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652 title(s) found
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Blasis, Carlo. Traité Elémentaire, Theorique et Pratique de l'Art de la danse. Contenant les développemens, et les démonstrations des principes généraux et particuliers, qui doivent guider le danseur.
Blasis, Carlo. Traité Elémentaire, Theorique et Pratique de l'Art de la danse. Contenant les développemens, et les démonstrations des principes généraux et particuliers, qui doivent guider le danseur. Milan: Joseph Beati et Antoine Teneti, 1820. First edition of the author's first book. 8vo (8 ½ x 5 ½"). Original printed wrappes, rebacked. 124 p., 14 plates, one folding (bound in at fold). With the half title. This work is important for its aesthetic philosophy which trains students of dance to strive to become not merely a beautiful machine but an artist. "The plates are excellent and illustrate the movements, positions, and poses described. Plate XIV is particularly interesting for its spirited representations of the different types of dancers." Beaumont. References: Beaumont p.18, Leslie p. 53. Provenance: Parmenia Migel Eckstrom
Price: USD 1,500.00 other currencies   details     inquire
offered by: Golden Legend, Inc.   (USA)
Boemus, Aubanus (Joannes). Gli Costumi le Leggi et L'usanze di tutti legent.
Boemus, Aubanus (Joannes). Gli Costumi le Leggi et L'usanze di tutti legent, Raccolte qui insieme da Molti illustri Scrittori per Giovanni Boemo Aubano Alemanno, e tradotti per il Fauno in questa nostra lingua volagre. In Questi tre libri si contiene L'Africa, L'Asia, L'Europa. Venice: Tramezino, 1542. 8vo. Contemporary vellum. *8, A-Z in 8s, & 4; [10][3-187] 1. [1] including colophon bearing Tramezino sybil device on verso. Old ink notes on bottom of title page, ink notes in two places in text, slight soiling else a very clean copy. Lipperheide number 16 for 1582 edition. Brunet I. 1030n; Sabin 6119. This is one of the earliest printed compilations dealing with the customs, manners, habits and dress of different peoples around the world. First published in 1520 as Omnium gentium mores, leges, ritus, this edition is the first edition in a language other than Latin and the first edition in Italian. The translation is by Lucas Fono.
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offered by: Golden Legend, Inc.   (USA)
Boston Academy of Music. Annual Report of the Boston Academy of Music.
Boston Academy of Music [First thru Twelfth]. Annual Report of the Boston Academy of Music. Boston: Perkins, Marvin; T. R. Marvin, 1833-1842. (Apparently the series ran to 1846.) Twelve vols . 8vo. Original wrappers (first nine vols stitched together). The early reports of this important institution. At the time the Boston Academy was especially concerned with providing musical education for the citizens of Boston. Some autograph notes in text. Volume for 1837 lists names of the members of the Academy.
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Bradbury, Ray. A Medincine for Melancholy.
Bradbury, Ray. A Medicine for Melancholy. New York:Doubleday, 1959. First edition. Fine copy, jacket faded & chipped on spine.
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Bradbury, Ray Dandelion Wine
Bradbury, Ray. Dandelion Wine. New York:Doubleday, 1957 (no statement of first edition). Fine copyin jacket which is faded and chipped on spine. Early presentation copy "from the man in the ice-cream suit-," signed and dated Sept 24, 1957 (the novel was issued in June).
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Bradbury, Ray Golden Apples of the Sun
Bradbury, Ray. The Golden Apples of the Sun. New York: Doubleday, 1953. First edition. Fine copy, worn jacket.
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offered by: Golden Legend, Inc.   (USA)
Bradbury, Ray Halloween Tree
Bradbury, Ray. The Halloween Tree. New York: Knopf, 1972. First edition. Fine in jacket which is slightly faded on spine. Signed by the author.
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Bradbury, Ray Leviathan '99
Bradbury, Ray. Leviathan '99 a Drama for the Stage. Final, Final Revision, September 25th, 1972. [mimeographed sheets, clasp bound]. 100 pages, including a few annotations in Bradbury's hand. WITH 4 page program (one ink correction) for the play Leviathan '99 which was performed at Samuel Goldwyn Studios, Los Angeles. WITH Typed letter, signed "Ray" in which Bradbury thanks the receipient for actually buying ticket for the play and noting that the revised script was a somewhat longer version than the production.
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Bradbury, Ray Machineries of Joy
Bradbury, Ray. the machineries of joy. Short Stories. New York:Simon & Schuster, 1964. First printing. Presentation copy, inscribed For xxx "These Machineries to Increase, I hope, your Joys!," signed and dated July 31, 1964. Fine in slightly worn jacket
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  Bradbury, Ray Our new year's eve. Manuscript
Bradbury, Ray. Our New Year's Eve. Typed manuscript, signed "Ray" and annotated in two places.1 page folio. 20 lines. Inscribed "Bruce! Hope this does it. Boston to you and Ezter, Ray." Undated (ca. 1960). Probably written for a magazine article on how famous writers spend New Year's Eve. Bradbury writes on his long-standing habit of staying at home on New Year's Eve to commemorate his family. The statement ends "...And for me, personally, as midnight comes and goes, it is a time to remember my mother and father... Thus the living and the dead, in our house, share a special time." Bradbury manuscripts are rarely on the market. Provenance: from the editor of New Yorker who worked with Bradbury in the 1950s.
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Bradbury, Ray Something Wicked This Way Comes
Bradbury, Ray. Something Wicked This Way Comes. New York:Simon & Schuster, 1962. First printing. Fine in jacket which is slightly worn on spine. Signed by author.
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Bradbury, Ray. Zlaté Jablká Slnka
Zlaté Jablká Slnka (The Golden Apples of the Sun). Spolo nost Priatelov Kr snych Knih, 1959. First Czech edition of the novel. Almost fine in chipped dust jacket. Inscribed by author, signed and dated Feb 1, 1960.
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  (Braque, Georges). Char, René. Cinq poésies en hommage à Georges Braque.
(Braque, Georges). Char, René. Cinq poésies en hommage à Georges Braque. Geneve: Edwin Engelberts,1958. #12 of 46 copies with an original lithograph by Braque: "Le Poète" printed on Japon nacre and used as the front and back cover, with the margins, folded inside. (556x705cm). Total edition 121 copies (6 with the lithograph on Japon Nacre; 40 with the lithograph printed on Arches as this; 75 without the lithograph). All copies numbered and signed by Rene Char and Georges Braque. Oblong 8vo (10" x 6 ½"). 52p. incl, colophon. Plus original lithograph for cover printed by Mourlot, Paris. Text printed by Charles Pezzotti. Bound by P.L. Martin (1964) in brown smooth calf, with suede upper and lower covers. The upper cover is decorated with a tan abstract design reflective of the lithograph. Spine lettered in gilt. Chemise and slipcase. Fine copy. There was an edition of the lithograph unfolded (6 3/4th" x 20 3/8") in 100 copies, each numbered and signed by Braque. This elegant homage to Braque (1882 - 1963) prints five original poems by Char who was a close friend and collaborator. References: Mourlot, Fernand (1963). Braque Lithographs #60; Garvey Artist and the Book #40; Bibliothèque Nationale Georges Braque, #103; The Soleil des Eaux 1949; La Bibliothèque Est en Feu, 1956.
Price: USD 12,500.00 other currencies   details     inquire
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offered by: Golden Legend, Inc.   (USA)
  Brokaw, Irving. The Art of Skating.
Brokaw, Irving. The Art of Skating. Its History and Development with Practical Directions and Instantaneous Action Photographs of Celebrated Skaters of Many Nationalities. New York: Scribners, 1926. Inscribed by the author. 4to. Cloth. 254 p., with photos and figures. Greatly expanded from the 1910 edition. Has a good section on ice dancing, carnival dancing and dancing for women. The method taught in this work forms the basis for modern ice dancing.
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offered by: Golden Legend, Inc.   (USA)
  Browning, Robert. Dramatis personae & dramatic romances & lyrics.
Browning, Robert. Dramatis Personae & Dramatic Romances & Lyrics. London: Chatto & Windus, 1909. With 10 color illustrations by Eleanore F. Brickdale. No. 44 of special edition of 260 copies. Quarto (10.5 x 8"). xi, 246 p. Gilt-stamped vellum. Minor wear, occasional spots of foxing to prelims (as is usual). Eleanore F. Brickdale, RWS (1871-1945), English illustrator. Houfe notes that “her highly detailed and meaningful little pictures are crammed with medievalism and moral sentiment.” References: Cambridge History of English Literature (1917), vol. 11; Houfe. Dictionary of British Book Illustrators (1978).
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  Brunelleschi, Umberto. Musset, Alfred. La Nuit Venitienne. Fantasio: Les Caprices de Marianne.
(Brunelleschi, Umberto). Musset, Alfred. La Nuit Venitienne. Fantasio: Les Caprices de Marianne. Paris: Piazza, 1913. Folio. Full brown morocco, gilt. Front hinge starting to wear, else a very nice binding. Illustrated with 20 fine, mounted color photo-plates by Brunelleschi, done in the art-deco style, with subject matter from 18th century gallantry and commedia dell'arte. Umberto Brunelleschi (1879 - 1949) was born in Montemurlo in Tuscany but worked mostly in Paris at the beginning of the Art-deco period. He was a major contributor to many of the deluxe French fashion publications. In the 1920's he diversified into set and costume designs for the Folies Bergere, the Casino de Paris, the Chatelet and theaters in New York, Italy and Germany. Among his credits include many costumes created for the marvelous Josephine Baker. Many later artists such as Georges Barbier and Paul Iribe are indebted to Brunelleschi.
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offered by: Golden Legend, Inc.   (USA)
Bunn, Alfred. The Stage.
Bunn, Alfred. The Stage: Both Before and Behind the Curtain, From "Observations Taken on the Spot."Philadelphia: Lea & Blanchard, 1840. First American edition (after the London Bentley 1840 first edition). Two volumes, original black cloth, paper labels on spines. Aside from slight spine wear and owner's ink signature on front pastedown, very good and clean copies. References: Lowe (A&R) 2530; CBEL III, 1128. (for Bentley edition).
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Calderon de la Barca, Pedro. Six Dramas of Calderon.
Calderon de la Barca, Pedro (1600-1681). Six Dramas of Calderon. Freely Translated by Edward Fitzgerald. London: William Pickering, 1853. First edition. 8vo. Original cloth. Some staining and uneven fading but a very good copy. Inscribed by the translator to the actor Charles Macready, "with the Translator's Respects." Also signed on the same page for Macready and dated 1858. This translation of Calderón is done in blank verse which successfully summarizes the facts of the play with added imagery in a way that made it "eminently readable." (Cambridge/ English Vol XIII). The great actor William Macready had retired from the stage in 1851, but his friendship with Edward FitzGerald goes back a generation. FitzGerald had written several reviews of Macready's acting and often attended the performances in London. Edward FitzGerald (b. March 31, 1809, Bredfield, near Woodbridge, Suffolk, Eng.--d. June 14, 1883, Merton, Norfolk), English writer, best known for his Rubáiyát of Omar Khayyám. He translated Six Dramas of Calderón (1853) before turning to Oriental studies and mastering Persian.)
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  Callot, Jacques. Le Combat à la Barriere.
Callot, Jacques. Le Combat à la Barriere. [Title etching from: Humbert, Henry. Le Combat à la Barrière, faict en cour de Lorraine le 14 febvrier, en l'annee presente 1627. A Nancy: par Sebastien Philippe, 1627. 58 p., [9] leaves of plates.] Lieure 584; M 621. Only state. Etching on laid paper with indecipherable watermark. (9 3.8" x 5½", 23.5cm. x 14.6cm). Trimmed to thread margins. A very good impression with remains of tape verso. This plate shows the finale of the festival with the actual joust between the Duke and his opponent on one side of the area, while a festive procession with elaborate carriages enters the arena on the other.
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offered by: Golden Legend, Inc.   (USA)
  Callot, Jacques. Les Fantasies.
Callot, Jacques. Les Fantasies. 1633. L1372-1385 i & ii; M 868-881. The complete series of 14 etchings with frontispiece, printed on laid paper (L.1381in the first state; the others in State II final state). Each etching measures 2 1/4" x 2 3/16". Many with clear details and sharp contrasts, in good condition, trimmed to or just within the plate mark, with few repairs to corners; museum stamp visible on verso of some; mounted on board. Provenance: Museum Boymans, Rotterdam (Lugt 70a). Done during Callot's last years in Nancy, this "exceptionally exquisite and skillful" (Bechtel) series depicts the manners and dress of the noble women and men of the court of Louis XII. Lieure notes that these designs have a delicacy and grace not equaled until Watteau's etchings appeared a half century later. Les Fantasies was produced at the height of Callot's career, the same year as his magnificent portrait of Claude Deruet with his son. The original copper plates still exist at the Musee Lorrain de Nancy.
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offered by: Golden Legend, Inc.   (USA)
  Canaletto. Fifty Drawings by Canaletto from the Royal Library, Windsor Castle.
Canaletto. Fifty Drawings by Canaletto from the Royal Library, Windsor Castle. Introduction and catalogue by Charlotte Miller. London: Johnson Reprint Co.; New York: Harcourt Brace Jovanovich, 1983. First edition. 1/500 numbered copies. Large folio. Text volume in brown cloth (xvi, 44 p.), suite of 50 facsimile drawings in card folder, the whole housed in half leather and brown cloth Solander case with titles in gilt on spine. Fine copy. A superb production; design by John Dreyfus; printed at the Curwen Press, London. Facsimiles of the drawings printed on pure rag mould-made parchment 235 GSM; text on 50% rag Fourdrinier-made parchment 155 GSM. Bound by A. W. Lumsden, Edinburgh.
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offered by: Golden Legend, Inc.   (USA)
  Cappiello, Leonetto Nos Actrices
Cappiello, Leonetto (1875-1942). Nos Actrices. Paris: Éditions de la revue blanche, 1899. First edition. Original wrappers. Rebacked in cloth (some soiling to covers and top edge trimmed a bit closely). Plates in excellent condition, with very occasional soiling to margins. (3½" x 12¼"). Preface leaf, and 18 full-page colour plates by Leonetto Cappiello, printed on rectos only. A rare work by the great artist. Cappiello, a native of Livorno, Italy, came to Paris in 1898 and immediately found work illustrating for the satirical journal La Rire where he drew popular caricatures with a direct and simple style influenced by Toulouse Lautrec. In Nos Actrices, the publisher presents an album of portraits of some of the most renowned actresses of the day in costume. Figures include Marthe Brandes, Cecile Sorel, Sarah Bernhardt (as Medea), Rejane, Megard, Jeanne Granier, Marcelle Lender, and Simon Girard. "Voici un artiste nouveau, une vision nouvelle des types feminins, une facon neuve de traduire par le crayon et le pinceau l'impression d'art" (Preface, Marcel Prevost). Cappiello's style succeed to grow in popularity and his poster art influenced that form for many years to follow.
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offered by: Golden Legend, Inc.   (USA)
Carlyle, Thomas. The Life of Friedrich Schiller. Comprehending an Examination of his Works.
Carlyle, Thomas. The Life of Friedrich Schiller. Comprehending an Examination of his Works. London: Printed for Taylor and Hessey, 1825. 1st ed. 8vo. Original maroon cloth, skillfully rebacked. Paper label with price of "10s. 6d." With frontis portrait of Schiller engraved by Bull after Graff. A handsome copy. Protected with a cloth folding case. The work is recast and somewhat enlarged from the version that appeared in The London Magazine in 1823-4. Reference: Dyer p. 244; NCBEL III.1249; Tarr A3.I. Provenance: Edward Jackson Baron; Oliver Brett (bookplates).
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Caroso, Fabritio. Nobilta' di dame.
Caroso, Fabritio. Nobilta' di dame. [Bologna]: Forni, 1980, Facsimile reprint of the original published in Venice, 1600. 8vo. Cloth. Fine. 357 p. Nobilta' di dame is the second edition of Caroso's Il Ballarino, 1581, which is considered to be a classic book on the early dance. Beaumont details Il Ballarino's importance both for its text and for its illustrations: "The work sets down in great detail the manner of execution of the dances fashionable at the courts of France, Italy, and Spain during the Middle Ages....These dances are accompanied by musical notation for the lute."
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  Carracci, Agostino. Original etching and engraving.
Carracci, Agostino (1557-1602). [Original etching and engraving 1589-92] after Andrea Boscoli (1560-1607) and Bernardo Buontalenti (1536-1608). (9½ x13½"). A few faint stains. Laid down on stiff paper, thread margin. A good impression. Stamp on verso of Achenback foundation. The etching depicts Intermezzi #1 the Harmony of the Spheres from La Pellegrina. References: Bartsch 121;Bohli153ii/iii; Blum 4; Nagler 43; Strong, Roy. Art and Power. The musical "Intermezzi" La Pellegrina was staged to celebrate the marriage of Christine of Lorraine to Ferdinand de Medici, May 2, 1589. La Pelligrina, due to its innovative scenic designs, is considered the visual precursor to the earliest operas such as Rinuccini's Dafne of 1598 and Monteverdi's Orfeo of 1607. Carracci's etching records the dazzling visual effects created by the designer Buontalenti. Stiff paper, thread margin. A good impression. Stamp on verso of Achenbach foundation.
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Carson, Rachel. The Sea Around Us.
Carson, Rachel. The Sea Around Us. Illustrated with Photographs by Alfred Eisenstaedt. NY: Limited Editions Club, 1989.1 of 2000 numbered copies, signed by Eisenstaedt. 8vo (10 x 7"). Original cloth and slipcase. Beautiful photographs illustrate this work by the award-winning environmentalist Rachel Carson, author of Silent Spring.
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Cerrito, Fanny. (Mad'lle Fanny Cerito, of Her Majesty's Theatre).
Cerrito, Fanny. (Mad'lle Fanny Cerito, of Her Majesty's Theatre). London, published by John Mitchell, publisher to Her Majesty, 33 Old Bond Street, March 1st, 1844.) 9 5/8 x 12 ½" (plate size). Trimmed to half inch margins all around losing publishing information at bottom. Mezzotint on paper. A lovely mezzotint showing Cerrito three-quarter length to slight left, right arm resting on an ornate wall-table, left arm at side, end of lace shawl held in left hand. Wearing a Spanish costume; mirror, vase with two flowers and draperies in background. Rare.
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Challamel (Augustin) & Tenint, (Wilhelm Les Francais sous la Revolution. Avec quarante scenes et types dessines par H. Baron, graves sur acier par L. Massard.
Challamel (Augustin) & Tenint, (Wilhelm): Les Francais sous la Revolution. Avec quarante scenes ettypes dessines par H. Baron, graves sur acier par L. Massard. P. Challamel [1843]. First edition. Tall 8vo. Contemporary half red morocco, with decorative boards embossed with scenes ala Chinoise. Spine gilt . Slight rubbing, else fine. 116 p. with 40 nicely hand-colored engravings picturing French settings and dress during the revolution. (Vicaire II-167)
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Chamouin, Jean Baptiste Marie Collection de Vues de Paris Prises au Daguerroétype gravures en taille douce sur acier
Chamouin, Jean Baptiste Marie. Collection de Vues de Paris Prises au Daguerroétype gravures en taille douce sur acier. (Paris: Chamouin, circa 1850.) First edition. Oblong folio. Original red cloth, gilt, red leather spine. Very good copy with 1" of fore margin stained. Title leaf and 24 plates. The work contains twenty-four finely engraved plates made after Daguerreotypes by Chamouin. It is an early example of how the camera was used in place of the artist for providing an original image to be later engraved—an interesting melding of two disparate technologies. Engravings based on Daguerreotypes: Unnumbered: Nouveau Louvre; unumbered: Palais de l'Industrie; unnumbered: Lac du Bois de Boulogne; 1, Place de la Concorde; 2, Palais de Sénat (côté du Luxembourg); 3, Hôtel de Ville; 4, Fontaine de la Place Louvois; 5, Château des Tuileries (côté du Jardin); 6, Èglise St. Germain l'Auxerrois; 7, Palais Royal; 8, La Bourse; 9, Vue prise du Pont Neuf; 10, Arc de Triomphe de l'Étoile; 11, Èglise de la Madelaine; 12, École Militaire et Champ de Mars; 13, Arc du Triomphe du Carrousel; 14, Vue générale, du Quai d'Orsay; 15, Cascades et Château de St. Cloud; 16, Château de Versailles (côté de Paris); 17, Palais du Corps Législatif et Ministre des Affaires étrangères (de la Terrasse des Tuileries); 18, Notre-Dame, Èglise métropolitaine; 19, Le Louvre, côté de la Colonnade; 20, Fontaine Molière; 21, Colonne de la Place Vendôme; 22, Colonne de Juillet; 23, Vue du Dôme des Invalides; 24, Panthéon, Èglise patronale de Ste. Geneviève; 25, Èglise Saint Sulpice. References: Gernsheim, L.J.M. Daguerre (New York: Dover, 1968), p. 197. Buerger, p. 243. RLIN: Getty.
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  Chanoine , Charles Sulpice Jules Map of Russia, Asia and Alaska.
Rare Japanese Map of Asia & Alaska Translation by Charles Sulpice Jules Chanoine (1835-1915), Captain of the First French military mission to Japan. Map of Russia, Asia and Alaska. [Published by the Japanese Army, 1867.] Woodblock print hand-colored in blue, red and brown. (32.6 x 51.2" / 83 x130cm.) The map charts Russia from the Arctic Ocean in the North to the Caspian Sea and the Urals in the West; it maps China from the Sea of Japan and the Pacific Ocean in the East to the North Indian and Afghani border along the South. The silk roads are identified, as are cities, rivers and the length of the Great Wall. Importantly, this map minutely shows Alaska and the Aleutians as well as detailed views of Japan and Korea. Very good condition, folds, with some worm holes, repaired. First printed in Russia in 1860, this the 1867 edition has place names translated into Japanese by Charles Sulpice Jules Chanoine (1835-1915), captain of the First French military mission to Japan. The French military mission, which Chanoine led, arrived on January 13, 1867 near Yokohama and was responsible for the training of the Japanese military, but was forced to leave after only about 18 months with the growing threat of revolution in the Tokogawa government. During that short time, Chanoine translated the map for tactical purposes and also initiated a military penal code for the Japanese infantry based on the French code. Earlier in his career, Chanoine served as chief of the French troops in China during the Second Opium War. At the time, he wrote an important account of the French military expedition to China in 1859-60, Examen critique et re´futation d'une relation de l'expe´dition de Chine en 1860. He was later posted to Japan as part of the military mission sent to that country by Napoleon III at the request of the last shogun Iemochi Tokugawa. Later in life as General Chanoine he was involved in the Dreyfus affair as Brisson's new Minister of War (following Cavaignac). Chanoine's anti-Semitic stance against irrefutable evidence that Dreyfus was innocent helped topple his own Ministry.
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Chenavard, A. M. Theatres Antiques leur Grandeur Comparee.
Chenavard, A. M. Theatres Antiques leur Grandeur Comparee. Lyon: Mougin-Rusand, 1880. Small 4to. Boards. 6 p. plus folding chart. This short work compares the diameters of 37 ancient theatres from the smallest theatre at Catane in Sicily which is only 43 meters in diameter to the largest theatre of Bacchus at Athens in Greece of 175m. An interesting folding chart provides details and also shows the popularity of theatres in the 80 and 90 meter diameter range.
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offered by: Golden Legend, Inc.   (USA)
Chetwood, William Rufus. A General History of the Stage from its origin in Greece down to the Present Time.
Chetwood, William Rufus. A General History of the Stage from its origin in Greece down to the Present Time. With the Memoirs of most of the principal performers that have appeared on the English and Irish stage for these last fifty years. London: Owen, 1749. First edition. 8vo. Contemporary sheep, nicely rebacked. viii, 256 p. Dampstains. Although the title over-reaches the contents, the work is "fairly trustworthy, and (the) descriptions of the actor whom (the author knew) have genuine value." DNB. Reference: Lowe (Arnott and Robinson) 835; CBEL II, 1779. (Recent research indicates that the Dublin edition of the same year may have preceded).
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Cibber, Collie. An Apology for the Life of Mr. Colley Cibber.
Cibber, Collie. An Apology for the Life of Mr. Colley Cibber, comedian, and late patentee of the Theatre-Royal. With an historical view of the stage during his own time. Written by himself. London: Watts, 1740. First edition. Quarto. Contemporary calf, gilt spine. Spine crown chipped, lacking engraved portrait. An historic autobiography. Very clean copy. (A&R) 2555; Rothschild 636; CBEL II, 778.
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  Claudel, Paul. Le Chemin de la Croix.
Claudel, Paul. Le Chemin de la Croix. Paris: Jacquemart, 1948. Copy number 92 of 135 (entire edition 150: 15 copies with suites; 135 unbound in original wrappers and numbered 16 -150, as this). Folio. Beautifully bound in shades of purple, red, gilt and brown showing the sacred cross with drops of blood nearby. The binding by H. Puylaert was done for Olivier Herbosch. With original copper plate and wood engravings by Collot throughout. Text illuminated in gold by Louis Charpentier reminiscent of the style of Schmied. Engravings of Collot printed by Bracons -Duplessis. Le Chemin de la Croix (1911) was one of Claudel's most notable poetic works. It was written in a verse form entitled "verset claudélien" of his own invention, possibly inspired by the bible, halfway between verse and prose, with neither rhyme nor meter and limited by in-and-out-takes of breath. Paul Louis Charles Marie Claudel [1868-1955] was a French diplomat, poet, dramatist, member of symbolist circles and friend of Mallarme, after which he spent 40 years in the consular and diplomatic service. He wrote poetic dramas which were symbolist in tendency, as well as prose which included some fine, descriptive writing. After a sudden mystic experience, he converted to Roman Catholicism and wrote from then on with "lyric fervor, bold imagery and a sensuously religious emotion." Oxford/French. The artist Andre Collot, artist, illustrator, engraver, and painter, was an exhibitor at the important Salon d'Automne and Salon des Independants (1942-3). He illustrated a number of livres du luxe. Benezit.
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Clemens, Roman. Bühnenbildner
Clemens, Roman. Bühnenbildner. Zurich: Orell Füssli, 1941. 4to. Original wrappers (sl soiled). Album of 26 plates, with brief text. Clemens was a Swiss born set designer and theatre architect who worked in Dessau at the Bauhaus (1927-1931) with Lehrer, Paul Klee, Wassily Kandinsky, and Oscar Schlemmer. He designed sets in Zurich for Alban Berg's Lulu and other operas such as Carmen, Pique Dame and Figaro. A use of refined light which achieved transparency of the sets characterizes his work. A very scarce book. Provenance: Donald Oenslager.
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Clementi, Muzio. Three Sonatas for the Piano Forte.
Clementi, Muzio. Three Sonatas for the Piano Forte or Harpsichord With Accompaniments for a Flute and Violon Cello Dedicated to Miss Anna Maria Carolina Blake, by Muzio Clementi. Opera XXII. Price 7.6d. London: Printed by Rt. Birchall at his musical Circulating Library 133 New Bond Street. (ca 1800). Folio. Disbound. 23 p. including engraved title page (stained). Reference: RISM C2918. London: J. Dale, 1788 (for the first edition).
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Coarelli, Filippo and Lanfranco Franzoni. Twenty Centuries of History.
Coarelli, Filippo and Lanfranco Franzoni. The Verona Arena. Twenty Centuries of History. Verona: 1972. 4to. Wrappers. 134 p., fully illustrated. This beautiful area, used for performances since Roman times, is still used for grand opera and ballet. Reproductions of the areas from books and prints are included. Bibliography.
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  Cocteau, Jean. Le Testament d'Orphee un Film de Jean Cocteau.
Cocteau, Jean. Le Testament d'Orphee un Film de Jean Cocteau. [Original lithographic poster in colors]. Paris: Bedos, 1960. Woven paper, four sheets. (46 ½" x 63"). Laid down on linen. Fine copy. In this last film made by Cocteau, Cocteau plays himself "Le Poete." The film was made, in part, with prize money contributed by the young director François Truffaut which he had won for his film the Four Hundred Blows. Although done at the end of Cocteau's long career, and not a great work like its namesake Orphee (1950), Le Testament d'Orphee sums up Cocteau's contribution to the film which according to French critics place him in the "first rank of our directors."
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Cogniat, Raymond. De La Mise en Scene: Masques. Essai D'Esthetique.
Cogniat, Raymond. De La Mise en Scene: Masques. Essai D'Esthetique. Paris: Societe General, 1947. Limited edition, special issue of Masques devoted to contemporary set design. Folio. Buckram, with original wrappers bound in. 60 p., plus color plates. Interesting essays on problems in 20th century aesthetics of scenography. Includes discussion of space, design, costume, props etc. With excellent plates.
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Coit, Dorothy. The Adventures of Pinocchio: a Dramatic Ballet in Two Acts from Pinocchio - the Adventures of a Marionette, by Carlo Lorenzini; Libretto by Dorothy Coit; Music by M. Wood Hill - scored for full strings, single woodwind, timpani, etc.
Coit, Dorothy. [Typescript, annotated libretto]. The Adventures of Pinocchio: a Dramatic Ballet in Two Acts from Pinocchio - the Adventures of a Marionette, by Carlo Lorenzini; Libretto by Dorothy Coit; Music by M. Wood Hill - scored for full strings, single woodwind, timpani, etc. New York, 1938. With: [photocopy music score] Hill, Dorothy Wood. Pinocchio (1938). With a note in ink written on stiff cardboard by Dorothy Coit about the libretto. Two volumes, quarto and folio. Clasp bound typescript libretto on 15 leaves typed on rectos only, with some pencil notes and directions by Coit. Ring bound photocopy of the music score for "piano sketch" of Pinocchio on 48 leaves, printed on rectos only. Probably unpublished except in this format (note NYPL's copy). Dorothy Coit was a pioneer in American children's theatre in the 20th century. Aside from the plays she wrote, Coit was the co-founder of the The King Coit Children's Theatre and School in New York City in 1923 "which offered arts programs for children (5-15 years old) on weekday afternoons and weekends. The student body included many children of the rich and famous, and included such notables as Anne Baxter, Madeleine L'Engle, and Lee Remick. The school finally closed in 1959." King Coit School and Children's Theatre papers, 1934-2003. *T-Mss 2003-051. The New York Public Library for the Performing Arts. Locations: Eureka: NYPL for libretto and score, same format. NYPL record notes that this ballet was first performed in New York, April 13, 1931. NYPL's Dance Division notes it was also produced at the Hippodrome, N.Y., April 19, 1938.
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Collier, Jeremy. A Short View of the Immorality, and Profaness of the English Stage, Together with the Sense of Antiquity upon this Argument.
Collier, Jeremy. A Short View of the Immorality, and Profaness of the English Stage, Together withthe Sense of Antiquity upon this Argument. London: Kebel, et al, 1698. Second edition (published same year as first). 8vo. Contemporary blind-stamped calf (rubbed, a stain on lower cover). A very clean copy. An immensely influential work. This is "the most serious attack ever made on the stage in (England). It was replied to by Congreve and other dramatists, but Collier was completely victorious, and the best proof of his success, and of the necessity for his attack, was the marked improvement in decency which it produced." Lowe (A&R) 284; Pforzheimer 189. Wing C5263; CBEL II, 721(all for first editions).
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Coster, Germaine de; Dumas, Hélène. Reliures 1935-1980.
Coster, Germaine de; Dumas, Hélène. Reliures 1935-1980. Paris Blaizot for the Sociéte des Amis de la Reliure Originale, 1981. #94/100 copies signed by the artists. 12"x9". Nine facicles in printed wraps. Introduction by Jaques Guignard, 33 large (9"x6") original photos, 15 in color, tipped to printed sheets. Loose in printed embossed wrappers, in a cloth box with plexiglass window. Fine. A descriptive bibliography of 270 bindings with a list of exhibitions and checklist of publications. Coster's designs for these bindings were executed by Dumas.
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Cox, Edward Young. The Art of Garnishing Churches at Christmas and Other Festivals.
Cox, Edward Young. The Art of Garnishing Churches at Christmas and Other Festivals. with Illustrations from Original Designs and Ancient Examples. London: Cox (1871). Third Edition. 8vo. Original cloth, slightly worn and soiled. Hinges cracked but sound. 64 p., plus 40 p. of plates, including hand-colored original photos, plus 18 p. of publisher's ads. Ornaments made from evergreens; everlasting flowers, berries and moss; natural flowers to be used as decorations made for windows, pulpits, fonts, lecterns, standards, covers. A lengthy section describes the 40 plates of decorations in use at the time.
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Cox, Raymond. Les Soieries d'Art Depuis les Origines jusqu'a Nos Jours.
Cox, Raymond. Les Soieries d'Art Depuis les Origines jusqu'a Nos Jours. Ouvrage Illustre d'une planche en couleurs et de 100 planches en Noir. Paris: Hachette, 1914. Large 4to. Original brocade rebacked in plain cloth. 421 p. A thorough historical text is followed by a collection of sharp photographic plates, each documented. The plates show fine silks from medieval Italy, 17th Century France, the Middle East and Japan as well as each area and period where silk making has risen to a high art.
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  Craig, E. Gordon The Marionnette to-night at 12-30.
Craig, E. Gordon (Editor). The Marionnette to-night at 12-30. With The three men of Gotham [by Edward G. Craig; issued as supplement to Vol. 1, no 11]. Vol.1, no.1 (Apr. 1, 1918)-v.1, no.12 (Aug. 11, 1918). Florence, Italy: [The Mask], ca. 1918. Complete run. All issued. 12mo. Twelve issues. Original wrappers. A few chips to spines, one number with spine defective; otherwise, fine. With a cloth clam-shell folding case. In 1915 Craig started to write some puppet plays for the amusement of his two children, Teddy and Nelly. “Before long, characters resembling Bellingham, D.H. Lawrence, Magnus, KKK and various members of Florentine society and Roman aristocracy were gradually worked into a giant pattern where they rubbed shoulders with gods and goddesses from Greek & Roman mythology” (Craig). In 1918, Craig reunited his family in Florence and began to work with all on them on The Marionnette To-Night. The periodical, which he called “a performance” rather than a magazine, published his plays using his latest pseudonym, “Tom Fool,” along with “the vast quantity of material on the history of marionettes, puppets and shadow-figures that he had collected over the years, and material on contemporary European and English puppet theatre (op cit). Craig soon tired of this periodical and turned to a new book The Theatre Advancing. The Marionnette to-night at 12-30 is rarely found complete. References: Craig, Edward. Gordon Craig.(1968). Fletcher & Rood. Edward Gordon Craig. A Bibliography. #E3(a).
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  Craig, Edward Gordon. Arab amidst stage setting.
Craig, Edward Gordon. Arab amidst stage setting. 1910. Etching on laid japan paper. Plate size (3" x 4"). Page size (6" x 10"). Dated on the plate 1910 and initialed in ink “EGC.” “1” with “c” below in blue pencil in upper right hand corner of the sheet. Excellent impression with plate tone. Inscribed later “EGC,” dated, 1957. Slightly darkened. A rare print.
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  Craig, Edward Gordon Drawing of a Landscape
Craig, Edward Gordon. Drawing of a Landscape. (1882). Watercolor drawing of a landscape with a castle in background and a lake in foreground. Initialed “EW”. Size (4 1/4" x 2 5/8"). Tipped to sm 4to folder. Note on back of drawing in hand of Edward Craig: “Drawing by E. Gordon Craig aged 10 in 1882. ‘E.W.’ is Edward Wardell”, signed E. Craig, 1957. Craig notes on folder “This is the ONLY drawing by EGC of this early period outside my collection.”
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Craig, Edward Gordon. Hamlet with Skull.
Craig, Edward Gordon. Hamlet with Skull. (1912). Woodcut on yellow paper, initialed “C/1”. Platesize (3" x 6"). Sheet size (9 ½” x 14"). Original woodcut. Proof on yellow japan paper of an undetermined number of proofs. In portfolio accompanying the published Tragedie of Hamlet Prince of Denmarke, by William Shakespeare, Act V.i., the famous woodcut of Hamlet holding Yorick’s skull. These woodcuts were used as models for developing an actual stage used for Craig’s production of Hamlet at the Moscow Art Theatre in 1912. (F&R, 1967. No. C25a). (Garvey, 1972. No. 66). References: Newman, L.M. (Ed.), (1989). Edward Gordon Craig: Black Figures. (#10). Wellingborough: Skelton; Shakespeare, William. (1930). Hamlet Tragedie of Hamlet Prince of Denmarke. Weimar: Cranach Press.
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  Craig, Edward Gordon. The Windmill. Waiting for the Marchioness.
Craig, Edward Gordon. The Windmill. Waiting for the Marchioness. (1899). Gordon Craig. Wood engraving (5" x 7 3/4") on thin paper, with a bit of hand-coloring. Mounted on board and signed “Gordon Craig” with a note in his hand “3rd proof”. Margins, board mounting somewhat darkened.
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Craig, Gordon (1872-1966). The Mask.
(Craig, Gordon.) The Mask. A Monthly Journal of the Art of the Theatre. Florence, Italy: March 1908-October/December 1929. Complete run, all published. 15 vols (vols 1-3 in 12 issues; vols 4-6 in 4 issues; vol 7 in 2 issues; vol 8 in 12 issues; vol 9 in 1 issue; vols 10-15 in 4 issues). Folio and 4to. Vols 1-3 in original half-vellum with original wrappers and ads bound in; vol 4 in original wrappers (first number wrappers in facsimile); vols 5-6 in original half vellum; vol 7 in original wrappers; vol 8 in original half vellum; vol 9 in original half cloth; vols 10-14 in original wrappers, each with folders and ties; vol 15 in red cloth with original wrappers bound in. Good condition (vols 9-13 bear ex-library stamps, some wrappers frayed). A magnificent bibliophile production, printed on fine Italian paper, with hundreds of original woodcuts and reproductions from historic theatrical books. Contributors include Isadora Duncan, W.B. Yeats, Oscar Wilde, G. Bernard Shaw, Max Beerbohm and many others. Craig himself wrote hundreds of articles for the Mask using over 60 pseudonyms, and created many of the original woodcuts himself. On the origin of the Mask: At the age of 35, Gordon Craig thought of starting a revolutionary magazine on the theatre. "It would be his mouthpiece, and would also represent all those who were tired of a decadent theatre and who were striving, like him, for something new.... [a magazine] to be translated into every language, telling of his new theories on the art of the theatre." From a personal point of view, Craig longed to keep in contact with his old friends around Europe. "With his own magazine, he wouldn't be lost in Italy – he could keep in contact with his friends throughout the world; and by means of it, he would establish a rallying point for all those setting out in the same direction...away from a derelict art, toward a new form of expression." Edward Craig's biography of his father. Gordon Craig. The Story of His Life. (Knopf, 1968.)
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Crane. An Essay on Dancing. New
Crane, J. Townley. An Essay on Dancing. New York: Carlton & Phillips, 1853. Magriel p.29 (for first edition of 1849). 12mo. Original Green cloth, gilt spine (a bit rubbed). 132p. Ads. An interesting essay which discusses ancient, religious and military dance in context to its central objective as an anti-dance book. Provenance: Bookplate: Airey Kendall; Parmenia Eckstrom
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(Cruikshank, George). Twenty Etchings by George Cruikshank, Illustrating the Life of Sir John Falstaff, as Drawn by Sir William Shakespeare.
(Cruikshank, George). Twenty Etchings by George Cruikshank, Illustrating the Life of Sir John Falstaff, as Drawn by Sir William Shakespeare. London: Longman, Brown, Green, Longman, and Roberts, [1857-58]. Large-paper quarto. Separate issue of the plates from The Life of Sir John Falstaff. Three-quarter black morocco and marbled boards. Slight wear to spine, else fine. Ink notes at end date the binding as 1873. Presentation copy inscribed by Cruikshank to Edward Jackson Barron, dated February 14, 1874. References: Cohn 96n.
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D'Allemagne, Henry René. Le noble jeu de l'oie en France de 1640 à 1950.
D'Allemagne, Henry René. Le noble jeu de l'oie en France de 1640 à 1950. Quarante-huit tableaux etnotices. La vie quotidienne à Paris de 1820 à 1824, d'aprés les lithographies de Marlet et de Carle Vernet. Paris: Grund, 1950-1951. 4to. (335 x 250 mm). 237p., cartonnage illustre en couleurs sur le premier plat. (Reliure de l"editeur.) Original edition of 700, this is no. 300. Ce magnifique ouvrage de reference sur le sujet, est illustree par 110 illustrations dans le texte et 48 gravures hors-texte dont 9 en couleurs de Jean Kerhor. The Game of the Goose (Das Gänsespiel (german), Gioco dell'oca (italian), Jeu de l'oie (french), Juego de la Oca (spanish), Ganzenbord (dutch), Gaspelet (swedish)) is thought to be the prototype for many of the commercial European racing board games of recent centuries. The game is therefore mostly played in Europe and seen as family entertainment. Commercial versions of the game appeared in the 1880s and 1890s, and feature typical old European characteristics such as an old well and kids in clothes from the period. It is claimed that the game was originally a gift from Francesco I de' Medici of Florence to King Philip II of Spain sometime between 1574 and 1587. In June 1597 John Wolfe had attested that the game existed in London. In his 1899 novel Le Testament d'un excentrique, Jules Verne uses the United States of America as a giant real-life Game of the Goose board, on which seven players race each other in pursuit of a $60,000,000 inheritance. The game was also the basis for a game/stunt show in Spain, El gran juego de la oca (The Big Goose Game). It ran from 1993 to 1995, and again in 1998 as El nuevo juego de la oca (The New Goose Game). A version of this show was also produced in Italy. The Royal Game of the Goose requires 2 or more players, a gameboard, 2 dice, and 1 counter per player. The gameboard pattern is a spiral of 63 fields, from the outside to the inside. Many fields have special hazards or benefits for players who land on them. The object of the game is to travel along the spiral from field 1 to field 63, and the first player who successfully lands on field 63 by an exact roll of the dice is the winner. On each turn, a player rolls the two dice and advances the counter along the spiral by as many fields as the sum of the two dice. The player must deal with any situation on the space landed on, be they hazards or benefits. Whenever you land on a field with a goose, you move double the sum of the dice you just rolled. If that puts you on yet another goose, advance again, until you no longer land on a goose. (You may land in a trap yet, after all this wild-goose chasing.) One of the attractions of the Game of the Goose was its potential as a gambling game. Players would ante 4 tokens at the beginning of the game and pay one token at each of the 6 special fields. If a player landed on another player's field, both paid one token and changed places. The winner took the pot. Reference: wikipedia. http://en.wikipedia.org/wiki/Game_of_the_Goose; Riddle of the Labyrinth. www.gamepuzzles.com.
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  Dawson, Nancy. Nancy Dawson dancing the Hornpipe.
(Dawson, Nancy.) Nancy Dawson Dancing the Hornpipe. (London: ca. 1770). Mezzotint on laid paper. (Plate size: 9¾" x 11¼4"; sheet size: 17½" x 12¾"). Very good impression with several tears to large margins but plate surface almost completely free of blemishes, but for small scuff upper left hard quarter, and small tear extending less than a quarter inch into the lower right hand quarter of the plate. One of the two engravings by an unknown artist which depicts Dawson in a straw hat with one hand on hip and the other raised. Ashton suggests that Edward Penny (1714-1791) may have been the artist in the original design. A mezzotint was done by M. Jackson; another version published by R. Sayer. The De Wilde Oil portrait in the Garrick Club was based on this etching. Nancy Dawson (English dancer, 1730? - 1767). Much of what is known about Dawson's life is conjecture, but it is thought that she taught herself to dance and was invited to join Sadler's Wells "where the novelty of her dancing soon made her a favorite of the town." Highfill. She danced at Drury Lane and Covent Gardens from about 1751, and was first noted, in 1758, as one of the dancers in the revival of Betterton's dramatic opera The Prophetess. By 1759, she had become known for her lively version of hornpipe, and on 12 October, she replaced Mr. Miles in the thieve's dance of the Beggars Opera at Covent Garden. Within days she became "vastly celebrated, imitated and followed by everyone." Highfill. She was greatly in demand for the rest of her career for this dance, and the hornpipe was occasionally introduced into her roles, whether or not the play originally required it, as in Love in a Village (Covent Garden, 1762). The tune of Nancy Dawson's hornpipe became a popular ballad of the day. The music was written by Dr. Thomas Augustine Arne and has taken its place in the repertory of English folk music and is still sung as "Here we go Round the Mulberry Bush." Her successful career ended abruptly in 1763 for reasons we do not know. She died in 1767 and was buried in what is today known as St George's Gardens, London. References: Highill, Brunim et all, A Biographical Dictionary of Actors, Actressess...1660-1800 Vol 4 pp 237-243; There's None Like Nancy Dawson! Dance Perspective 26 (Summer, 166). Etching with minor variations pictured (no attribution given); Ashton, Geoffrey. Pictures in the Garrick Club .Catalogue #148
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de Lauze, F. Apologie de la danse et de la parfaite méthode de l'enseigner tant aux cavaliers qu'aux dames.
de Lauze, F. Apologie de la danse et de la parfaite méthode de l'enseigner tant aux cavaliers qu'aux dames. Genève: Minkoff, 1977. Facsimile reprint of the original published in 1623. 8vo. Wrapper. Fine. 69 p. A nice facsimile including the original engraved title page.
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De Lord, André & Alfred Binet. Un Crime dans une Maison de Fous. Drame en deux actes.
De Lord, André & Alfred Binet. Un Crime dans une Maison de Fous. Drame en deux actes. Paris: Librairie Theatrale, 1927. 45p. Original wrappers; Dreyfus, Roland. Le Rendez-Vous du 4. Piece dramatique en 1 acte. Paris: les editions du Theatre du Grand-Guignol, 1928. 46p, pictorial wrappers; Méré, Charles. Le Marquis de Sade. Drame en duex actes. Paris: Librairie Theatrale, 1921. 82p. Original wrappers. Méré, Charles. L’Homme Nu. Piece en deux actes. Librairie Theatrale, 1928. 61p. Pictorial wrappers, with ads. In 1897, the French playwright and chien de commissaire, Oscar Metenier, bought a theater at the end of the impasse Chaptal, a cul-de-sac in Paris’ Pigalle district, in which to produce his controversial naturalist plays. The smallest theater in Paris, it was also the most atypical. Two large angels hung above the orchestra and the theater’s neogothic wood paneling; and the boxes, with their iron railings, looked like confessionals (the building had, in fact, once been a chapel). The Theatre du Grand-Guignol- which means literally the “big puppet show”-took its name from the popular French puppet character Guignol, whose original incarnation was as an outspoken social commentator- a spokesperson for the canuts, or silk workers, of Lyon. Early Guignol puppet shows were frequently censored by Napoleon III’s police force. Reference: Pierron, Agnes. House of Horrors. $450.00
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De Menil, F. Histoire de la Danse a Travers Les Ages.
De Menil, F. Histoire de la Danse a Travers Les Ages. Paris: Picard & Kaan, (1906). 8vo. Cloth. viii, 362 p. Illus with 127 engravings. A fine general history of the dance from the earliest time to the skirt dance craze of the late 19th century and Loie Fuller. Divided into sections dealing with sacred and secular dances from around the world. The sacred sections include a section on La danse religieuse en Etrurie et a Rome and La danse des funerailles et le culte des morte, as well as many other little known forms of dance; while the secular sections cover dances from cotillions to garden parties. This copy inscribed to Ted Shawn.
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De Tabley Poems Dramatic
(Binding). De Tabley, Lord [John Byrne Leicester Warren]. Poems Dramatic and Lyrical. Second Series: London: Bodley Head, 1895. Edition of 550 copies. 8vo. Green gilt-stamped cloth, ruled borders overall pattern of heart-shaped device with large heart and large angel. Binding by Charles Ricketts and Charles Shannon. Fine. References: Krishnamurti: 193; Boss II: 164. Provenance: Morris-Levin collection.
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  (Derain, André: 1880-1954); Rabelais, François. Les Horribles et Espovantables Faictz et Prouesses du Très Renommé Pantagruel.
(Derain, André: 1880-1954); Rabelais, François. Les Horribles et Espovantables Faictz et Prouessesdu Très Renommé Pantagruel, Roy des Dipsodes Fils du Grand Géant Gargantua. Orné de Bois en Couleurs Dessinés et Gravés par André Derain. Paris:Skira, 1943. #62 of 200 numbered copies, signed by Derain. (Entire edition 275: 15 with an original drawing and a suite; 35 with a suite; 25 hors commerce: 200 as this). Folio (13 ½ x 11"). Original wrappers, unbound text and illustrations as issued.187p [1]p. 3f. Incl. 179 woodcuts printed in color, of which some are illustrated initial letters. Publisher’s sleeve and slipcase. Very fine. From The Artist and the Book: “Instead of cutting a separate block for each color, which is the usual practice, Derain cut a white line on each block to separate the color areas. The block were then inked in several colors and printed on dampened paper. The woodcuts were printed by Roger Lacouriére over a period of two years in a special studio which was set up for the project, the text was set by Georges Girard. References: “The Artist & the Book” 81; Rauch 38; Chapon p.155; Skira 91; Strachan p.330; Carteret IV, p.329; Monod 9403; “From Manet to Hockney’ French Art of the Book #49.
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Desrat, G. Méthode de danse de salon, par G. Desrat.
Desrat, G. Méthode de danse de salon, par G. Desrat...Texte. Musique Dessins de Maxime Alkan, EmileDesgranges, et al. Methode de Danse a l'usage des Familles et des Pensionnats. Paris: Au Menestrell, Heugel. (ca. 1860s). Oblong 4to (13½ x 10"). Original boards, spine and edges reinforced with tape. 18 p. of text; 8 lithographic plates of dances; 40 pages of music. A good to very good copy, with occasional foxing. Desrat was an important dancing master of the times. His Dictionnaire de la Danse (1895) is still useful. He did another volume Methode de Danse Complete (1863) of which Leslie (p.137) notes, "an excellent volume on Social Dancing whose care in dress and deportment can hardly give detractors on moral grounds cause for complaint. The plates of the dancers and their evolutions are well drawn and finely printed." Rare: not in the usual bibliographies; the Dance Collection at NYPL has only the revised edition.
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  Dickens, Charles A Week's Tramp in Dickens-Land.
[Dickens, Charles. 1812 - 1870]. Hughes, William. A Week's Tramp in Dickens-Land. Together with Personal Reminiscences of the ‘Inimitable Boz.' With more than a Hundred Illustrations by F.G. Kitton and other artists. London: Chapman & Hall, 1891. 1st edition. 8vo. Full green morocco with floral sprays in gilt on both covers and spine. Raised bands, gilt top. Bound for Lauriat by Kelliegram with mosaic scenes in color on each cover based on illustrations in the book. Fine copy in protective clamshell box. $3,000.00
Price: USD 3,000.00 other currencies   details     inquire
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offered by: Golden Legend, Inc.   (USA)
Dumesnil, Rene. Histoire Illustre du Theatre Lyrique.
Dumesnil, Rene. Histoire Illustre du Theatre Lyrique. Paris: Plon, 1953. Small 4to. Original wrappers. 240 p., plus 116 inserted pages of illustration. Index. 14 chapters cover the origins of lyric theatre in the church and Greco-Roman traditions, the ballet de cour, and the birth and subsequent spread of opera in Europe. Also discussed are creative trends in opera such as romanticism, realism, neo-classism, and impressionism. With a full chapter on Richard Wagner and a chapter on the various national schools of opera in the 19th and 20th centuries.
Price: USD 85.00 other currencies   details     inquire
offered by: Golden Legend, Inc.   (USA)