J & J LUBRANO MUSIC ANTIQUARIANS Item 291 THE PAUL J. JACKSON OPERA COLLECTION Autograph Letters, Signed Scores, Printed Music, Books, Programs, Drawings, Posters, Prints, Photographs & Related Ephemera Part III: E-G 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. 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Katherine Hutchings, Cataloguer Dr. Albrecht Gaub, Cataloguer Diana La Femina, Technical Assistant © J & J Lubrano Music Antiquarians LLC December 2015 - 2 - temperament, she was nevertheless admired in such emotional roles as Sieglinde and Tosca. The best of her recordings, including arias from Roméo et Juliette, Faust and Tosca, and Schubert’s Gretchen am Spinnrade, reveal considerable fullness and power as well as the expected technical perfection." Desmond Shawe-Taylor and Alan Blyth in Grove Music Online. (23611) $75 254. EAMES, Emma 1865-1952 Autograph letter signed "Emma" to "Darling Douglas." 2 pp. Quarto. Dated Contrexéville, August 21, 1935. In black ink. With autograph envelope, ca. 115 x 146 mm., postmarked Contrexéville, August 2[1], [19]35 with the address of the Duchess of Richelieu in black ink to recto. Creased at folds with short split and tear repaired. Envelope slightly worn and torn. A long and intimate letter in which Eames speaks at length, and with biting humor, of an illness from which she is convalescing and her ardent wish to see her correspondent. Among other things, she also mentions her seventieth birthday and a woman who 255. EAMES, Emma 1865-1952 has "foully betrayed" a certain Armand. Autograph signature ("Emma Eames Story"). In black ink on card stock. Ca. 64 x 88 mm. Slightly worn and "I ache to think of all those inventories and all that soiled; minor remnants of adhesive to verso. Together work, to say nothing of all the shocks you must have with a full-length role portrait photograph by A. received while making it to find that so much had been Dupont of the soprano in the title role of Puccini's stolen. Armand does not have as a rule a great Tosca ca. 149 x 103 mm. Partially laid down to mount, confidence and trust in human nature and it is too bad ca. 158 x 111 mm. Slightly worn and soiled; remnants that for once having trusted the woman he should have of adhesive to verso of photograph and mount. Story been so foully betrayed... I do not walk yet, but there is was the surname of Eames's first husband, Julian, a less and less pain each day and more freedom of noted painter. (24316) $35 movement – if 'freedom' can be applied to crawling about with a stick... Will you ever be allowed to visit me again I wonder. Woman need to be alone together sometimes just as men do and talk the nonsense we want to which is so restful." Emma Eames was an American soprano. "After early studies in Boston and with Mathilde Marchesi in Paris, she made a brilliant début at the Opéra on 13 March 1889 as Gounod’s Juliet, with Jean de Reszke. In 1890 she created Colombe in Saint-Saëns’s Ascanio. After two seasons in Paris, she made both her Covent Garden and her Metropolitan débuts in 1891. During the following decade she sang leading roles in Mozart, Wagner, Gounod and Verdi in London and New York, continuing at the Metropolitan until her farewell to the house, as Tosca, in 1909. 256. EAMES, Emma 1865-1952 Eames’s unexpected retirement from the operatic Cabinet card photograph by Reutlinger, Paris, signed stage came while she was still at the height of her "Emma Eames Story" and dated 1896. Bust-length powers. Her lyric soprano was of singularly pure and portrait in formal attire. 166 x108 mm., with studio beautiful quality, and her technique was masterly. details printed to verso. Slightly worn, browned, and Although sometimes considered cold in timbre and trimmed, not affecting signature. (23826) $45 - 3 - 258. ERL, Anton 1848-1927 Cabinet card photograph by Otto Mayer, Dresden. Signed in full and dated "Februar 1892" in black ink on verso. 1892. Bust-length portrait in formal attire. 167 x 109 mm., with decorative studio imprint to lower margin and studio details printed to verso. Slightly worn. (23746) $50 257. ERL, Anton 1848-1927 Cabinet card photograph by Hanns Hanfstaengl—C. A. Teich, Dresden of Erl as David in Die A Favourite Verdi Conductor Meistersinger von Nürnberg. Signed in full and dated "February 1892 Dresden" in black ink on verso. Full- 259. FACCIO, Franco 1840-1891 length. 168 x 108 mm., with decorative studio imprint Autograph letter signed "F. Faccio" to an unidentified to lower margin and studio details printed to verso. male correspondent. 1 page. Octavo. Dated Padua, Slightly worn. July 13, [18]72. In black ink. In Italian (with translation). Slightly worn and soiled; creased at folds Austrian tenor Anton Erl was a member of the and slightly overall. Dresden Hofoper for many years; after two shorter stints in the years 1869-72, he was engaged from 1875 Faccio has not been able to procure any choristers to 1912. He participated in the premieres of Richard from Padua. He invites his correspondent to the city, Strauss's Feuersnot and Salome. "Erl was one of the where "half the world will be" tomorrow, when the most notable singers at the end of the nineteenth races begin. He goes on to mention a highly successful century; his voice has been described as equally suited production of Verdi's Aida, which is still "all the for lyrical and dramatic roles." Österreichisches rage." Biographisches Lexikon 1815-1950, vol. 1, fascicle 3 (Vienna, 1956), p. 263. (23744) $65 "I'm sorry I cannot be of any help. The best choristers, both men and women, here in Padua are the ones from Milan, Bologna, and Ravenna, associated with the Choir of La Scala, and they have all been re- confirmed for the next winter season by Cattaneo. They have a few good ones here in town; but they have day jobs and family commitments, and they cannot move... Aida is still all the rage: this Thursday (5th performance) we made 4114 francs – everything this theatre can give me, in short... " A close friend and associate of Arrigo Boito in the 1860s, Faccio later became Verdi's "go-to" conductor. In 1871, at the age of 31, he became the principal conductor of La Scala, where he conducted the Italian première of Aida (1872) and the première of Otello (1887). Other notable premières include Puccini's Le villi and Edgar, and Ponchielli's La Gioconda. He also conducted important performances of Der Freischütz - 4 - and Lohengrin, and presented works by Massenet and voice was noted for its crystalline clarity, and the ease Bizet. His last task there was the preparation of the with which it could rise above an orchestra, aided by a first Italian staging of Die Meistersinger. William fast, narrow vibrato." Philip E.J. Robinson and Ashbrook in Grove Music Online. (24262) $250 Benjamin Walton in Grove Music Online. Julie Dorus-Gras "studied at the Paris Conservatoire and made her début at the Théâtre de la Monnaie, Brussels, in 1825... In 1831 she was engaged at the Paris Opéra, and during the next 15 years created many roles there, including Alice in Robert le diable (1831), Eudoxie in La Juive (1835), Marguerite de Valois in Les Huguenots (1836), Teresa in Benvenuto Cellini (1838) and other roles by Auber and Halévy. In 1839 she appeared in London on the concert platform, and in 1847 she sang the title role of Lucia di Lammermoor in English at Drury Lane, with Berlioz conducting. In 1849, when she sang at Covent 260. FALCON, Cornélie 1814-1897 Garden in three of her most famous roles, Elvire (La muette de Portici), Alice and Marguerite de Valois, Autograph letter to Belgian soprano Julie Dorus- she was still, according to Chorley, ‘an excellent Gras. 2 pp. of a bifolium. Octavo. Dated Friday [ca. artist, with a combined firmness and volubility of 1835?]. In black ink. Integral address panel with name execution which have not been exceeded, and were of recipient, "Madame Dorus Gras." In French (with especially welcome in French music’." Elizabeth translation).