formally "graded" but overall very good.

Josiah Wedgewood (1730-1795), a dedicated abolitionist and close friend of Thomas Clarkson designed the "logo" of the kneeling slave for the Society for the Abolition of Slavery in 1787. This was taken up by the American abolitionists, and in 1835 Patrick Reason, a young black engraver created a version of a kneeling woman that bore the caption "Am I not a Woman and a Sister?" This image, together with that of the infamous slave ship's hold, are without question the most iconic of the anti-slavery movement on both sides of the Atlantic. (17680) $750.00

116. [History & Culture] ["BLACK IS BEAUTIFUL"] Rare Original 1960s Civil Rights Hat. An original medium sized hat, 1960s, screen-printed with the powerful words "Black is Beautiful," some toning and light soiling, overall in very good original condition. From a Bay Area collection of Black Power memorabilia, most probably distributed and worn in a Black Panther or Black Power Rally around 1968-1970.

The phrase Black is Beautiful was first used by Stokely Carmichael in the mid 1960’s and popularized by James Brown’s Hit single in 1968 "Say it Loud- I’m Black and I’m Proud."

53 (18194) $1,400.00

117. [History & Culture] [Black Power] 1970's Moulded "Fist" Afro Pick with Cutaway Peace Sign. Vintage afro comb, the handle moulded into the shape of a Black Power fist, and with a cutaway peace sign above the metal teeth. Patent no. 238821. Some light wear to the plastic; overall fine. 3 x 7 inches (7.5 x 17 cm).

The afro pick became a symbol of counterculture and the struggle for civil rights during the 1970's, and picks with a handle in the shape of a fist were quite popular. A recent sculpture titled All Power to All People by Hank Willis Thomas, installed outside near Philadelphia's City Hall, turns the black power fist pick into a 12-foot monument. (17262) $175.00

118. [History & Culture] [King Jr., Martin Luther. (1929–1968) & Belafonte, Harry. (b. 1927)] Poster for a 1966 Appearance in France. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two- color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.

In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French- American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.

(17914) $6,000.00

119. [History & Culture] Ali, Muhammad. (1942–2016) "The Greatest Love of All" - Signed Sheet Music. Burbank, CA: Golden Torch Music Corp.. c. 1977. Signed sheet music from the 1977 song "The Greatest Love of All," recorded as the main theme of the Muhammad Ali biopic The Greatest. Ali has signed on the cover, which features a montage of images from the film. 6 pp. Also included is a circular sticker with the logo of "The Greatest" and an image of Ali. Very fine overall. 9 x 12 inches (23 x 30.5 cm).

The Greatest is a 1977 film about the life of boxer Muhammad Ali, in which Ali plays himself, directed by Tom Gries and Monte Hellman. The film follows Ali's life from the 1960 Summer Olympics to his regaining the heavyweight crown from George Foreman in their famous "Rumble in the Jungle" fight in 1974. The footage of the boxing matches themselves are largely the actual footage from the time involved. The film is based on the book The Greatest: My Own Story written by Muhammad Ali and Richard Durham and edited by Toni Morrison. The song "The Greatest Love of All" was written for this film by Michael Masser (music) and Linda Creed (lyrics) and sung by George Benson; it was later covered by Whitney Houston. (16998) $350.00

120. [History & Culture] [Cannabis/Dope/Marijuana] "MARIHUANA - ASSASSIN OF YOUTH" ANTI- MARIJUANA MATCHPACK. Promotional matchbook cover for the 1939 re-release of the 1936 "Daring Marihuana Expose" anti-marijuana film, also released as "The Marijuana Story." The exterior features a graphic of a shadowy smoking man and swooning woman in

54 front of a "Reefer" cigarette, the text reading "Deals Wild, Mad Thrills At A Price - A Puff...A Party...A Tragedy." Folding creases and some light wear; overall very good. 1.5 x 4.5 inches (3.8 x 11.5 cm). (17795) $750.00

121. [History & Culture] Cody, William F., "Buffalo Bill". (1846–1917) Archive Including Cody Family Memorial Scrapbook, Signed Photograph, Signed Book, Original Photographs, Cody's Personal Grooming Kit & Meerschaum Pipe, and two newly discovered photographs, one being one of the earliest recorded photographs of Cody. A remarkable archive of photographs and ephemera owned by and relating to the legendary Wild West scout, bison hunter, and showman. The collection includes Buffalo Bill's personal shaving kit, an impressive rosewood and brass case complete with razors, combs, brushes and other grooming tools; his meerschaum pipe with a carving of a dog; three extremely rare photographs of Cody, including two previously unknown very early photographs; a signed first edition of his autobiography; an envelope of crumbled leaves from Buffalo Bill's grave on Lookout Mountain; and an album of clippings and photographs relating to his death and burial, compiled by Cody's nephew George Cody and his wife Anna Bond Goodman for their daughter. Most items in very good to fine condition; an important archive from the celebrated frontiersman and entertainer, a central figure in the history of the American West.

Complete contents:

Nineteenth-century gentleman's traveling grooming kit, consisting of a rosewood and brass fitted box, opening to reveal a fitted interior with compartments for three glass and English sterling silver toiletry containers; a silver-handled travel shaving brush; a medium-tooth comb and a fine mustache comb; a nailbrush; an ivory-handled miniature corkscrew tool; a leather strop; three folding bone-handled razors and several other bone-handled grooming tools, each in a leather loop; and two hairbrushes. The lid is lined with green velvet which hinges down to reveal two storage compartments for letters. The main body of the box has three layers of storage, with the panel of razors sitting atop the brushes, and the upper tray of small items lifting out. Razors stamped A. KLEIN 6 BOULV. DES CAPUClNES PARIS. and SHEFFIELD. Uppermost tray is unfortunately in delicate condition, with the base and dividers loose, and can no longer be removed in one piece. Some wear to all the items, consistent with use (missing teeth from the comb, loose brush hairs, handling wear, etc). The case itself is in solid condition; set overall very good. 8.5 x 6.5 x 4.5 inches (21.5 x 16 x 12 cm). A handsome item which may have been bought by or given to Cody on one of his European tours; its many tools also bear witness to the grooming that Buffalo Bill's signature mustache and beard must have required!

Late-nineteenth-century small meerschaum and amber pipe decorated with a carved dog. Housed in a leather case, marked on the lining: WDC Finest Quality. Wear to the case, browning to the meerschaum and teeth marks to the end of the pipe, which still smells of tobacco. In fine condition overall. 3.5 inches (9 cm) long.

Ca. 1850 ambrotype of a young boy, apparently William F. Cody, at approximately age 4. Housed in a decorative gold frame within a hinged leather case with hook fastening. Heavy wear to the case, with part of the spine detached and the cover separated. Image itself in fine condition, overall good. 2.5 x 3 inches (6 x 7.5 cm).

Very rare, previously unknown ca. 1875 convex glass color Crystoleum Plate photograph portrait of Cody. Unframed and in fair condition, repaired in several places with tape across the image. 4.25 x 6.25 inches (10.5 x 15.5 cm).

Signed Stacy cabinet photograph of Cody, who is shown dressed in an embroidered rawhide jacket and has signed and inscribed at the foot: "To Sallie Taylor Johnson / WF Cod.." Large chips to the corner and edges, with signature partially missing; overall fair. 4 x 6.5 inches (10.5 x 16.5 cm).

A bank deposit envelope from Norristown, Pennsylvania containing crumbled, dried leaves and bearing a pencil inscription to the verso: "Taken from Buffalo Bills' tomb on Lookout Mt, (1939)". Heavily folded and toned, with the leaves inside now essentially powder. 3 x 5 inches (8 x 13.5 cm).

55 Signed first edition of Cody's autobiography, The Life of Hon. William F. Cody / known as Buffalo Bill / the famous Hunter, Scout and Guide (Hartford, Conn.: Frank E. Bliss, c. 1879). Inscribed and signed on a front free page: "To E.D. Johnson, Jr. / From W.F. Cody / Buffalo Bill / Feb 19th, 1880." 365 pp. Illustrated with black and white plates throughout. Maroon boards with gold lettering and gold buffalo to the front board. Spine and boards separated; heavy edge wear; toning; but block intact and overall in good condition.

Family scrapbook of press clippings, photographs, letters and telegrams relating to Buffalo Bill and his death in 1917. Inlaid panel to the front board reads: "Memorial to Col. Wm. F. Cody / "Buffalo Bill" / Compiled for his grand neice [sic] / Julia Ann Goodman / by her parents / George Cody and Anna Bond Goodman / 1917." Contents include clipped interviews and articles on Cody from 1915–1917, profiling him and reporting on his 70th birthday, and many clippings reporting on his death and memorializing him; two typed letters signed about Cody's last illness and a telegram reporting his death, addressed to George Cody and Anna Bond Goodman from a family member, "Louie,"; a telegram dated February 16, 1916, apparently from Cody to Anna Goodman (signed "Uncle."); typed and autograph letters from two unidentified military and political figures to Anna Goodman, regarding Cody's death; several small original photographs of Cody with family members or alone; a black-bordered card expressing thanks for condolences; several pages of typed copied condolences from family members and famous figures including Woodrow Wilson; a receipt for a donation of $5 to the Buffalo Bill Memorial Association; and five original photographs of Cody's funeral. Approx. 16 loose bifolia, enclosed in a quarter red leather binding with black cloth boards. Large loss to the spine, boards partially detached; heavy edge wear; overall good, with contents in fine condition.

Born in Le Claire, Iowa Territory, by the age of fifteen Cody had already been a horse wrangler, Pony Express rider, and unsuccessful prospector. He became a scout for the Union army, and after the war took a job for a company that supplied meat for railroad construction crews. As a hunter, he purportedly killed 4282 buffalo over eighteen months in 1867–1868. Writer Ned Buntline coined his nickname in his the novel Buffalo Bill, King of the Bordermen, based on his encounter with Cody, and catapulted Cody to fame when the book was serialized beginning in 1869. Cody made his stage debut in 1872, finding great success with his rugged good looks and Wild West skills. His famous Wild West Show was launched in 1883 and toured into the 20th century, both in the United States and as far afield as London, Paris and Rome. Mark Twain commented, "It is often said on the other side of the water that none of the exhibitions which we send to England are purely and distinctly American. If you will take the Wild West show over there you can remove that reproach." Cody died in 1917 at the age of 70. Upon the news of his death, tributes were made by George V, Kaiser Wilhelm II, and President Woodrow Wilson. His legend lives on in the town of Cody, Wyoming, which he helped to found and where he established his own ranch.

The collection comes to us from descendants of Cody's maternal grandmother, Hannah Taylor, in West Chester, Pennsylvania.

(10477) $40,000.00

122. [History & Culture] Freud, Sigmund. (1856–1939) Autograph Psychological Analysis, Signed. Autograph note signed in the hand of the legendary psychologist, giving a short psychological analysis of a female patient. On the letterhead of fellow psychologist Dr. Paul Federn, a representative of Freud and the Vice-President of the Vienna Psychoanalytic Society. Nicely framed behind glass with a photograph of Freud and a translation from German to English, as follows: "Miss Kirschbaum, At the present time: Depressions - fits of fear, not eliminated even with the approach of marriage. 10/21/21 Freud." Some light wrinkling and toning visible to the autograph note, but overall in fine condition. Sight size 5.5 x 3 inches (14 x 7.3 cm), framed to an overall size of 15.5 x 21.5 inches.

As hinted at in this note, Freud's views on marriage were undoubtedly problematic by today's standards. Recent scholars have been able to examine his own relationship with his wife-to-be, Martha Bernays, through the Brautbriefe (engagement letters) they exchanged over their four years of courtship in the 1880's. In Freud: The Making of an Illusion (2017), Frederick Crews writes: "In the ... engagement letters, we see Freud was already experiencing a problem that he

56 would one day ascribe to all men: an inability, held over from early childhood, to reconcile female sexuality with maternal purity and devotion. His bride was supposed to arrive intact, submissive, and sexually ignorant, but also to reciprocate a lust that he hoped would outlast the honeymoon. Yet she was also expected to coddle him as her indulged son. That role, in Freud’s estimation, was a woman’s highest calling. As he would put it in 1933, 'Even a marriage is not made secure until the wife has succeeded in making her husband her child as well and in acting as a mother to him.' " According to Crews, Freud shows a need to shape his fiancée into "a properly deferential mate," even telling her that "you are only a guest in your family, like a gem that I have pawned and that I am going to redeem as soon as I am rich." (17748) $7,500.00

123. [History & Culture] Star, Hedy Jo (1920-1999) "I Changed My Sex!" - Signed Autobiography. Chicago: Novel Books, Inc. . 1963. Rare signed autobiography from Hedy Jo Starr, the trans woman and burlesque performer who was one of the first people known for having sex reassignment surgery, in 1962. She has signed and inscribed on the inside front cover to Paul McMahon: "To Paul / Nice dancing for you / Hedy Jo Star." Also included is a folding card advertising her act: "Exoctic [sic] Hedy Jo Starr [...] a she of blossoming dimensions." Softcover. 159 pp. Heavy toning and some shelf wear; overall very good. 4 x 7 inches (10.5 x 17.8 cm).

(17895) $350.00

124. [History & Culture] Jorgensen, Christine. (1926–1989) Christine Jorgensen: A Personal Autobiography - SIGNED. Toronto, New York, London: Bantam Books. 1968. Signed autobiography from Christine Jorgensen, the American transsexual woman who was the first person to become widely known in the United States for having sex reassignment surgery, beginning in 1952. She has signed and inscribed on the inside front cover to Paul McMahon: "To Paul / Very best wishes / Christine Jorgensen." 300 pp. Black and white illustrations. Very good. 4.25 x 7 inches (11 x 18 cm).