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A collection of 29 pieces of dance musi
A collection of 29 pieces of dance music (1818-1875) each with dance instructions for the steps and positions, printed alongside the music. Most of the instructions are printed text, some contain diagrams. Some of the instructions are very details: ie: Lancers' Quadrilles (1860) 5th Figure: "Grand Chain. (Or right & left all around) 16bars. 1st Couple turn round and face outward 2. First couple on the right take lace behind First Couple 2. Couple on the left behind 3rd couple 2. Second Couple behind all 2. All chassez across and back Gentlemen passing behind ladies 8. Promenade outside, Ladies to Right, Gentlemen to left, meeting t the bottom and coming together 8. All eight forward and backward (Ladies on one side, gents opposite) 4. All forward and turn partners to places 4." (More). Pop Goes the Weasel (1853) has a brief introduction before describing the steps: "Pop goes the Weasel" is an old English dance that has lately been revived. It is preformed in the same manner as the Country Dance. The Ladies and Gentleman being placed in lines opposite to each other." For reconstruction of the dances, the instructions are essential, of course. The instructions also suggest current manners that tell us much about the time of composition.
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A Description of the Colosseum as Re-Opened in MD.CCC.XLV.
A Description of the Colosseum as Re-Opened in MD.CCC.XLV., under the Patronage of her Majesty the Queen, and H.R. H. Price Albert, with Numerous Illustrations, and Eight Sections of the Panorama of London. London: J. Chisman, 1846. Eighteenth Edition. Oblong 8vo. Wrappers. Illustrated with woodcuts, plus an 8 page insert showing all the sections of the Panorama of London.
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Account of the Terrific and Fatal Riot.
Account of the Terrific and Fatal Riot. at the Astor Place Place Opera house on the night of May 10th, 1849, with the Quarrels of Forrest and Macready, Including all the Causes which led to the Awful Tragedy....New York: H.M. Ranney, 1849. 8vo. Original illustrated wrappers (somewhat frayed). Frontispiece of the "Scene of the Riot", 32p. A full narrative of "The most serious disorders ever connected with the American theatre..."Oxford/American Theatre. Twenty two persons were killed, many more injured. The Astor Place theatre never recovered and was closed three years later.
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Agents Portfolio of Twenty-Four Roto-Gravure Portraits
Agents Portfolio of Twenty-Four Roto-Gravure Portraits. Given to subscribers by the Motion PictureMagazine. Illus. with 24 roto-gravure photographs, tinted. Cloth on boards. Wear and tear on spine, covers.
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  Alexander the Great.
Hodgson & Co., 10 Newgate St. etching hand colored (7 3/4 X 9 1/4). #21.
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An accurate descripion [sic] of the grand allegorical pantomimic spectacle of Cinderella; or, the little glass slipper, as performed at the New Theatre, New York. to which is added, the story of Cinderella.
New York: W. Turner, 1808. 12mo, disbound, 24p. References: Shaw & Shoemaker #14693. OCLC locations: COO, CTN, CUD.
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An Outline of the Miyako Ordori of Cherry Dance.
An Outline of the Miyako Ordori of Cherry Dance. Kyoto: Miyako Hotel, 1929. Oblong 12mo. Original wrappers. 13 p. Held in Kyoto, during sixteen days of April of each year, the Cherry Dance is a nine act dramatic performance which contains singing, dancing and acting. It utilizes all four companies with a total of 224 girls. These girls are all select geishas of Gion, the most fashionable red-light quarter dating back to 1790. This pamphlet describes each act of the Miyako Orori.
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Aphrodite a romance of ancient Egypt
Bakst, Leon. Aphrodite a romance of ancient Egypt. Play by Pierre Frondaie. (Souvenir programme). New York:Comstock and Guest, 1919. A lavishly illustrated programme for the theatrical production, based on the Diaghilev Ballets Russe which featured choreography by Michel Fokine, costumes by Percy Anderson with additional costumes by Leon Bakst. Fully illustrated with costumes after Bakst.
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As You Like It. Act II, Scene vii. The Seven Ages. First Age-Seventh Age.
As You Like It. Act II, Scene vii. The Seven Ages. First Age----Seventh Age. (Engravings after Robert Smirke by (respectively) Petro William Tompkins, John Ogborne, Robert Thew, John Ogborne, Jean Pierre Simon, William Satchwell Leney, John Pierre Simon). [London: Boydell,] June 4, 1801. 7 original engravings, each 15 x 21", on laid paper with large margins. Slight soiling and stains in lower right margin. In very good condition. A very attractive set. These seven engravings are based on the paintings by Robert Smirke that illustrate Jacque's famous "All the World's a Stage" discourse on the futility of life from act 2, scene 7. All seven engravings were published individually and then collected in 1803 in John and Joshua Boydell's A Collection of Printed from Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakespeare by the artists of Great Britain (1803). The origin of these majestic engraving grew from the ideas of the publisher Alderman John Boydell who, in 1786, decided to issue a monumental edition of Shakespeare accompanied by an even larger suite of engravings which could be admired apart from the book. This separate suite of fine engravings extended to 100, of which these two of Romeo & Juliet are among the most famous. In publishing these engravings, Boydell's moral and patriotic intention was to create an appreciation in England of history painting with its high aim of capturing a significant moment of action that could express ‘grandeur' or ‘universal passion.' To ensure financial success, Boydell enlisted every important painter in England, including Benjamin West, George Romney, Henry Fuseli and, of course, Sir Joshua Reynolds. Although the project ended in bankruptcy and liquidation, these magnificent engravings remain after 200 years a prize of print collectors. Reference: Burwick & Pape, The Boydell Shakespeare Gallery (1995) We have a few other engravings from selected plays. Call to inquire.
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  Black Crook (Five original carte de visite photographs,
The Black Crook (Five original carte de visite photographs, each 2 ½ x 4"). Stiff backing, printedin sepia. These rare photographs picture character dancers from the original performances, published by Gurney & Son (New York), (ca. 1866). Some dancers are named in pencil on verso: Laquaidi (?), Mezzen, Eriesteini. The photographs are printed by Jeremiah Gurney & sons, 707 Broadway (1812 - 1886), one of the first photographic studios in America. Gurney established his photo gallery in New York (189 Broadway) in 1840. His was one of the first such establishments in the United States. As one of the few photographers in America who knew the daguerreotype process, he attracted wealthier clients and celebrities who were both curious and amazed by the relatively new invention. His success attracted the interest of Matthew Brady who, after some pointers from Gurney, established a rival studio at Fulton Street and Broadway. Gurney eventually moved to a spacious studio at 707 Broadway [J. Gurney & Son].
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Boris Godounonv
Boris Godounonv opera in 4 atto e 9 quadri con prolongo. . Opera Russa a Parigi. (Souvenir programme). (Milan, ca. 1933?). Folio. Color plates after designs by Boris Bilinksy, Ivan Bilibine. Cast list. Text in Italian for a performance in Milan. After the death of Diaghilev, Col. W. De Basil attempted to recreate the Diaghilev ballets, first calling the troupe “Opera Russe a Paris.” This production featured the dances from Boris Godounonv. See Garcia-Marquez, Vicente. The Ballets Russes. Colone de Basil’s Ballets Russes de Monte Carlo 1932-1952, (1990). p46
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Broadside.
Broadside. Theatre Library Association: Volume v. 1 1940 – Volume 30 1971; New Series. Volume 1 1973 - Volume 12 1984. (Missing a few numbers of the new series). 4to. four or eight pages. Periodical. A nearly complete run until 1971, with Vol 1 #1 in photocopy and missing numbers for 1967-8. Broadside was a quarterly which began with: Vol. 1, no. 1 in 1940; continued as: new ser., v. 1, no. 1 (summer 1973). It apparently was an annual during the late 1940s and early 50s. Reference: RLIN lists scattered runs only.
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  California Theatre
California Theatre. [Playbill for the final performance held at the theatre]. San Francisco: (Francis, Valentine & Co. Print), August 11, 1888. Small 8vo broadside, stiff cardboard, printed with a picture of the theatre on the reverse. Includes the progamme for the first performance January 18th, 1869, with an opening address written by Brett Harte and a performance of Money to the last performance before the theatre was demolished: Forget me know starring Miss Jeffreys Lewis and a "Farewell Address" delivered by Mr James Carden. The Old California Theatre on Bush Street, San Francisco, was built in 1869 by William Ralston the head of the Bank of California, at the cost of $150,000, to showcase the work of John McCullough and Lawrence Barrett. It was considered to host the finest company away from the East Coast. The theatre was demolished in 1888 for a new theatre using the same name. The beloved Old California Theatre never again had the prestige of the original house.
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  Cassim Baba 2nd Drefs Mr Atkins.
Hodgson & Co, 10 Newgate Street, London. etching hand colored (7 1/2 X 9 1/2). #30.
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Céleste as the Maid of Cashmere.
Céleste as the Maid of Cashmere. [London: Hodgson and Graves, November, 1837]. After a painting by E.T. Parris; Lithographed by A. Dick. Octagonal 8 x 15" (plate size), 8 ½ x 17 ½" (sheet size). Original lithograph on paper. Mounted on stiff paper, trimmed to 1/4" of left margin, lacking publisher's logo at bottom. Beautifully framed. Mademe Céleste, (Anastasie Céleste des Rousselles. b. 1810, Marcilly-la-Campagne, France; d. 1882, Paris). According to Nancy Reynolds, Céleste's "great popularity rested mainly on her eloquent performances in melodrama, in which she was particularly noted for her command of gesture." Although criticized by Binney as a popular but not a "professional" dancer, Céleste, according to Parmenia Migel, performed valiantly all through Europe and was "the most beloved performer ever to tour the United States... and had the distinction of being America's first Sylphide." One of the most famous episodes of dance in 19th century America, and subject of several satirical engravings, was when Céleste in 1836 was presented to President Andrew Jackson in his chambers for a private performance. References: (Binney/English #13); Reynolds, Nancy. Madame Céleste, article in Oxford. Volume 2.
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Chicago's Awful Theater Horror.
Chicago's Awful Theater Horror. By The Survivors and Rescuers...Presenting a Vivid Picture, both byPen and Camera, of One of the Greatest Fire Horrors of Modern Times. (Chicago): Memorial Publishing Co., 1904. 8vo. Original three quarter leather and cloth side (spine chipped). 368 p., plus frontis and 16 p. of photographs. An account of the horrendous Iroquois Theatre fire which brought about safety reform for theatres across America and Europe. Included is a plethora of actual photographs and drawings of the fire, rescuers, survivors and victims. The book traces the blaze from its first spark to the manslaughter trial of the two theatre managers to subsequent reactions and actions of theatres in other cities. Eye-witness testimonies, obituaries, and accounts of the cast & crew at the Iroquois help to make this a significant work on one of the most calamitous events in theatre history.
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Collection Costumes et Modes D'Autrefois.
Collection Costumes et Modes D'Autrefois. Paris: Editions Rombaldi, 1957-1959. Limited edition. Seven volumes, complete, all issued. Folio (15½ " x 11½"). Text and plates loose as issued in publisher's wrappers. Fine copies. Each with text and with 24 plates finely colored by Pochoir. A total of 168 plates. Collection Costumes et Modes D'Autrefois reproduces examples of the most important fashion publications in French fashion history, depicting both the styles at court in various epochs and the styles which were fashionable among youth. Fascicules include: Incroyable et Merveilleuses by Horace Vernet, Paris, 1810-1818; Galerie des Modes, 1778-1787; Bonnart. Personnages de Qualite, 1680-1750; Debucourt. Modes et Manieres du Jour, 1798-1808; Les Heures de la Parisienne, 1840 by Achille Deveria Pourpoints et Vertugadins, 1515-1643; Paris: Miroir de la Mode. Crinolines et Caleches, 1855-1867.
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  Costumes of America.
Costumes of America. Philadelphia: Henderson, 1852. Sm. 4to. Original greenish blue cloth, gilt. Spine ends chipped otherwise a very good copy. 96 p. including 24 plates, plus 8 p. catalog of Henderson Juvenile Books. Costumes of America is an important juvenile book which introduces the young reader to the customs, dress and character of Indian tribes of North and South America. Several types of Brazilian Indians are described, as well as Indians from Peru, Paraguay, Uruguay and others, extending as far south as Patagonia and Tierra del Fuego. For each of the types of Indians, there is a brief description of their location and their principal means of occupation. Often times, the costume plate which illustrates their clothing is explained. Of great importance is the moral discussion of the Indian's character. The character of the particular Indian tribe is often linked to government: Ie: Mexican Indians: "They are extremely ignorant and their present want of instruction is attributed to the extinction of the Aztec priesthood, their ancient instructors, for which nothing has been substituted by the Spanish priests in the way of general education" Or, for the Haytians: "the people are poor and indolent, although they possess one of the most fertile and delightful islands in the whole world. It is true that despotism affords little encouragement to industry. But it is the natural indolence of the negro which makes him neglect labor and submit to a wicked and bad government."
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"Crispin."
"Crispin." Pseud of (Raymond Poisson, Parisian actor d.1690). [Original copper plate engraving onpaper]. Paris: Audran, ca. 1710 (later impression on laid paper, ca. 1800). After a painting by J. Netscher, engraved by Edelinck. With legend. Plate size 14"x17." A few marginal tears, slight browning. Good impression. This large engraving depicts "Crispin" played by Poisson, in his highly imaginative costume, bowing to the audience with hat in right hand. "Crispin" is the name of the character who was a dutiful captain and son of Scaramouche. The character was invented by Poisson. Poisson was so successful in this role that he began a dynasty of actors who played Crispin in like manner until the mid-18th century.
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Das Moskauer Theater fur Kinder.
Das Moskauer Theater fur Kinder. Zurich: Ring-Verlag, 1934. Oblong 4to. Cloth. (100 p). Illustratedwith many photos of play productions, rehearsals, theatre exercises, audience reactions and the theatre's principals. On the celebrated Moscow Children's Theatre, Russia's first children's theatre, which opened in Moscow in 1920 under Natalie Satz. Satz was still with the theatre at the time of this book's publication and wrote its foreword and introduction. Described here are the many workshops and performances produced by the theatre.
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Dick's quadrille call-book, and ball-room prompter ... To which is added a sensible guide to etiquette and proper deportment in the ball and assembly room, besides seventy pages of dance music for the piano.
Dick's quadrille call-book, and ball-room prompter ... To which is added a sensible guide to etiquette and proper deportment in the ball and assembly room, besides seventy pages of dance music for the piano. New York: Dick & Fitzgerald, 1878. 8vo. Original glazed boards, cloth spine. 230 p., including music, plus publisher's adverts. Very good. ‘This is a compilation by Dick and Fitzgerald of previously published sources on ballroom dance. Although advertised as a ballroom prompter, only one page is devoted to calling figures in a quadrille. The book contains rudimentary etiquette advice and dance instructions for numerous dances including the grand march, quadrilles, and contradances such as "Virginia Reel," "Pop Goes the Weasel," "Spanish Dance," and "Sicilian Circle...."OCLC. "The musical portion of the book includes the names of the composers, which is not always the case in a manual of this kind." Leslie.
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Disposition of the fireworks,
[HONOURABLE ARTILLERY COMPANY] Disposition of the fireworks, ordered by the Honourable Artillery Company, to be displayed in the Artillery-Ground, on Tuesday night, August 12, 1783, on his Royal Highness George Prince of Wales, Captain-General of the Company, coming of age. [London, 1783]. Single leaf broadside, 175 x 195mm. Signed at the end, "John Keene, Engineer", unbound and untrimmed as issued. A fine copy. This lists in numbered order 21 groups of fireworks to be used in the display. These include sky-rockets, wheels, Roman candles, mines, cascades, Chinese fire, "pots d'aignettes", "one brilliant sun with Chinese Glory", &c. &c. The grand finale was to be "ten vertical brilliant wheels with blue illuminations, Chinese Glories, and a grand discharge of mines, balloons, marrons, pots d'aignettes, Roman candles, Bengal lights, &c." George, Prince of Wales, later to be King George IV, was born at St. James's Palace on 12 August 1762. On his coming of age in August 1783, he established himself at Carlton House, taking his seat in the House of Lords later that year. Extremely rare: ESTC (March 2004) finds copies only at BL + Guildhall
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Etiquette; or, a Guide to the Usages of Society. With a Glance at Bad Habits. To which is added, the True Theory of the Rhenish or Spanish Waltz, and of the German Waltz a Deux Temps, Analysed and Explained for the First Time.
Etiquette; or, a Guide to the Usages of Society. With a Glance at Bad Habits. To which is added, the True Theory of the Rhenish or Spanish Waltz, and of the German Waltz a Deux Temps, Analysed and Explained for the First Time. New York: Wilson & Company, 1843. Tall 8vo. Modern cloth-backed boards. Pages a bit browned but a very good copy. 64 p. plus frontis portrait of D'Orsay and one plate, both by Wilson, dated 1844. This work contains a section on dancing in general, as well as an eleven page section on the waltz with diagrams. An early do-it-yourself dance book which bears the motto "Waltzing is the art of a gentleman, and never yet was taught or understood by a dancing-master." The first of several Wilson editions. There was also an 1843 Philadelphia Peterson edition. The title may be first published in America since no London edition earlier than 1846 is recorded. The work is wrongfully attributed to Alfred Guillaume Gabriel Orsay, comte d', 1801-1852. cf. Day, C. W. Hints on Etiquette ... Boston: W. D. Ticknor & co., 1844, p. 6.
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Four fictions
(Allen Press). Four Fictions: Joseph Conrad: The Lagoon; Gustave Flaubert: The Legend of Saint Julian; Henry James: The Jolly Corner; Luigi Pirandello: The Annuity. Kenfield, Ca: Allen Press, 1973. 1 of 137 copies only. Folio (14"x 10"). Cloth and boards. Printed and bound entirely by hand. Very fine copy. A delightful compilation of prize-winning, modern fiction. Each story is illustrated with an original color woodcut by an artist from the country of the author. In addition, each story has been set with its own special typeface. Allen Bibliography #39.
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Galerie des artistes dramatiques de Paris
Galerie des artistes dramatiques de Paris. (Paris:1840-42). Incomplete album of 41 lithographs ofactors and dancers, each with biographical essays. Quarto. Contemporary three quarter red morocco and marbled boards (spine worn). Occasional light foxing to plates, occasional stains to margins. Good condition. An amateur collection formed to the taste of the owner. This collection includes the dancers Jules Perot, Fanny Elssler, Marie Taglioni, Pauline Leroux and the actors Lepeintre Jeune, Duprez, Debaru, Rachel, Chollet and others. Provenance; Henry C. Rutherford, M.D (bookplate).
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  Gerbe
Gerbe, album mosaique par E. de Limagne. Paris: H. Mandeville, 1859. Folio. 80 p. with 22 engravings. Bound by Lenegre in ornate green cloth, gilt, extremely fine. A perfect copy of a deluxe gift book of mid 19th century France. Gerbe [tr. A spray of flowers] is a deluxe gift-book, probably done for the Holidays, which contains polite articles and stories for each of the twelve months, each illustrated with nice engravings, many of them engraved in England. One of six volumes issued by Mandeville in the series Album du monde élégante. (1854-1860). In "as new" condition. All titles in the series seem to be scarce. Gerbe is not in Eureka or OCLC. Bibliotheque Nationale has a copy.
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Göteborgs Konserthus.
Göteborgs Konserthus. Göteborg: Berattelse...1935. 4to. Original wrappers. 70 p., plus a collectionof photos and plans. This work describes the new concert hall in Göteborg, Sweden built in 1935 by the architect Nils Einar Eriksson. The text provides full details relative to size and construction. There is also a history of music halls in the city with photos and plans of the old 1905-1928 concert hall by Heden. The last half of the book is a collection of photos and plans.
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  Historiettes Galantes. Pointes-seches de Amandine Dore.
Historiettes Galantes. Pointes-seches de Amandine Dore. Paris: Bibliophiles de la Basoche, 1966. Copy number 305 of 350. Folio (13 3/4" x 11 ½"). Unbound, as issued, in wrappers with an extra suite of plates. Fine in protected clamshell box. Complete with 15 hand-colored dry points and a separate suite of five uncolored plates. The prints were pulled at l'Atelier Manuel Robbe and colored by Editions de l'Ibis. A charming portfolio of flirtatious stories with prints that are somewhat erotic, yet not overt.
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If This Be Treason..... Containing: e.e. cummings examind...
If This Be Treason..... Containing: e.e. cummings examind; James Joyce: to his memory; A french accent; "Canto 45"; and Blast. (Siena printed for Olga Rudge, 1948.) Out of a first edition limited to 500 copies, this copy is unnumbered. Fine in green wraps. 34 p. With a long presentation letter dated 1978 transmitting this copy by Mary de Rachewiltz the daughter of Olga Rudge and Ezra Pound.
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Il Trionfo de Valore
Il Trionfo del Valore Ricevimento Festoso concertato da Signori Convittori del Ducale Collegio De'Nobili di Parma in un Torneo a Piedi misto di varie anzioni Cavalleresche, e coronato da un Balletto a Cavallo per l'arrivo in Parma della Serenissima Signora Principessa Carlotta Aglaide de Valois Sposa del Serinissimo Signor principe Ereditario di Modena. In Parma: Giuseppe Rosati, 1720. Quarto. Wrappers. 22 p. Clear dampstains to the top gutter margin (extending down 2 inches). Il Trionfo del Valore recounts a procession and festival reception bringing together the noble gentleman of Parma to hold a tournament consisting of several mounted formations and concluding with a horse ballet to celebrate the arrival in Parma of Princess Charlotte Aglae d'Orleans (1700-1761), the new wife of the Francesco III Maria d'Este Duke of Modena. The text identifies the musicians, the participants of the formations and of the horse ballet, the order of entrances, the types of dances including the "ballarono alla Spagnuola," and the director of the tournament, the choreographers of the "dansa e Moreseca de' Paggi"and of the "balli." Il Trionfo del Valore was part of the marriage festival that included the ballet Il Trionfo dell'Aquila, e del Giglio, with music by Antonio Bonocini & libretto by Ippolito Zanelli, and a fireworks celebration. Rare: not in Watanabe-O'Kelly & Simon, nor in OCLC, or RLIN.
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  Index librorum
Index librorum prohibitorum sanctissimi domini nostri Pii Sexti pontificis maximi jussu editus. Romae, 1786. In-8 de xliv-323-6 pp. (dated 1790). Front. gr. par Giovanni Fabri. Reliure d'origine en vélin surjeté. Quelques mouill. Bel exemplaire.
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Introduction to the Photoplay: A course in the appreciation of motion pictures
Introduction to the Photoplay: A course in the appreciation of motion pictures (lectures delivered by invited members of the Academy of Motion Picture Arts and Sciences and members of the faculty of the University of Southern California, semester commencing February 6, 1929). Los Angeles: University of Southern California & the Academy of Motion Picture Arts and Sciences, 1929. 186 pp., mimeographed typescript.
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  Königl. großbrit. und churf. braunschw. lüneb. genealogischer Kalender auf das 1780 Jahr.
Königl. großbrit. und churf. braunschw. lüneb. genealogischer Kalender auf das 1780 Jahr. Lauenburg: Berenberg, 1780. 16mo. 19th century speckled calf. Red & green morocco label. 2 pt. frontispiece, 12 symbolic plates after each month by Chodwiecki details of genealogy and climate. With 18 plates of fashion and fancy coiffures including those of Leipzig, Berlin, Paris, Strausbourg, and Dresden, as well as those of Philadelphia and Boston. References: Köhring, Hans. Bibliographie der Almanache, Kalender und Taschenbucher. 1750-1860 (1929) p.33-34. Köhring indicates this Calendar was printed from 1770-1799 with different number of Modek (fashion plates) for each year, beginning in 1779 and appearing occasionally until 1799. The 1780 citation lists 13 fashion plates, although some of the plates counted singly in our copy may be counted as double-pages in Köhring : M. Titelportr. Gest. Titel, 13 modek. U. 12 Monatsk. Engelmann 306 u 310; Lanckoronska, Maria Grafin & Dr. Arthur Ruman. Geschichte der Deutschen Taschenbüher under Almanache. (1986). p.14. No locations: OCLC, RLIN.
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L'Illustration Theatrale
L'Illustration Theatrale [also named at various times during its years of publication:. L' Illustration Theatrale - Nouvelle Serie La Petite Illustration Roman Theatre; La Petite Illustration - Theatre - Nouvelle Serie]. Paris: 4 November, 1899 - 26 August 1939. 62 volumes, large quarto, Hal red morocco and marbled boards. A total of 784 numbers of the periodical (individual numbers are illustrated, 30pp each. Original paper covers bound in). Complete run from 1899-1939. L'Illustration Theatrale began in 1899 as an occasional supplement to the important French periodical, L'Illustration. In each issue of this supplement, the text of a new play that had opened on the Paris stage was printed in total. Along with the text, there were photographs of the performances, notes as to the costume and scene designs and a short review of the play by a noted critic. Most major and minor plays that were performed in Paris are printed here. Over three hundred playwrights have their plays printed in these supplements. L'Illustration Theatrale provides an excellent view of the repertory and interests of Parisian theatre for a period of 40 years.)
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L'Officiel de la couleur: Des textiles et des industries de la mode
L'Officiel de la couleur: Des textiles et des industries de la mode. Paris: Germaine Joumard, Summer 1959. No. 44. Folio. Unpaginated. Illus. in color, with fabric swatches.
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La Danse.
La Danse. Paris: chez sur que graveur du Roy, 1738. After a painting by J.B. Paterre (1695 - 1736), engraved by Filloeul. (19 3/4 x 15 ½"). Engraving on paper, with verses and publisher's logo at bottom. Large margins. Slightly soiled, marginal tear. Very good copy. Engraving #4 from the suite "Fete Galante" (1783). Provenance: H. Baron de Triquet (1802-1874), with his stamp next to title. Lugt #1304. An elegant example of a French "genre" engraving, popular until the revolution.
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La Scala. 3 Agosto 1778 - 11 Maggio 1946.
La Scala. 3 Agosto 1778 - 11 Maggio 1946. Milano: Saturnia, 1946. Folio. Stiff self wrappers, slightly soiled. 262 p., plus table of contents and index. Illustrated with nearly 300 plates; many in color. Done at the festive reopening of the opera house after World War II, this history of La Scala covers the development of the theatre from its earliest beginnings to the time of publication. Includes detailed chapters on the composers, singers, and directors, on the choreographers and sets and costumes. The splendid illustration shows architectural details, as well as costume and set design, portraits of the performers, 18th and 19th century lithographs and etchings, etc.
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Ladies' hand-book of haberdashery and hosiery: A shopping manual.
Ladies' Hand-Book of Haberdashery and Hosiery: A Shopping manual, by the Author of the 'The Ladies Work-Table Book,' etc. etc. London: H.G. Clarke, 1844. 16mo. Original flexible cloth. 60 p. plus ads. With sections on Haberdashery and Hosiery. Haberdashery is defined as silks, linen, cotton, and woolen fabrics. Many types of fabrics are described as to their characteristics and best uses. These include Italian net, Serge, French Cambrics, Lawns, Brown Holland, Linens from various parts of Europe, muslins, calicos, jeans and many others. The section on hosiery includes socks for children and adults, stockings, caps, waistcoats and petticoats for females, cuffs. A scarce early book on ready-to-wear.
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Le règne de la mode: nouvel almanach des modes, rédigé par le caprice. (Pour l'an 1823.)
Le Règne de la Mode: Nouvel Almanach des Modes, Rédigé par le Caprice. (Pour l'an 1823.) Paris: L. Janet, 1822. 180 p., plus Calendar, (5" x 3.5"). Hand-colored engraved title page, 6 hand-colored engraved plates. Binding rubbed. Original patterned slipcase, also rubbed. Few stains, very good copy. Ownership signature, dated 1824. This Almanac, used by young women, told stories of fashionable people traveling to Paris and throughout Europe. The carefully hand-colored plates depict the latest fashions from Vienna, London, and Paris.
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Les Fleuretes
Les fleuretes. Paris: (Various publishers) Boivin, François,; d. 1733, & Le Clerc, Jean-Pantaléon, Boivin, Mme. (Elisabeth-Catherine Ballard) (1730-1735?). 8vo. 19th century full calf, armorial shield on upper cover. Slight rubbing. A few stains in Parte I. Five parts, each 20 p. Wholly engraved music and lyrics. Les fleuretes is a collection of airs for unaccompanied solo voice. The airs are contradanses, vaudevilles and parodies. The airs are written wholly or in large part by Joseph Boismortier. Boismortier, Joseph Bodin de, (b. Thionville, 23 Dec 1689 – d. Roissy-en-Brie, 28 Oct 1755). French. In September 1724, Boismortier took out a royal privilege to engrave his works and began the process of publishing them, which ceased only on his death. From 1743 to 1745 he was sous-chef and then chef d'orchestre at the Foire St Laurent, and also, in 1745, at the Foire St Germain. After his death his daughter continued to sell his available works, and also published several more. Published occasionally: Part 1, p.20 notes. "On se propose de donner au public un pareil recueil tous les mois." In the imprint, from Part 2, Boivin's name is replaced by his widow's, suggesting that Part 1 was published before the end of November 1733 and the others from after that date; from Part 3, Boismortier's name disappears from the imprint. References: RISM B/II, p.182. Grove music (on-line version). OCLC (one location): Oxford. Ex libris: Henry Prunières. References: RISM B/II, p.182. Grove music (on-line version). OCLC: One location: Oxford.
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  Les modes Parisienne. Costumes Algeriens, Espagnols, Italiens, Portugais, Turcs, etc., etc.
Les Modes Parisienne. Costumes Algeriens, Espagnols, Italiens, Portugais, Turcs, etc. etc. Album par le Journal Les Modes Parisiennes. Keepsake des Dames. Paris: Modes Parisiennes, 20, Rue Bergere, (ca 1870). Folio. Original green wrappers which serve as title page (back cover torn). 20 etched plates, each carefully hand colored showing picturesque folk costume, including children. The quality of hand-coloring is extremely fine showing accessories and ornaments as well as full dress. A "prime" issued by Les Modes Parisienne for fancy costume dresses for travesties and bal masques, popular during this period.
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Les Petits Parains.
Les Petits Parains. (Original engraving from Le Monument du costume. Paris: Prault, 1774-83. J. M. Moreau, H. Guttenberg sc. 1783). From Seconde Suite d'Estampes pour servir a l'histoire des Modes et du Costume en France, dans le dix-huitieme siecle. 1776-1777. Original engraving on laid paper, nicely framed in gilt. Le Monument du Costume is a series of fine engravings which was created to record the glory of the late 18th century French nobility by depicting the polished manners, clothes and lavish surroundings of the Bourbon court. The original printings consisted of three series with a total of 36 engravings. The prints are rich with details of elegant couture.
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  Livre cvrievx contenant la naifue representation des habits des femmes des diuerses parties du monde comme elles s’habillent a present 1662. Dedie, a monsieur Rocolet imprimeur & libraire ordinnaire du roy & de la ville.
Livre cvrievx contenant la naifue representation des habits des femmes des diuerses parties du monde comme elles s’habillent a present 1662. Dedie, a monsieur Rocolet imprimeur & libraire ordinnaire du roy & de la ville. Paris, Chez Baltazar Moncornet [1662]. 8vo. 22cm. Leaf of title, 28 plates. 18th century patterned boards, slightly worn. Text very clean excepting a small oil stain affecting only the margin of the first 16 plates, except for one, where the stain extends a half inch into the plate. The plate impressions themselves are wonderfully sharp with rich contrast and tone. Livres Curieux is a jewel of a book with 29 finely engraved plates of European women in their national “habits”, or dress. It consists of portraits of girls and women of various classes, from merchant to nobility, from France, England, Spain, Germany, Italy, Turkey and even one from India. Livres Curieux is based on Wenceslaus Hollar’s Theatru[m] mulierum, sive Varietas atq[ue] differentia habituum foeminei sexus, diuersorum Europae nationum, London, 1643, and Avla Veneris sive Varietas fÉminini sexus, diversarum EuropF nationum differentiag [sic] habituum, ut in qvFlibet [sic] provincia sunt apud illas nunc vsitati, quas Wenceslaus Hollar, Londini, 1644 [i.e. Antverpiae] Joan. Meyssens excud. [1650?]. Nineteen of the plates in Livres Curieux are taken directly from Hollar but re-etched and printed unattributed, in larger form, and with additions, including city and landscape background reflecting the nationalities of the subjects. In addition, various plates are not from Hollar and presumably created by Moncornet himself. Livre Curieux is not technically a fashion book created to show trends of beauty; rather, it is a book of “habits” created to depict of women of different classes in their local dress. Moncornet seems to have felt that Hollar’s depictions might be a bit too austere for French tastes. Livre Curieux is interesting, therefore, as a French adaptation of an English subject matter and as an example of French fashion books of the 17th century. Balthazar Moncornet (1600-1670) was an engraver and merchant of prints who operated from 1622 until 1664 in Paris on rue Faubourg Saint-Marcel and rue des Goublines. He then moved to rue Saint Jacques, near or in front of Saint Yves la bel Croix. After his death, his widow, and later his son, carried on the print business until 1710. From the beginning of his career, Moncornet executed fine prints including those of Rembrandt for the Parisian market. He was best known, however, as an engraver and publisher of “portraits de notoriété” (portraits of notable personages). According to Edmond Rohfritsch, Moncornet created and controlled the market for “portraits de notoriété.” His subject matter ranged from Erasmus to Charles II of England , and had a voluminous output of over 900 different images during his career, which were exported all over Europe. Livre Curieux is seemingly an attempt to capitalize on the market for books of “habits” popularized by Hollar, first in his book of English women, Ornatus Muliebris (after 1643), and then on his European subjects in Theatru[m] mulierum (1643), and Alua Veneris (1644 & 1650). According to Katherine Van Erde, Hollar’s books of European habits became very popular in Europe and remain today “the first response to any mention of the artist.” Because there is no evidence that Hollar ever went to France, and according to Pennington, some evidence that he did not, it should not be surprising that his portraits of European women would not suit French tastes. In publishing Livre Curieux, Moncornet put Hollars prints into a particularly French context, by adding finely etched city and landscapes which in many cases seem to represent the actual surroundings of the subject. Thus, “Femme hollendoise” is pictured with the North Sea to the rear left and a small, rustic village to the right to match her simple dress; “Femme Turc” is standing before the Bosphorous; and “Femme de Naples” stands before the hilly terrain bearing typical Italian structures, which one can still see in Italy. These city and landscape backgrounds added by Moncornet are typical of French fashion books of the period, such as La Nobelsse de Lorraine (1624) by Jacques Callot, Suite de Douze Figures de Monde Feminine (1624 & 1630) by Daniel Rabel, and Saint Igny’s Le iardin de la noblesse françoise (Paris, 1629), which just happens to be bound with Livre Curieux in the NYPL copy (the only other recorded copy of the book in the Western Hemisphere). Equally as important as the background is Moncornet’s addition of his own subject matter. The depiction of an ordinary nurse of France (not from Hollar) with a balanced scene of other children romping in the background provides a warm counterpoint to Hollar’s cool elegance. Livre Curieux is rare. 1 copy (NYPL) located in OCLC & RLIN; not in Univ of Toronto’s Hollar collection; a defective copy or two has been auctioned since 1975. References: Parthey/Pennington.(2002). Hollar. p.297. who notes “There appeared in Paris not long after he appearance of the Aula Veneris collection in Antwerp a Livre Curieux... published Chez Baltazar Moncornet. The title page reproduces not unskillfully the collection of feminine finery in the second title of the Aula” (p1805). Nineteen of the designs are copies from H., but in a larger size (c.135x90); Thieme-Becker 25, p. 57; Le Blanc III, pp. 39-4; Colas. (1883). Bibl. Ge’n du costume.; Lipperheide. Kat. der... kostümbibliothek. p. 31; Windsor Castle. Royal Library. The etchings of Wenceslaus Hollar from the Royal Library [microform].; Vinet. p. 2098; Ducharte, Pierre-Louis & Saulnier, Rene. (1944). L’Imagerie Parisienne (L’imagerie de la rue St. Jacques). Paris: Grund,; Weigert, R.-A., Pre’aud, M. (N.d.). Inventaire du fonds français : graveurs du XVIIe siPcle. 1,9-26, p. 391-392; Rohfritsch, Edmond. (1995). Balthazar Moncornet: graveur, éditeur et marchand d’estampes B Paris au XVIIe siPcle ou L’invention du portrait de notoriété de grande diffusion thPse d’état d’Art et Archéologie soutenue B l’université Paris-IV en 1995.; Van Eerde, Katherine. (1970). Wenceslas Hollar. Charlottesville.
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  Manrico. in Il Trovatore.
J. Redington, 208 Hoxton Old Towne, London. etching hand colored (7 X 8 1/2). #5.
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Manuscript notebook on Marionette Construction.
[Manuscript notebook on Marionette Construction.] (S.l.: s.n., ca. 1960.) Folio. Loose leaf, threering binder of approx 250 pages. Fully illustrated with drawings and newspaper clippings devoted to technical aspects of the marionette theatre with detailed and illustrated chapters on all aspects of construction as well as a 19 page section on program ideas and an a final detailed bibliography. Devoted to the technical aspects of puppet and marionette making, this notebook includes: an 80 page section on construction of a wide variety of puppets using papier mache, wood, modeling, and plastics; a 40 page chapter of props, scenes and settings, fully illustrated with reference to special effects such as volcanoes, rain and fire; a 30 page section on facial characteristics and costumes for farmers, gypsies, pirates, dancers, peasants, etc.; one chapter provides18 pages of instructions on tricks including juggling, dancing, smoking a pipe, trapeze dancing, making smoke, and underwater scenes; another 55 page section is devoted to technical construction such as stage and curtain assembly, wiring, projectors and lighting the stage. Although the author is unidentified, this is the notebook of a master marionette maker.
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Mazurkas Danced by Mr. G(abriel) de Korponay in four numbers
Mazurkas Danced by Mr. G(abriel) de Korponay in four numbers. Philadelphia: Fiot; New York: Dubois. Music cover hand colored after Dacre by Duval, fine cover, with 7pp of music (some foxing). Includes the Keepsake Mazurka by Chopin and three others. Not in Chaffee.
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  Miss Hughes as Reiza in Oberon.
O Hodgson, N 22 Macclesfield Street ,City Road, London. etching hand colored (7 X 9 1/2). #3.
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  Modes du Regne de Louis XIV
Modes du Règne de Louis XIV (1680-1690). A collection of 23 engraved plates. Folio (9 1/4 x 11 ½"). Old vellum. An album of rare Parisian fashion plates featuring the work of five 17th century engravers. Engravers: Arnoult, Nicholas (fl. 1682-1690, Paris), 15 plates; Berey, Claude-Auguste (fl. 1690-1730), 1 plate; Bonnart, Henri (fl. 1675-1695), 1 plate; Bonnart Nicolas (fl. 1675-1678), 1 plate (#17); Ertinger, Franz dit François (vers. 1640 - 1710), 5 plates. These engravings represent the earliest fashion plates in the modern sense. Fashion magazines of the 18th century were preceded by a series of single plates, often purporting to show noble or newsworthy people, but always indicating the latest fashions. These were produced by a small group of art and print sellers who worked in Paris (1680-1700), many of them from their print shops on the Rue St. Jacques (Nevinson). Based on portraits of members of the French royal family and the court circle, or famous visitors to Paris, or celebrated actors of the time, the engravings quickly lost their individuality and became "stock" figures, although the clothing pictured was of the latest fashions. Series of plates were published of men and women wearing clothes of different styles and for different occasions such as Femme de qualite... en habit Grec, en habit d'Este, or "jouant de la harpe...du Clav'esin," etc. Men were depicted Homme de qualite allant incognito, par la Ville, or en habit D'Espee, with several variations. The engravings were issued in black and white and in color. Most collections in France are black and white, according the Gaudriault, probably because the hand coloring did not correspond to the actual color of the clothing. A very few had actual fabrics attached to the verso of the engraving, such as in the collection at the Morgan Library, from which one can more properly see the actual colors and fabrics (Nevinson). Because "gravures de mode" could not be printed without the King's authorization, these engravings provide an accurate picture of clothes worn at Court. Because the engravings were widely exported outside of Paris, they helped to popularize Parisian fashions around Europe. Gauriault lists 361 fashion plates printed during the period of 1643-1715 under the category of "modes" established by the Bibliotheque Nationale's l'inventaire du Fonds francaise; although, he notes that "modes" leaves out engravings from a "genre" series such as Season or Eléments (as in H. Bonnart's L'eau. Pl. 21). More precise is the number of engraver-publishers who sold early "mode" plates, which Gaudriault lists at nineteen, including the important Bonnart family as one. Provenance: Bibliotheque de Mr. Beaupre, Conseller B la Cour de Nancy. References: Gaudriault, Raymond. Répertoire de la gravure de mode française des origines B 1815. Nantes: France, 1988. Nevinson, J.L. "‘The Mercury Gallant' or European Fashions in the 1670s." In The Connoisseur. November 1955 (87-91).
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  Mr. Bengough as the Emperor in the 3 Crumps.
Hodgson & Co, Newgate Str., 1823. etching hand colored (7 1/2 X 9 1/4). #13.
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  Mr. Bourroughs as Julian Peveril.
Jameson, 13 Dukes Ct, Bow Street, 1823. etching hand colored (6 1/2 X 9). #12.
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  Mr. C. Kemble, as the Merry Monarch in Charles the Second.
W. West, Theatrical Print Warehouse, 57 Wych Str., London, 1826. etching hand colored (8 X 10). #36.
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  Mr. C. Pitt as Caleb Crook.
J. Redington, 208 Hoxton Old Town, London. etching hand colored (6 3/4 X 8 1/4). #28.
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  Mr. C. Pitt, as Charly Wag.
J. Redington, 208 Hoxton Old Town, London. etching hand colored (6 3/4 X 8 1/2). #26.
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  Mr. Campbell, as Conrad.
etching hand colored (4 1/2 X 5 1/2). #40.
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  Mr. Cobham as Gilderoy.
William Cole, 10 Newgate Street. etching hand colored (7 1/4 X 9 1/2). #29.
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  Mr. Cobham as Wallace.
etching hand colored (6 X 9). #38.
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  Mr. Collins. as Paul Clifford.
J. Redington, 73 Hoxton Street, London. etching hand colored (6 3/4 X 8 3/4). #10.
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  Mr. Conner as Cortiz.
William Cole, 10 Newgate Street. etching hand colored (7 1/4 X 9). #16.
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  Mr. Connor, as Pizarro.
etching hand colored (6 1/2 X 9). #14.
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  Mr. Crauford as Count D'Courcy.
J. Redington, 208 Hoxton Old Town, London. etching hand colored (6 3/4 X 8 1/2). #22.
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  Mr. Creswick as Cassius.
J. Redington, 73 Hoxton Street, London. etching hand colored (6 3/4 X 8 1/2). #19.
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  Mr Denvil as Canute.
A. Park, 47 Leonard St, London. etching hand colored (7 X 8 1/2). #7.
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  Mr. Dobbs as O'Shane.
Hodgson & Co, 10 Newgate Street. etching hand colored (8 X 10). #37.
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  Mr. Farley as Sanguinebeck, in Cherry & fair Star.
Hodgson & Co., 10 Newgate St., 1823. etching hand colored (7 3/4 X 9 1/2). #17.
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  Mr. G. Clair as Matthioli.
J. Redington, 208 Hoxton Old Town, London. etching hand colored (6 3/4 X 8 1/2). #23.
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  Mr. H. Kremble as Black Will.
William Cole, 10 Newgate Street. etching hand colored (7 1/4 X 9). #27.
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  Mr. H. Marsten as the Black Rover.
W.G. Webb. etching hand colored (7 X 8 1/2). #4.
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