18th century books & prints
TRANSCRIPT
18th Century Books & PrintsPart II
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26. Lucian Lucianucian (born AD 120, Samosata, Commagene, Syria [now Samsat, Turkey.]—diedafter 180, Athens [Greece]. Danza Dialogo di Luiano con Annotazioni con annotazioni. InFirenze : nella stamperia di Gaspero Pecchioni, 1779. Original edition. 8vo. Old wrappers iv, 44 p. Some stains to titlepage. Very good copy.
In this dialogue the Cynic Crato, who has no interest in pantomimic dancing or those who go to seeit, is converted to its appreciation by his friend Lycinus. This is a translation into Italian with notes of Lucian’s famous dialogue on pantomime or “tragic dancing” in ancient Greece. In “tragic”dancing a dramatic plot is enacted by a masked and costumed dancer, supported by an actor. Thedancer’s lines are spoken for him by someone else. There is also a chorus, and, for accompaniment,the flute and the syrinx, with various instruments of percussion.
The work is dedicated to Antonio Muzarelli who was ballet master at the Burgtheater in Vienna ata time when ballet was detested by Emperor Joseph II, although the art form was gaining somepopularity due to the reforms of Jean-Georges Noverre (29 April 1727 – 19 October 1810).
Lucian’s dialogue was probably written in Antioch in 162–165 a.d., when the Emperor Verus wasthere, at a time when visual art was held inferior to literary art. Rare: two OCLC locations, one inNorth America: NYP
$450.00
27. Martinelli, Gaetano. Il Trionfo di Sebaste. Componimento Drammatico dedicatoall’illustrissimo, ed Eccellentissimo signore Sebastiano Giuseppe di Carvalho, e Mello Marchese diPombal Conte Di Oeyras Primo Ministro, e Segretatio di Stato Di sua Maestà Fedelissima...InOccasione di Festeggiare il suo. (Lisbon: Stamperia Reale,1776). Only edition of this festivaloratori libretto.
Quarto disbound. vi, 21p text. Collation: A-C4 D2. Numbering in ink on top inch of each leaf, recto.Vertical fold, trimmed close to bottom margin. Clean and very good condition. Il Tionfo di Sebastewas performed for the birthday of Sebastian Joseph de Carvalho e Mello, Conte de Oeyros, Marchesede Pombal. 1699-1782. The theme of the persecution and triumph of St. Sebastian was undoubtedlychosen as a wordplay on the subject’s first name and a hyperbolic metaphor for his life.
Gaetano Martinelli (? – 1802) was an Italian poet and librettist, probably from Rome. Martinelliwas one of a group of reforming Italian librettists along with Calzabigi, Verazi, and Migliavacca whomoved away from the traditional Metastasian plot structures that had dominated opera during thefirst half of the 18th century. He was to remain court librettist until his death in 1802. (Debritop.237). Since most of the music from the late 18th century Portuguese court is lost, libretti like IlTionfo di Sebaste helps to reconstruct this important period in the development of opera in Iberia.
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Refs: Smithers, Howard E. A History of the Oratorio. 1977; Sartori, 24042; Marques de Pombalcatalogo Bibliografico e Inconografico Biblioteca Nacional Portugual, 1982. #800. (Martinelli alsowrote the text to L’Ero Coronato: serenata per musica in 1775 catalog #801). Not in OCLC. Porbaselocates five copies: four in the Biblioteca Nacional de Portugal, and one in the Biblioteca João PauloII–Universidade Católica Portuguesa.
Full notes at the following link: http://www.goldenlegend.com/pdfs/Sebaste.pdf
$850.00
28. Metastasio, Pietro. Partenope. Festa teatrale da rappresentarsi in musica nell imperial regioteatro festeggiandosi i felicissimi sponsali di Ferdinando II. di Borbone re delle Due Sicilie edi Maria Giuseppa d'Austria, l'anno MDCCLXVII. (Vienna: Nella stamperia di Ghelen, 1767). Sartori 17845 ( with 42pp.); Sonneck 851; Schtz 4551. First edition of the Ghelen libretto.
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Small quarto (6 3/4 x 8 3/4”). Modern floral boards. Engraved title, shaved at bottom. A few stainson last leaf, otherwise fine. Page of printed half title, verso blank; 1p. blank, frontis engraving onreverse; 1p. engraved title, verso blank; 1p. argomento, 1p. inerlocutor; (40p text). Collation: [3],A-E4. Ornaments, engraved initials with beautiful typefaces and illustrations. Festival drama intwo scenes with chorus at the end. Music by Johann Adolf Hasse, libretto by Pietro Metastasio. Thisdrama was composed at the command of Empress Maria Theresa for the marriage of Ferdinand I(1751-1825), King of Two Siciles, to Archduchess Maria Josepha of Austria.
The drama was performed at Vienna’s Burgtheater on September 9, 1767. Mozart was in attendance.It had been presented at court the evening before. In this elegant libretto there are a total of eightengravings (two full-page) by J.C. von Reinsperger after J. Biderman.
OCLC: CGU, GZM, NYP, DLC.
Full notes at the following link: http://goldenlegend.com/pdfs/patenope.pdf
$2,000.00
29. Monsigny, Pierre-Alexandre (1729-1816). Rose et Colas. Comedie en un acte. Representeepour la premiere fois par les Comediens Italiens. Le Jeudy 8. Mars 1764. Paris: Herissant, [1764]. Folio 10" x 13 1/4". Contemporary quarter calf and marbled boards. Spine a bit worn, especially atthe crown. Text very clean, with a few leaves darkened. A very nice copy. Engraved score with leafof title, 154pp. Score for seven instruments, ll to 13 staves staves, with lyrics and scene divisions.
Libretto by Michel-Jean Sedaine. Rose et Colas, one of Monsigny's most popular works, premieredat the Comedie-Italienne on the 8th of March 1764 and was subsequently performed throughoutEurope, both in French and in translation. References: RISM M 3272; BUC 900.
$1,000.00
30. —another copy: Monsigny, Pierre-Alexandre (1729-1816). Rose et Colas. Comedie en unacte. Paris: Herissant, [1764]. Contemporary vellum (10 1/4 x 13 7/8th”) somewhat darkened with spine showing minor loss to vellum on front hinge. Very clean. Armorial bookplate.
$800.00
31. Monvel (pseud. of Jacques-Marie Boutet 1745-1812). L'Amant bourru, comedie en 3 acteset en vers libres, representee par les Comediens francois ordinaires du Roi, le Mercredi 14 aout1777. Dediee a La Reine. Paris: Vve Duchesne, 1777. Original edition. Soleinne 2170. Firstperformed November 22, 1775 at the Grand Theatre de la Monnaie Bruxelles.
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8vo. 19th century cloth and boards. Light soiling to first and last pages. 67pp. Libretto with cast list. L'Amant bourru, based on a novel of Marie-Jeanne Riccoboni, is an elegant drawing roomcomedy considered Boutet's best play. The play's great popularity was due to the lead acting of thetwo great comedic rivals: Mole and Boutet himself. It was one of the first plays to have beenperformed in New Jersey when English theatre companies visited in the summers of 1792 and 1793. Reference: Chefs-d'oeuvre des auteurs comiques. Paris: Firmin Didot Freres, 1846.
$350.00
32. Noverre, Jean Georges. Lettres sur la danse, et sur les ballets par m. Noverre, maître desballets de Son Altesse Sérénissime Monseigneur le Duc de Würtemberg, & ci-devant des théâtresde Paris, Lyon, Marseill, Londres, &c. Vienna: Trattnern, 1767. 8vo. Contemporary three quartercalf and boards (spine chipped at crown), 444p. Nice clean copy. The third edition of Letters, firstpublished in1760. This edition first contains the 15 letters used in the later Saint Petersburg editionof 1803.
Noverre's Lettres is considered to be at the heart of the 18th century reforms in theatrical dance. Thiswork is a contemporary history of dancing and an exposition of the theories and laws governingperformance. To quote Beaumont: "Noverre reformed stage costume, restored and developed theart of mime, emphasized the value of good music, and insisted that all ballets must be designed asa means of expressing or assisting the development of the theme."
References: Beaumont, Cyril. (1973). Bibliography of Dancing, p.134-5; Niles, Doris. Leslie,Serge. A Bibliography of the Dance Collection of Doris Niles & Serge Leslie (London, 1966-8),p.388; Derra De Moroda. (1965).
$750.00
“indescretion” in a box at the Paris Opera
33. Petit, Marie Antoinette (fl. 1722-1746). Factum pour Mademoiselle Petit, Dansuese del'Opera Revoquee, Complaignante au Public. [Paris: sp, (1741)]. 4p. (8vo). Full sheet folded infour, unbound. This satirical defense ridicules Marie Antoinette Petit, a minor dancer at the Opera,who was expelled from the company after being caught in an opera box with marquis de Bonnac. The probable author of this pamphlet is Abbe de La Mare, poet, amateur author, and playwright (1708-1742). La Mare is best remembered for two operas: Zaide, and Titon & l'Aurore. Hecommitted suicide during capture in the war with Bohemia.
With -- Jacquet, Louise. Reponse au factum publie sous le nom de la Mdlle. Petit, cy-devantactrice de l'Opera. Pour Mlle. Jacqvet, accusee d'imposture & de calomnie. 4p. (8vo). Fullsheet folded in four, unbound. A satirical response to Mlle. Petit's defense (above) written(supposedly) by Louise Jacquet (b. 1722), a singer debuted at the opera on 10 October 1738. Shecreated six roles from 1745 to 1751 and was cast in revivals of Lully’s Atys, Thesee and Persee, aswell as works by Campra, Boismortier and Destouches. A respected singer, she retired with a largepension in 1758, and records have her make reprise appearances until 1784.
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The probable author of Reponse is Anne-Gabriel Meusnier de Querlon, (b. Nantes 1702- d. 1780). Querlon was French editor for 20 years of Journal les petites affices. Interestingly, for one offendedby this scandal, he supposedly wrote a "libertine" novel La touriere des carmelites (1745), alsopublished as Histoire galante de la touriere des carmelites (1774) and Sainte-Nitouche, ou histoiregalante de la touriere des carmelites (1784). Refererence: Soleinne (Essai), 1685/6; La Jarte I188-90, LERIS (1763); pp. 608. Locations: OCLC: NYPL, Harvard Loeb.
$850.00
34. [Libretto]. (Petronius Arbiter). Boindin, Nicolas (1676-1751); La Motte, M. de (1672-1731);(Antoine Houdar). La matrone d'Ephese: comedie par Mr B***. Paris: Chez Pierre Ribou, procheles Augustins, a la descente du Pontneuf, a l'Image S. Louis, 1702. Original edition. Cioranescu, A.18.s; 36563. 12mo. Disbound. 46pp. One act in seventeen scenes in prose.Taken from PetroniusArbiters Satryicon. First performed Theatre de la rue des Fosses Saint-Germain, Paris, France ,September 23rd, 1702.
Antoine Houdar 1672-1731 was a talented poet, playwright, critic and literary theorist who sufferedfrom paralysis and partial blindness most of his life. He was author of almost 40 plays and balletsReference: Brenner, 1947, # 7820; Solenine 1587; Maupoint M.200; Green, Joseph Hollingsworth. Menander to Marivaux: The History of a Comic Structure (1977). Locations: OCLC: CTY UAB
$1,000.00
35. Pezay, Alexandre Frédéric Jacque de Masson, marquis de (French, 1741–1777). L'HeureuxJour, épître à mon ami. Paris: La Veuve Duchene, 1768. Original edition. Cohen de Ricci(1912/1951). p797.
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Illustrated by Charles Eisen (French, 1720–1778), engraved by Emmanuel Jean Nepomucène deGhendt (Flemish, worked in France, 1738–1815), and engraved by Jean Massard (French1740–1822). 8vo. Beige wrappers, with original blue wrappers mounted to the pastedowns. (5 1/4x 9 1/4") uncut. Pagination: Leaf of engraved title, verso blank; 2p Explication des figures; leaf ofblank recto; frontispiece verso; pp 5-29 text; 1p approbation. Ornaments in text, halfpage illus p5& p29, leaf of blank. Collation: A-B8. Laid in are two extra full page engravings after Eisen, oneengraved by Le Mire, one by De Ghent Les Tableaux
“In French rococo book illustration, grandeur gives way to lightness, the cult of pleasure, andpursuit of gallantry. Charles Eisen’s engravings...are scintillating expressions of rococo esprit”Harthhan, p.144. Ref: Harthan, John. The History of the illustrated book. The Western tradition.1981; Bibliography of Eighteenth Century Art and Illustrated Books: Being a Guide to Collectorsof Illustrated Works in English and French of the Period; Salomons, Vera. Charles Eisen. London:Bumpus, 1914. OCLC No locations North America although Boston Museum of Fine Arts lists acopy.
$350.00
"One of the most important books in the history of dance literature Le maître a danser contains the clearest and most detailed descriptions available of the
structure and execution of the basic steps used in social and theatrical dance‚” (Hilton, 49).
36. Rameau, Pierre. Le maître a danser: Qui enseigne la maniere de faire tous les différens Pasde la Danse dans toute la régularité de l’Art, & de conduire les Bras à chaque Pas: Enrichi deFigures en Taille-douce, servans de démonstration pour tous les différens mouvemens qu’ilconvient faire dans cet Exercice: Ouvrage très utile non-seulement à la Jeunesse qui veutapprendre à bien danser, mais encore aux personnes honnêtes & polies; & qui leur donne desrégles pour bien marcher, saluer & faire les révérences convenables dans toutes sortes de
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compagnies. Paris: Chés Jean Villette Fils, ruë S. Jacques, à Saint Bernard, 1734. Nouvelle edition.Malkin, 134; RISM Écrits, no. 686. Second edition (the first being 1725). The first edition includesa plate facing p.74. Our copy has that plate facing p.28 entitled “Premiere attitude de la reverenceen avant eue de face” (missing in the Malkin copy). A third edition was published in 1748.Illustrated with dance notation of 60 copper-engraved plates signed by Rameau, comprisingfrontispiece and 59 additional engravings of dance positions, floor diagrams, and hand movements.
8vo. Contemporary calf, raised bands, spine gilt. Covers rubbed and spine ends chipped and worn.The double-page folding ball plate at p.59 is complete, although it has been repaired andstrengthened with heavy paper on verso. Illustrated with 60 copper-engraved plates signed byRameau, comprising frontispiece and 59 engravings of dance positions, floor diagrams, and handmovements.
Rameau sets down for the first time in writing and with illustrations the five basic positionsfor the feet, which had been notated but not analyzed in Feuillet’s seminar workChorégraphie (1700).
References: Beaumont, Bibliography of Dancing, 150-151; Fletcher, Forty Dance Books, no. 27;Leslie, Dance coll. of Niles & Leslie, 439; Magriel, Bibliography of Dancing, 131;N.J.E.Rothschild Catalogue 1, no. 295; Malkin, Dancing by the Book (2003), 134. Provenance: G.J.Bartholeyns dated 17 Julliet 1816 on front flyleaf; collection André Meyer, from his sale Sotheby’sParis, 16-17 October 2012, lot 20.
$8,500.00
37. Renouard, Ant. Aug. 1765-1853. Observations de quelques patriotes sur la nécessité deconserver les monuments de la littérature. Paris: no pub, 1793. 8vo. Later marbled paperwrappers. 23p. Title page darkened. Very good copy. A plaquette on the protection of historic statues and monuments of the Old Regime. Antoine-Augustin Renouard (21 September 1765 – 15
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December 1853) was an industrialist and political activist in Paris at the time of the FrenchRevolution. He became a book dealer, printer and bibliographer. Also he was an active participantduring the early years of the revolution, joining the Jacobins, and serving as a member of the ParisCommune General Council. In 1793 he became a Civil Commissioner.
$350.00
38. Requeno y Vives, Vicenzo, (1743-1811). Saggi sul ristabilimento dell' arte armonica de' recie romani cantori. Parma: Fratelli Gozzi, 1798. First edition. Two volumes. Near contemporarypatterned boards and vellum spine, spine lettered in ink. 453pp., indices, errata, engraving. Very nicecopy.
In this work on Roman musical forms, Requeno y Vives quotes widely from ancient sources andcriticizes contemporary authors like Burney and Rousseau for their errors. The author was aSpanish antiquary and writer on the fine arts. Aside from this work on music, he wrote a widelyrespected work on Greek and Roman painting. Saggi sul ristabilimento dell' antica arte de' Grecie de' Romani pittori,1784. References: TNG VI, Vol. 15 p. 751. Gregory-Bartlett I p. 230.Wolffheim I 966. Hirsch I 501. Not in Cortot. RISM BVI p. 697.
$750.00
39. Roberti, Giovanni Battista. Raccolta di Varie Operette. Bologna: Lelio dalla Volpe, 1767. Firsttwo volumes of a yearly anthology, published until 1795. 8vo. Two vols. Contemporary vellumboards, with red morocco labels. Fine with slight defects. Titles in red & black with engravedvignette head-pieces, tail-pieces, and initials throughout. 17 poems are collected in these twovolumes, each separately paginated, each with charming head and tail pieces. Giovanni BattistaRoberti, (1719-1786) was an minor Italian poet and essayist of the time. He was also a professor ofphilosophy at Bologna.
$300.00
A rare anti-drame
40. (Libretto). Robineau de Beaunoir, Abbe. (1746 - 1823) La Philosophe, Anti-Drame. Paris:Duchesne, 1775. Original edition. Soleinne (2250). Cioranescu 18.53528.8vo. Disbound. Fine copy.72pp., uncut with half title. In his Avertissement, the author defines an anti-drame as somethingbetween a comedie and drama, slightly like a parade. Anti-drames generally depicted the intellectual of middle-class city life. An unusual type of play, Wade counts only nineteen of them publishedduring the last half of the eighteenth century. Although Robineau de Beaunoir was destined forservice in the church, as a youth he grew fascinated with life in Paris where he turned to the theatre. He began writing for the troupe Nicolet in 1768 writing over forty plays during his long career, using a number of pseudonyms.
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References: Dictionnaire des ouvrages anonymes By Antoine Alexandre. Barbier, Joseph-MarieQuerard. Paris: Fechoz et Letouzey, 1882; Abbot, E. B. "Robineau, dit de Beaunoir, et les petitstheatres du XVIIIe siecle", in Revue d'histoire litteraire de la France, 1936, pp. 20-54 et 161-180; Wade, Ira . “Middle-Class Philosophes, Middle-Class Philosophy, in the Drama of the EighteenthCentury” In Modern Philology. Vol. 26, No. 2 (Nov., 1928): 215-229.
$350.00
41. Rowe, Nicholas. Plays written by Nicholas Rowe. London: J. and R. Tonson and H. Lintot,1736. Vols. I & II. First edition thus. Illustrated. With --- The Miscellaneous Works of NicholasRowe. London: Printed and Sold by W. Feales, 1733.Third Edition Three volumes. 8vo. Redmorocco, some rubbing. Bookplate. Reference: NCBEL II, 780.
$300.00
Based on George Farquhar’s important Restoration play The Constant Couple
42.[Libretto]. Schröder, Friedrich Ludwig,(1744-1816). Erster Theil des Rings: ein Lustspiel infunf Aufzugen. With Zweyter Theil des Rings, oder, Der unglucklichen Ehe durch Delikatesse:ein Lustspiel in vier Aufzugen /von Schroder. [Wien: Gedruckt und zu haben bei Joh. Jos. Jahn...],1790. First edition.
Two vols: 8vo. Contemporary boards, paper spine labels. Pagination: I. Frontis, pp.[121]-255, [1]; II. Frontis. Pp. [103]-242. Somestains to early pages of v1; otherwise, a handsome, very good set.Der Rings (I & II) is set in Vienna, with the characters of Baronvon Schoenhelm, Frau von Darring and Herr von Holm substitutedfor Farquhar’s Lady Lurewell, Colonel Standard, and Sir HarryWildair. The second part continues the rollicking farce in the homeof Herrn von Holm.
Friedrich Ludwig Schröder (3 November 1744–3 September 1816)was a German actor, manager and dramatist. In 1764, he appearedwith the Ackermann company in Hamburg, playing leading comedyparts; but these he soon exchanged for the tragic roles including Hamlet, King Lear and Philip in Schiller's Don Carlos. for which hebecame famous.
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In 1771, Schröder and his mother took over the management of the Hamburg theatre where he beganto write plays, largely adaptations from the English.
He produced his own translations of 11 plays by Shakespeare (1776–80), as well as his own playssome reflecting the new Sturm und Drang movement. As an actor, Schröder was the first to departfrom the stilted style of former tragedians; as a manager he first brought Shakespeare before theGerman public. Schröder's Dramatische Werke, with an introduction by Tieck, was published infour volumes (Berlin, 1831). Refs.: Carlson, The German Stage in the Nineteenth Century (1972);Hadamowsky, Die Wiener Hoftheater (Staatstheater), 1766-1966. I, 955, 956. OCLC: NorthAmerica: HHG, PAU, Uwis.
$750.00
43. [drawing]. Tasca, Luigi [Architectural design for a theatre backdrop signed "Tasca"].(Venice, before 1800). Pen and black ink and grey wash, unframed, 6 3/8 x 9 7/8 in. (16.3 x 25.1cm). Most likely done for Monima e Mitridate. Dramma serio per musical with music by Nasolini,performed in Venice in 1799 (Sartori 15899).
Upper left is a half-dome building. In the center is a plaza with fountain ornamented with swans.Steps lead up to the fountain. To the right is a public building of four stories, probably the palace.
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Right center to the rear is a mosque in the background. The crescent moon, religious symbol ofIslam, is depicted on several building tops. Palm trees indicate a desert setting.
Luigi Tasca flourished at the end of the 18th century and the very beginning of the 19th. Benezitsurmises he was born in Padua. He executed theatre designs in Perugia, Livorno, and Pergola. Sartoricredited him with being a resident of Fiorenza and a member of Accademia Fiorentino. Tascadesigned the ornamental facade for the Teatro San Marco in Venice. Reference: Sartori, I LibrettiItaliani a stampa dall origini al 1800 (1993).
$2,500.00
44. (Terence). Publii Terentii Afri. Comoediae Sex Ad Optimorus Exemplarium fidemrecensitae. Paris: Natalem le Loup Jacobum Merigot, 1753. First edition with engravings byGravelot. 2 vols. 12mo. Original wrappers, uncut and unopened . With a portrait of Terence Occasional faint foxing. Wrappers a bit frayed and dusty, but an excellent copy. Leather-backed clothtwo-compartment case, with morocco labels.
This collection prints the six known plays of Terence, each illustrated with a full-page engraving. Throughout the text are also 37 vignettes and 28 culs-de-lamps (tailpieces) after Gravelot, engravedby Delafosse and Sornique. Cohen/Di Ricci note that the engraved tail pieces throughout thisedition are remarkable in that they represent almost every type of historic Roman theatrical masks. References: Cohen/DiRicci, pp. 982-83; Ebert 2:22527; Schweiger 2:1069.
$850.00
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A significant pre-Handelian oratorio composer.
45. Torri, Pietro. Abelle, Oratorio. Valenziena (Valenciennes): Presso Gabrielle Francesco Henry,Stampatore Regio, 1711. Original edition. Oratorio libretto in three acts, in verse. 12mo.Eighteenth-century polished calf. Text in French and Italian on facing pages. Collation: A-D8,E3.
Abelle is a theatrical oratorio, in verse, based on the Cain and Abel story in three acts with notesabout the setting and scenery. Eight characters with indications of setting at the beginning of eachscene. Abelle was first produced in Brussels between 1692 and 1702. It was reprised inValenciennes (as here) in 1711. Records indicate it was produced again in 1734.
Abelle is one of the few Italian sacred oratorios of the period that was staged as theatre. AsHoward Smither notes: “Theatrical performance of oratorios—with scenery, costumes, acting andmemorized roles—was highly exceptional in Italy before the mid-eighteenth century; suchperformance of Italian oratorios appears slightly less exceptional outside Italy. Prior to the mid-eighteenth century, only six Italian oratorios are known to have been performed as operas—all sixare by Pietro Torri (1650- 1737) and were written for the elector of Bavaria Maximilian II Emanuel(1662-1726) between 1692 and 1727” (50). Torri’s sacred oratorios, rediscovered only a few yearsago, were performed in place of operas during Lent. Their subjects were generally taken from theOld Testament or from Voragine’s Villegas’ or Ribadeneira’s editions of the lives of the saints. According to the historian George J. Buelow, “In the tradition of Lully, [these oratorios] show Torrias a significant pre-Handelian oratorio composer.”
Full research notes at the link below:http://www.goldenlegend.com/pdfs/Torri.pdf
References: Buelow, George J. The Late Baroque Era V4 (2016); Castil-Blaze. L Opéra-Italien de1548 à 1856 (Paris, 1856); Groote, I. M. Pietro Torri: Un Musicista Veronèse alla Corte di Baviera(2003); Smither, Howard E. A History of the Oratorio (UNC: Chapel Hill, 1977).Locations: OCLC: Only BNF has a copy.
$2,000.00
46. [Carrousels]. Verdy du Vernois, Adrien Marie Francois de (1738-1814) Recherches sur lescarrousels anciens et modernes. Suivies d'un Projet de jeux équestres à l'imitation destournoys de l'ancienne chevalerie. Dans lequel, on démontre l'utilité que la noblesse retireroitdu rétablissement de ces jeux, autrefois l'école de l'adresse et de la valeur. (Paris?: Cassel)1784.Original edition. 8vo. 19th century vellum. [ ii], [iv], [3]-155, [1] blank. Collation: [], *2, A-J8,K6 [K1 on stub]. Very clean copy, occasional slight foxing. Ornaments in text. After discussing theRoman circuses and the Chevalerie of the middle ages (the mounted rituals of knights), thetournament itself is discussed in its forms (including the placement of the audience). (pp37-107).Ref: Barbier 21795; Brunet IV 15991; Querard X p.107; OCLC: North America: Society of theCincinnati, Virginia.
$800.00
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Giustino is a major opera. It shows Vivaldi on the verge of modernizing his style while summing
up the most individual achievements of his earlier years. The rare libretto contains stagedirections and much that is not in the original score.
47. Vivaldi, Antonio. Giustino dramma per musica. da recitarsi nel Teatro dell'i Sig. FedericoCapranica nel carnevale dell'anno 1724. Roma: Bernabo, 1724. Pagination: Leaf of title bearinga woodcut of a lion holding a globe, verso blank; 2p. Dedication; 1p. Argomento; 1p. Prostesta andimprimatur; 1p. Mutazioni di setting in Constantinopoli by Alessandro Mauri Veneziano; 1p.Interlocutori and composer of D. Antonio Vivaldi. Text pp. 9- 68; Collation: A-B12, C10. Minordampstains at bottom margin, else clean and very good throughout.
12mo. Contemporary brown Roman morocco, highly gilt,smooth spine with repeated floral and shell ornaments.Arms of Mattei family on each cover. Shield with griffinseated wearing a crown, above which are three angelsholding a large crown. Tulips and circular rose ornaments.Light rubbing. Red silk pastedowns with similar designs(missing front and rear flyleaf).
Opera in three acts on the life of the Byzantine emperor Justin I, with text based on the 1683 librettoof Nicolò Beregan (1627-1713) which had been adapted for Vivaldi by Pietro Pariati (1665-1733)and, perhaps, Antonio MariaLucchini (ca. 1690-before 1730).
In Giustino much is made of Justin’s rise from a peasant to the rank of commander of the palaceguard and then to emperor. In this opera, the semi-factual history is interwoven with a love story, as well, as a fanciful genealogical construction that finds Justin to be the son of noble parentsinstead of peasants. For Giustino, Vivaldi borrowed a good deal of material from earlier operas and
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instrumental works to construct his score, including music from “La Primavera” section of Lequattro stagioni. This distinctive music, according to Reinhard Strohm, suggests the “arrival ofspring, [and] evokes an awakening within Giustino” (p57).
Also, according to Strohm, the printed libretto of 1724 [our edition] “must have appeared only afew days before the first night, and it must have aimed at reproducing the text precisely as it wassung. Strohm adds that the libretto aimed to provide an explanation of the stage sets. Thus, thereare a great many differences between the score and the libretto.
Ref: Sonneck, 568; Sartori 12373; Strohm, Reinhard. Giustino by Antonio Vivaldi: Introduction,Critical Notes, and Critical Commentary (1991). [A facsimile of the original score along withseparate booklet of notes is included with this libretto].
Full research notes at the link below www.goldenlegend.com/pdfs/giustino.pdf
$2,000.00
48. (Voltaire). Clément, Jean Marie Bernard, (1742-1812) . Boileau, a M. De Voltaire. (Np, npub)1772. 8vo. Old wraps. Leaf of title, verso blank; 2p Avertissement in prose; pp 5-21 Epître inverse. Minor ink corrections on p 5, 6, 12, 13.
This plaquette is a defense by Clément of the critic Nicolas Boileau-Despréaux against Voltaire’sridicule. Clément writes “in regards to Boileau, there is none of the French poets who did honor tothe age of Louix XIV, of whom Voltaire speaks so differently in the different parts of his writings.Sometimes Voltaire commends him highly, but much more frequently censures and criticizes him.(Clark, pp 67-8).
Jean-Marie-Bernard Clément, born in Dijon on December 25, 1742 and died in Paris on February3, 1812, was a French critic and author. He began to attack Voltaire with great virulence, waginga war that lasted nearly ten years. Nicolas Boileau-Despréaux (1636-1711) was educated at theUniversity of Paris, studied law, but turned to literature after the death of his father who left him asizable inheritance. He was a good friend and supporter of Racine, Molière and La Fontaine. Boileau is considered the founder in France of literary criticism. “A man of few but clear ideas, byhis acute judgement, independence and sincerity, and with brilliant powers of observation, he madehimself the arbiter of literary reputations...and laid down the canons of good writing (deriving fromMalherbe), as practiced by the classical school.” (Harvey & Heseltine). .
Ref: Cioranescu, A. 18. s.,; 1979; Clark, A.F.B Boileau and the French Classical Critics in England,1660-1830 Slatkine, 1978; Harvey, Paul and J.E. Heseltine. The Oxford Companion to FrenchLiterature. (1959)
$350.00
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Title page (r), verso (l) of Frontispiece of Philip V
Voltaire losing his lawsuit
49. [Voltaire] Mannory, Louis. Plaidoyer pour le sieur Travenol fils, de l'Académie royale demusique, deffendeur & demandeur contre le sr. de Voltaire & Mr. l'Abbé d'Olivet ...demandeurs & deffendeurs. Paris: Bullot, 1746. Original edition of an account of the lawsuitagainst Voltaire brought by Louis-Antoine Travenol (ca. 1698- d 1783). Quarto. Old wrappers. Pagination: 1p title with head-piece, initial; Pp2-32text with imprint of Joseph Bullot, 1746.Collation: A-D4. Very clean copy. Uncut.
An early pamphlet in the pamphlet war between Louis Travenol and Voltaire. Travenol was aFrench violinist, composer and author of numerous political pamphlets. He joined the orchestra ofthe Opéra in 1739. He is best remembered, however, for his perverse talent of writing pamphletsthat brought lawsuits down upon his head. When Voltaire was elected to the Académie Françaisein 1746, Travenol reprinted a libelous document by Baillet de Saint-Julien against Voltaire, causinga legal suit that became lengthy and famously caused Travelnol’s 80 year old father to be jailed dueto mistaken identity. The affair was brought before the Parlement, and after a year's delay, Voltairewas fined 500 francs. A shower of bitter pamphlets against him followed this result. OCLC: Americas DLM, HHG
$400.00
50. Zamora, Antonio de. Comedia nueva intitulada Todo lo vence el amor Fiesta que seexecutó a Sus Magestades en el Coliseo del Sitio Real de el Buen Retiro, en celebridad del . .. nacimiento de . . . don Luis Fernando de Borbón . . . Escrivióla don Antonio de Zamora . [Madrid], 1707. Libretto. Original edition. López Alemany and Varley, 43, no. 3. Small quarto (53/4 x 7 3/4”). Later wrappers. A few stains but a very clean copy. Pagination: Leaf of armorial ofPhilip V of Spain, verso blank; leaf of title, verso blank; 2pp. dedication; pp. 1-67 textincluding Interlocutores (p. 7 top). Collation: 3[], A-H4, I2. Headpieces, ornaments.
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The play Comedia nueva intitulada Todo lo vence el amor was performed on November 17,1707 at the Buen Retiro as part of a three-day celebration for the birth of Louis de Bourbon, heir tothe throne of Spain. The elaborate festival, months in the planning, was organized and paid for bythe City Council of Madrid. The festival included fireworks from the palace, tableaux, and this comedie Todo lo vence el amor which was a mythological comedy in three acts with an entremesand a musical intermedio. Explanations of action, characters, and scene, sometimes elaborate, areon almost every page of the libretto (except the Intermedio Musica section) indicating that thisperformance was filled with symbolic visual episodes).
The author Antonio de Zamora (1665-1727) was a native of Madrid. Little is known about his earlylife. Zamora seems originally to have been an actor who was afterwards in the Office of the Indiesand a gentleman in the royal household. He started writing plays as well as poetry before 1700. Until 1722, he wrote various drama for performance at the Buen Retiro and for fiestas, especiallyfor the palace, where he had his principal success during the reign of Philip V (Ticknor II, 395). Zamora, along with José Cañizares, wrote original plays of artistic merit, but they specialized in re-workings of Golden Age dramas. They made their plays spectacular as well as moral. About 40 ofhis plays are extant; many were acted at the “court with applause” (Barrera y Leirado, 502-4).
References: Barrera y Leirado, Cayetano Alberto de la. Catálogo Bibliográfico y Biográfico delTeatro Antiguo Español dedes sus origenese hasta mediados del siglo XVIII (1860); Boyd,Malcolm and Juan José Carreras, eds. Music in Spain during the Eighteenth Century (2006); LopezAlemany, Ignacio and J.E. Varley. El Teatro Palaciego en Madrid: 1707-1724: Estudio yDocumentos (2006); O’Shea, H. A Guide to Spain (1865).
Full research notes at the link below:http://www.goldenlegend.com/pdfs/Zamora.pdf
Locations: OCLC: BNF, BNM. No North American locations$1,500.00
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