1 Leonhard POSCH (near Fügen/Zillertal, Tyrol 1750 – 1831 Berlin) A relief bust of W. A. Mozart, signed L.Posch, plaster, 8 x 6.7 cm, glazed box-type frame decorated with paste, probably a later replica, and an etching printed in colours of Mozart in profile, 21 x 17 cm, glazed and framed EUR 400 – 500 US$ 470 – 590 An authentic portrait of the artist’s childhood friend, comp. W. Rehm, Mozart, W. A.: Die Musik in Geschichte und Gegenwart, vol. 9 (1961), column 738, no. 11 [EOT] 2 Austrian sculptor, 2nd half of the 18th century Bust of a gentleman, W. A. Mozart?, limestone, carved in full round, partly considerably damaged through exposure to the weather, the socle lacking, height 47 cm EUR 1,600 – 1,800 US$ 1,900 – 2,100 [EOT] 3 P. ALEGRO (c. 1900) A portrait bust of Mozart, signed on the reverse at upper right P. Alegro, inscribed at the front MOZART, and with founder’s mark on the reverse J. Kalmár, bronze on a marble base, height 38 cm EUR 2,600 – 2,800 US$ 3,100 – 3,300 [EOT] 4 Emmerich Alexius SWOBODA v. WIKINGEN (Wörth near Gloggnitz, Lower Austria 1849 – 1920 Vienna) Full-length figure of Mozart, signed in the socle at the right Alex. Swoboda and inscribed in a cartouche Mozart, bronze, height 78 cm, a finger damaged EUR 6,000 – 8,000 US$ 7,100 – 9,500 [EOT] 5 Adrien Etienne Gaudez (Lyon 1845–1902 Neuilly-sur-Seine) “Mozart”, c. 1890/1900, patinated bronze, inscribed in the socle, titled at the front, H 49 cm, (B). EUR 2,600 – 3,000 US$ 3,100 – 3,500 [EOT]

6 Stefan (Istvan) SCHWARTZ (Neutra 1851 – 1924 Raabs/Thaya) Mozart in profile, bronze patinated copper relief, inscribed at the left St. Schwartz, size of plate approx. 20 x 15 cm, unframed EUR 360 – 450 US$ 430 – 530 [EOT] 7 German artist, c. 1900, A bust of Mozart, inscribed Mozart, high brass, height approx. 10 cm EUR 140 – 180 US$ 170 – 210 [EOT] 8 Heinrich MÜLLER (born 1913 in Vienna) Mozart, patinated bronze bust, hollow cast, incised signature in the left shoulder H. Müller, height approx. 14.5 cm, the socle lacking EUR 600 – 800 US$ 710 – 950 [EOT] 9 Arnold HARTIG (Brand near Tannwald 1878 - Vienna) W. A. Mozart, a large bronze plaque, Mozart depicted in profile to the right, signed A. Hartig, diameter approx. 19.5 cm, mounted on panel EUR 400 – 500 US$ 470 – 590 Comp.: H. Vollmer, Allgemeines Lexikon der bildenden Künste, vol. 2, Leipzig 1955, p. 379 [EOT] 10 Memorial plaque of Mozart, c. 1880/90 Relief in profile, metallic grey patinated cast bronze, roundel, diameter approx. 36 cm, the ribbon bow inscribed Mozart geboren 27. Jän. 1756 gestorben 5. Dez. 1791 (Mozart born on Jan. 27, 1756, died on Dec. 5, 1791), traces of notches and incisions, four casting pins on the reverse EUR 600 – 700 US$ 710 – 830 [EOT] 11 A bronze plaque, dated 6. VIII.1910 Foundation-stone of the Mozart house in Salzburg, with a line of musical notation Brüder reicht die Hand zum Bunde, mounted on a marble block, (approx. 54 x 96 mm), approx. 26 x 126 x 83 mm (height x width x depth)

EUR 800 – 1,000 US$ 950 – 1,200 Rare plaque from an edition of only fifty presented to particularly generous financial sponsors of the construction (or renovation) of the Mozart House. [EOT] 12 Josef PIFFRADER (Klausen, South Tyrol 1882 -) An en-face portrait of Mozart at the age of six, signed at lower left Prof. Jos. Piffrader, inscribed at lower right at centre Mozart 6 Jahre, bronzed tin cast, diameter 4.2 cm, framed EUR 180 – 240 US$ 210 – 280 [EOT] 13 Giacomo MANZU (Bergamo 1908 – 1991) A Mozart medal, the recto with a portrait of Mozart, inscribed Wolfgang Amadeus Mozart, the verso with a genius and inscribed 1756 – 1956, crescis in saecula, bronze, in a case, Welz Gallery, Salzburg EUR 480 – 750 US$ 570 – 890 Lit.: Giacomo Manzù und Salzburg, Dommuseum Salzburg, 20 May - 29 Oct. 2000, repr. p. 144, no. 2.3 [EOT] 14 Giacomo MANZU (Bergamo 1908 – 1991) A Mozart medal, the recto with a portrait of Mozart, inscribed Wolfgang Amadeus Mozart, the verso with a genius and inscribed 1756 – 1956, crescis in saecula, gilded bronze, in original case EUR 520 – 800 US$ 610 – 950 Lit.: Giacomo Manzù und Salzburg, Dommuseum Salzburg, 20 May - 29 Oct. 2000, repr. p. 144, no. 2.3 [EOT] 15 A set of three medals, 19th/20th centuries and a casket a) W. A. Mozart by A. Scharff, with an attached eyelet and strap, 55 mm, Vienna Hauptmünzamt (main mint office), later cast (2nd half of the 20th century) b) Victoria, Queen of Great Britain and Empress of India, 1878, with an eyelet, 45 mm; c) Deutsche Gewerbeausstellung, Berlin 1841, recto: Germania, verso: steam engine crossing a viaduct, 45 mm;

d) A wooden casket in the Historicist style with a representation of four children playing the lute and engaged in other activities, light brown ground, black lacquer, green and red painted decoration, approx. 10 x 26 x 7 cm, the lacquer coating flaking EUR 300 – 360 US$ 350 – 420 [EOT] 16 Milk glass bottle, c. 1800, with polychrome enamel painted decoration, featuring a cartouche decorated with ribbons, enclosing an oval medallion with a portrait of Wolfgang Amadeus Mozart, a bouquet of flowers, and floral sprays, gilt rim, height approx. 25 cm, the stopper lacking, the gilding rubbed EUR 720 – 900 US$ 850 – 1,100 [EOT] 17 A 19th-century pipe bowl, decorated with a portrait of W. A. Mozart, porcelain, with polychrome painted decoration, inscribed W. A. Mozart and with musical notation, height approx. 10 cm, rubbed EUR 400 – 500 US$ 470 – 590 [EOT] 18 Two busts: W. A. Mozart and L. v. Beethoven, white biscuit ware, glazed socle columns, the inscription and edges of the socle in burnished gold, height approx. 12 and 11.5 cm resp., Vienna, Imperial porcelain factory, with impressed Bindenschild mark, dated 1861, with repairer’s number 36 for Josef Schwab (1853–1864), rubbed EUR 800 – 1,200 US$ 950 – 1,400 [EOT] 19 A plaque of Wolfgang Amadeus Mozart plaque on a marble fragment, brass relief with remains of silver plating, approx. 5.5 x 3.5 cm, total height 13 cm EUR 120 – 200 US$ 140 – 240 [EOT] 20 Josef von KOPF (Unlingen Würtenberg 1827 – 1903 Rome) A portrait bust of Pjotr Iljitsch Tschaikowsky (1840 – 1893), signed and dated at lower left J. Kopf R(oma) 1873, Carrara marble, carved in full round, height 50 cm, on a socle, 64 cm EUR 5,200 – 6,000 US$ 6,100 – 7,100

Tschaikowsky was a big admirer of Mozart; compare also his variations of a Rococo theme for violoncello and orchestra, op. 33 (1876) [EOT] 21 Franz FAHRENSCHON (FAHRENSCHÖN) (Komotau (Chomotov) 1723 (1726?) - 1796 Prague), mainly active in Prague as a portraitist from 1760 onwards (influenced by French court portraiture) a) Full-length portrait of Count Johann Joseph Philipp Pachta von Rayhofen, Austrian military officer, patron of art, composer, 1723? - 1822 Prague (represented as an allegorical personification of autumn), signed at lower right F. C. d. Fahrenschon..., oil on canvas, 288 x 156 cm, original condition, restored b) Full-length portrait of Countess Josephine von Pachta (represented as an allegorical personification of summer), signed at lower right Fran: Caspar d. Fahrenschon p(inxit) Ao (anno) 1765, oil on canvas, 288 x 156 cm, restored EUR 40,000 – 45,000 US$ 47,300 – 53,200 On the painter see: Allgemeines Künstler-Lexikon, vol. 36, Munich, Leipzig 2003, p. 242. On the sitters see C. von Wurzbach, Biographisches Lexikon des Kaiserthums Oesterreich, vol. 21, Vienna 1870, p. 169 f. As of 1760, Count Pachta disposed of an orchestra of his own. His house was a significant social and cultural meeting place. Mozart was closely connected with the Count and composed the Six German Dances (K. 509) for him. Count Pachta and his house provided Mozart with stimulating moments during his sojourns in Prague 1787 and 1791. [EOT] 22 Austrian painter of the 18th century (probably Franz Xaver König, Salzburg 1711 – 1782) Portrait of Jerome Count Colloredo seated (last prince-archbishop of Salzburg 1772 – 1803), with illegible fragments of a Latin text, inscribed and dated on the reverse Fürsterzbischof Hieronymus Graf Colloredo von Salzburg 1772, oil on canvas, 101 x 75.5 cm, doubled, trimmed and restored, framed EUR 2,800 – 3,600 US$ 3,300 – 4,300 Another portrait, probably dating from the same year (when the new prince-archbishop was elected), is preserved in the staterooms of the Salzburg residence. [EOT] 23 – Venetian painter of the 1st half of the 18th century (Circle of G. A. Pellegrini, Venice 1675 – 1741) Half-length portrait of the Venetian poetess Luisa Bergalli (1703 – 1779) with a lyre, a dove and her translation of Terence, oil on canvas, doubled, 75 x 60 cm, in an 18th-century frame, restored, damaged EUR 11,000 – 12,000 US$ 13,000 – 14,200

The Latin text at upper left reads: Aloisia Bergalli Veneta, celeberrima poetria inter Arcades Irminda etatis suae annor(c.) XXXII anno vero ab orbe redempto MDCCXXXV (1735). Luisa Bergalli was a famous writer of opera librettos and was married to the renowned poet Conte Gaspare Gozzi (1713-1786). She belonged to the circle of poets and musicians Mozart encountered during his journey to Italy (Venice) in 1771. The portrait shows the poetess laureate as a member of the Academy of Arcadians, founded in Rome in 1690, where she was named Irminda. [EOT] 24 B. DELAHAYE (painter of the 2nd half of the 18th century) Half-length portrait of a young gentleman, signed and dated on the reverse at the lower right B. Delahaye 1772, oil on canvas, 53 x 38 cm, original condition, framed EUR 5,200 – 7,000 US$ 6,100 – 8,300 Provenance: private property, Salzburg. The portrait is supposed to have been owned by the poetess Duchess Mechthilde Lichnowsky, née Countess of Arco-Zinneberg (Schönberg Castle, Lower Bavaria 1879 -1958 London) (according to an article published in the Salzburger Nachrichten, January 20, 1971). An article that appeared in Acta Mozartiana 19 (1972, pp. 71-73), the bulletin of the Augsburg Mozartgesellschaft, discussed whether the portrait depicted Mozart at the age of 16. At that time there were supporters of this assumption. The painting was auctioned at the Salzburg Dorotheum on November 17, 1974 (see Salzburger Volksblatt of the same day). On the alleged and rare authentic portraits see W. Rehm, Mozart, W. A.: Die Musik in Geschichte und Gegenwart, vol. 9 (1961), column 737 f., where 14 historical portraits are listed, only a small part of which is on display in Salzburg. [EOT] 25 Austrian painter of the second half of the 18th century Portrait of a young girl (c. 1770/80 from Salzburg), oil on canvas, doubled, 53 x 33 cm, some losses to the paint, framed, the frame damaged EUR 3,000 – 4,000 US$ 3,500 – 4,700 Alleged portrait of Mozart’s sister Maria Anna, called Nannerl (1751-1829). The following is reported about the painting: “Nannerls Bild ... wurde in den Zwanziger-Jahren (des 20. Jahrhunderts) vom alten “Pflegerwirt”, Kaigasse 26, um c. 200 Goldschilling erworben.“ (The painting of Nannerl was acquired in the 1920s by the old “Pflegerwirt” (owner of a pub) in Kaigasse 26 for 200 Goldschilling.) The “Pflegerwirt”, located in a building erected in 1455 and renovated in 1949, used to be one of Mozart’s favourite pubs. The owner of the painting may have given the painting to the ancestors of the “Pflegerwirt” as a compensation for his debts. (See a note of the last owner of the painting, which has always been preserved in Salzburg.) [EOT] 26 Painter of the 2nd half of the 18th century,

Portrait of an aristocratic party making music (with a coat of arms), oil on canvas, 85 x 102 cm, doubled, restored, unframed EUR 3,600 – 4,000 US$ 4,300 – 4,700 [EOT] 27 Hermann KAULBACH (Munich 1846 – 1909), copy of c. 1900 “Mozart’s Last Days” oil on canvas, doubled, approx. 90 x 130 cm, some losses to the paint, craquelé, unframed EUR 2,000 – 2,800 US$ 2,400 – 3,300 Lit.: H. Ludwig, “Hermann Kaulbach”, in: Münchner Maler im 19. Jahrhundert, vol. 2, p. 284-85, fig. 441; dated “1893 (?)”. Another version is perserved in Mozart’s birth-place in Salzburg. The original painting seems to be lost. [EOT] 28 Ludwig BÜRGEL (Vienna 1901 – 1980 Seekirchen) Wolfgang Amadeus Mozart (copy of a detail based on the painting by Joseph Lange, Würzburg 1751 – 1831 Vienna), signed at lower right Ludwig Bürgel, oil on canvas, laid down on panel, 30.5 x 30.5 cm, framed EUR 720 – 800 US$ 850 – 950 Inscribed on the reverse: Mozart, after an oil painting by his brother-in-law Ludwig Bürgel Seekirchen/Salzburg. The original painting of 1789 is preserved in the Mozart Museum in Salzburg. [EOT] 29 Ludwig BÜRGEL (Vienna 1901 – 1980 Seekirchen) Mozart’s writing utensils and a music notebook, signed at lower right Ludwig Bürgel, inscribed on the reverse Mozarts Schreibzeug, Ludwig Bürgel, Seekirchen/Salzburg, oil on canvas, laid down on panel, 30 x 30 cm, framed EUR 720 – 800 US$ 850 – 950 [EOT] 30 Günther Silwa SEDLAK (born 1941 in Schladming) Portrait of Mozart, signed, dated and titled at lower right Sedlak 1985 Mozart, oil on canvas approx. 120 x 100 cm, unframed EUR 3,000 – 3,400 US$ 3,500 – 4,000

[EOT] 31 Angelo MAKULA (born 1959 in Salzburg) Mozart, singed at lower right Angelo, oil on canvas, approx. 100 x 80 cm, framed EUR 2,000 – 2,400 US$ 2,400 – 2,800 [EOT] 32 Angelo MAKULA (born 1959 in Salzburg) “Picnic with Mozart”, signed and datiert at lower left Angelo 2005, oil on canvas, approx. 180 x 200 cm, hand-made, partially gilded frame EUR 8,000 – 10,000 US$ 9,500 – 11,800 [EOT] 33 Adi HOLZER (born 1936 in Stockerau/Lower Austria) “Amorous Couple – Don Giovanni 1988”, signed, dated and titled at lower left Holzer (19)88 Don Giovanni, acrylic on canvas, approx. 130 x 97 cm, with a poster by the same artist, unframed, and his book Mozart – Suite, compiled in collaboration with H. Lederer and K. H. Ritschel, Salzburg 1988 EUR 4,800 – 7,000 US$ 5,700 – 8,300 [EOT] 34 - J. KOZANY (painter of c. 1900) “Queen Marie Antoinette Receiving Mozart”, signed at lower right J. Kozany, watercolour on paper, 20.5 x 13 cm, framed EUR 1,200 – 1,400 US$ 1,400 – 1,700 [EOT] 35 Joseph Anton BAUER (Munich 1820 – 1904 Vienna) Lithograph of Mozart as a boy, c. 1864, after a painting by Heinrich Lossow (Munich 1843 – 1897 Schleißheim), published by Reiffenstein & Rösch,Vienna, image area approx. 52.5 x 42.5 cm, some foxing, glazed and framed EUR 380 – 450 US$ 450 – 530 [EOT] 36

An original poster of the Salzburg Festival programme of 1856, printed by Endl & Penker, with the complete text of the programme from September 6th to 10th of September and three one-crown revenue stamps of Salzburg for public announcement, approx. 99 x 57 cm, foxing, and a woodcut of the Kajetan Gate with the Hohensalzburg Fortress EUR 400 – 600 US$ 470 – 700 [EOT] 37 Two prints from the Illustrierte Zeitung of October 11th, 1856 “Mozart’s Residence“and “The House where Mozart Was Born“, each approx.. 9 x 11.5 cm each , mounted EUR 200 – 400 US$ 240 – 470 [EOT] 38 Blasius HOEFEL (engraver, lithographer, Vienna 1792 – 1863 Salzburg) after a painting by Johann Nepomuk della Croce, 1780/81 W. A. Mozart and His Sister Maria Anna, His Father Leopold and His Mother Anna Maria, signed and dated in the plate B. Höfel Salzburg 1856 and inscribed u. a. seinen Verehrern zu dessen (Mozarts) hundertjähriger Geburts-Feier am 27. Jänner 1856 gewidmet (dedicated to Mozart’s admirers on the occasion of the 100th anniversary of Mozart’s birth on January 27, 1956), sight area 43.5 x 51 cm, mounted, glazed and framed EUR 400 – 600 US$ 470 – 710 [EOT] 39 Joseph BERGLER the Younger (Salzburg 1753 – 1829 Prague) Half-length portrait in profile of Anton Count Starhemberg, monogrammed and dated at lower left J. B., gezeichnet 1787, chalk on paper, approx. 25 x 20 cm, glazed and framed, inscribed by a contemporary hand on the reverse Anton Graf von Starhemberg S. K. Major der Armee starb den 11. September 1787 (Anton Count Starhemberg, major of the imperial and royal army, died September 11th, 1787) EUR 1,200 – 1,400 US$ 1,400 – 1,700 [EOT] 40 Rudolf von ALT (Vienna 1812 – 1905) Mozart’s room on Kahlenberg, drawn and lithographed by R. von Alt, printed by Josef Stoufs, published by L. T. Neumann in Vienna (with seal of the art gallery), image area approx. 25.5 x 39.5 cm, size of sheet approx. 42 x 54 cm, mat burn, stained, glazed and framed, the frame damaged EUR 1,000 – 1,400 US$ 1,200 – 1,700 [EOT]

41 Franz POLEDNE (Vienna 1873 – 1932 Klosterneuburg) Mozart’s birth place, signed and inscribed at lower right Franz Poledne, Salzburg, Mozarts Geburtshaus Getreidegasse, pen on paper, approx. 22 x 15 cm, soiled EUR 600 – 800 US$ 700 – 940 [EOT] 42 Czech graphic artist Half-length portrait of Mozart with his signature, indistinctly signed in the plate at the left Chalupa, lithograph, 16.5 x 13 cm, foxing, soiled, glazed and framed EUR 100 – 120 US$ 120 – 140 [EOT] 43 BRAND (draughtsman, c. 1900) Mozart taking a walk in Salzburg (with the Collegiate Church in the background), signed and inscribed in the plate Brand fec(it), Salzburg Collegium-Kirche (!), Mozart, etching printed in colours, 27 x 35 cm, glazed, framed EUR 240 – 300 US$ 280 – 350 [EOT] 44 Two depictions of the Mozart Monument in Salzburg, steel engravings, a) “Mozart Monument in Salzburg” published by G. Baldi & Comp., Salzburg from: Gregor Baldi, Album von Oberösterreich und Salzburg in 39 Ansichten (Album with 39 Views of Upper Austria and Salzburg) , no. 4, Salzburg, c. 1845, size of plate 19.7 x 14.6 cm, image area 14.4 x 10.3 cm; b) “Mozart. Salzburg. Segl. photogr(aphier)t - E. Wagner sculp(si)t - Verlag v. C. Koehler in Darmstadt.”, from A. v. Ruthner, Das Kaiserthum Österreich... (The Austrian Empire...), Vienna and Darmstadt 1871, vol. 2., 1st section (title illustration), size of sheet 17 x 12.6, image ara 15.6 x 11.4 cm, minor loss of paper at upper margin, both mounted EUR 200 – 260 US$ 240 – 310 [EOT] 45 Wolfgang BERGNER (born 1943 in Langenlois/Lower Austria) Mozart, four etchings on hand-made cardboard, No. 13 from the numbered edition of 99, each signed at lower right Bergner, and a facsimile supplement with a preface by Gottfried von Einem, 1991, size of plate each approx. 35 x 23 cm, glazed and framed, and Two special stamps (2 x 5 ATS = Austrian Schillings) depicting Mozart’s place of birth in Salzburg, a brochure and a catalogue of the artist

EUR 600 – 700 US$ 710 – 830 [EOT] 46 Austrian etcher, c. 1900 The Young Mozart, inscribed: “Den mitwirkenden Künstlern des Salzburger Musikfestes 5. - 9. Aug. 1901 zum freundlichen Gedenken gewidmet” (a souvenir dedicated to the performing artists of the Salzburg Festival, August 5th-9th, 1901; the present impression was dedicated to Hans Rehn, a member of the Vienna Philharmonic Orchestra), etching, 17 x 13 cm, glazed, period frame, the frame damaged EUR 200 – 260 US$ 240 – 310 [EOT] 47 Draughtsman of the 1st half of the 20th century, A portrait of Mozart, indistinctly monogrammed and dated at lower right 1922, charcoal on paper, 39 x 29 cm, glazed, framed EUR 320 – 400 US$ 380 – 470 [EOT] 48 E. HERMEL German painter of the 1st half of the 20th century, Practising Music in the Attic, signed and dated at lower right E. Hermel (19)39, watercolour, on paper, approx. 24.5 x 20 cm, mounted, creased EUR 360 – 450 US$ 430 – 530 [EOT] 49 August Franz Heinrich von NAUMANN (draughtsman) (Merseburg 1749 – 1795 Salzburg) and Anton AMON (engraver) (Vienna 1761 – 1798) On the Road from Werfen into the Salzburg Countryside, inscribed Gewidmet dem Bischof von Chiemsee F. X. Prinz von Breuner von Franz von Naumann (dedicated to the Bishop of Chiemsee F. X. Prinz von Breuner from Franz von Naumann), engraving with original colouration and a calligraphic dedication, signed in the plate Fr. de Naumann, Anton Amon, 35 x 51 cm, soiled, glazed (the glass broken), original frame, the frame damaged EUR 400 – 600 US$ 470 – 710 [EOT] 52 D’Alayrac, Nicolas Marie (1753 – 1809) Sinfonia in G à 8 voci, the individual instrumental parts: violino primo (6 pages), violino secondo (6 pages), viola obligato (5 pages), basso (5 pages), oboa prima obl. (3 pages), oboa

seconda obl. (3 pages), cornu primo (2 pages), cornu secondo (2 pages), all of them hand-written copies of the 18th century, 30.5 x 23 cm, the title page inscribed Primesberger EUR 130 – 160 US$ 150 – 190 [EOT] 53 Anonymous composer Contredanses, hand-written copies of the 18th century, the individual instrumental parts: violino secondo (43 pages, 9 of them uninscribed), flauto traverso primo (30 pages, 6 of them uninscribed), cornu primo (22 pages, 8 of them uninscribed), 13.5 x 22 cm EUR 80 – 120 US$ 94 – 140 [EOT] 54 Anonymous composer Minuetto in D, hand-written copies of the 18th century, individual instrumental parts: violino primo (11 pages), violino secondo (11 pages), basso (11 pages), all of them bound by thread-stitching, 17.5 x 22 cm EUR 80 – 120 US$ 94 – 140 [EOT] 55 Anonymous composer Menuetto No. XXIV, violino primo & secondo con basso, 21 minuets, hand-written copy of the 18th century, individual instrumental parts (11 pages each, 32 x 21 cm), the title page inscribed with the owner’s name Ex rebus Josef Lidl EUR 100 – 120 US$ 120 – 140 [EOT] 56 Anonymous composer Cassation à Violino primo, Violino secondo, Flauto traverso primo, secondo, Cormu 2. do, Basso, hand-written, 18th-century, the individual parts bound by thread-stitching, 18 x 24 cm EUR 80 – 120 US$ 94 – 140 [EOT] 57 Anonymous composer Quotlibetium à Basso, Violino primo, Violino secondo con Violine, hand-written, 18th-century copy, with individual instrumental parts (4, 2, 2, and 2 pages, 34.5 x 22 cm) EUR 100 – 120 US$ 120 – 140 [EOT] 58 Anonymous composer

Unknown Italian Singspiel, without title page, in two acts, characters: Amor Civino, Speranza, and Fede, hand-written by an 18th-century copyist, set for cembalo (vocal parts and bass), 45 pages + 3 vacant pages, 23 x 31 cm, hand-written copy of the 18th century EUR 240 – 300 US$ 280 – 350 [EOT] 59 Aspelmayr, Franz (1728 – 1786) Three Divertimenti (in D major, E major, A major) for 2 violins and bass; complete parts in the form of a hand-written copy of the 18th century; the bass part titled, 32 x 20 cm and 19 x 23.5 cm, with a banderole EUR 160 – 200 US$ 190 – 240 [EOT] 60 Auffmann Divertimento à 3 Ex C, Viola et Violino con Basso, hand-written copy of the 18th century, individual instrumental parts: viola (2 pages), violino (1 page), basso (1 page), all of them 32.5 x 19.5 cm, the oblong-sized title page inscribed Ex musicalibus K. EUR 80 – 120 US$ 94 – 140 [EOT] 61 Cancelled [EOT] Beethoven, Ludwig van (1770 – 1827) 62 Trois Trios pour le Pianoforte, Violon et Violoncelle, composés et dédies à son Altesse Monsigneur le Prince Lichnowsky, Op. 1, Nouvelle edition, Leipzig au Bureau de Musique de C. F. Peters, PN 2240, c. 1832, second (?) edition, piano part (57 pages), violin part (16 pages) and cello part (12 pages), each 31.5 x 25.5 cm, original cardboard cover, foxing throughout EUR 300 – 400 US$ 350 – 470 [EOT] 63 Trois Trios pour Violon, Alto e Violoncelle, Nouvelle Edition corrigée, Oeuvr. IX. I Livraison. Pr. 1 Rhtl, à Leipsic en Commission chez Fr. Hofmeister; trio op. 9/1 in G major (PN 110), parts for violin (10 pages), viola (7 pages), violoncello (7 pages), all 33.5 x 26.5 cm, and a hand-written part for viola instead of violoncello EUR 200 – 260 US$ 240 – 310

[EOT] 64 Grand Trio pour deux Violons et Viole tiré du Trio pour 2 Hautbois et 1 Cor Anglais (Op. 87), à Vienne chez Artaria et Comp, PN 1803–4, parts (and music plates) of the violin part identical with the oboe part of the original version, parts: primo (6 pages), secondo (6 pages), viola (6 pages), all 33.5 x 24 cm, the title page stamped Ferd. v. Lidl in Ischl EUR 300 – 360 US$ 350 – 430 [EOT] 65 Trio non difficile en Mi b maj. pour Pianoforte, Violon & Violoncelle, Oeuvre postume (work without opus number 38), Offenbach/Main, J. André (PN 6113), written c. 1790/91, parts: piano (17 pages), violino (4 pages), violoncello (3 pages), all 33.5 x 26.5 cm, with various owners’ inscriptions (including Ferd. v. Lidl) EUR 300 – 360 US$ 350 – 430 [EOT] 66 First terzetto(in E flat major) for violin, viola and violoncello, work No. 3, published in Vienna by Tobias Haslinger, parts: violin (15 pages, titled), viola (13 pages), violoncello (12 pages) EUR 180 – 260 US$ 210 – 310 [EOT] 67 LIEDER by Goethe and Matthisson, set to music by L. van Beethoven (in addition to his New Years canon for four voices as a supplement). - (Original version without opus number 165). Vienna and Pest, published by J. Riedl’s Kunsthandlung, 1816; 25 pages; 24.5 x 34.5 cm; op. 75,1, Mignon (Kennst du das Land, text by Goethe); op. 75,2, Neue Liebe, neues Leben (Herz, mein Herz, was soll das geben?, text by Goethe); work without opus number 136, Andenken (Ich denke dein, librettist: Matthisson); work without opus number 137, Lied aus der Ferne (Als mir noch die Träne der Sehnsucht nicht floß, text by Reissig); work without opus number 165, canon (Glück zum neuen Jahr). – Contrary to the information on the title page, the librettist of work without opus number 137 was neither Goethe nor Matthisson. EUR 600 – 800 US$ 710 – 950 [EOT] Beethoven, Ludwig van (1770 – 1827) 68

An die ferne Geliebte. Ein Liederkreis von A. Jeitteles. Mit Begleitung des Piano = Forte in Musik gesetzt und Seiner Durchlaucht dem regierenden Herrn Fürsten Joseph von Lobkowitz, Herzog zu Raudnitz &.&.&. ehrfurchtsvoll gewidmet ... 98tes Werk No. 2610, a collection of Lieder by A. Jeitteles, set to music for piano accompaniment and dedicated to Prince Joseph of Lobkowitz, Duke of Raudnitz …, work No. 98, No. 2610, published by S. A. Steiner & Comp., Vienna, original edition, 26 x 34 cm, 20 pages, hand-written inscription of the owner’s name Weizner EUR 1,100 – 1,500 US$ 1,300 – 1,800 Comp. Kinsky-Halm, p. 275 [EOT] 69 VI Lieder von Gellert am Klavier zu Singen und dem Herrn Grafen Browne Brigadieri im Russischen Dienste zugeeignet ... Op. 48, Six songs by Gellert set for piano and voice, dedicated to Count Browne…, published by Artaria & Comp., Vienna, No. 1599 (after 1837), 13 pages, 24.5 x 33 cm, inscribed with the owner’s name F. v. Lidl EUR 900 – 1,300 US$ 1,100 – 1,500 Written 1798-1802; second edition bearing the same plate number as the first edition by Mollo (1803) [EOT] 70 Sanft wie du lebtest, hast du vollendet. Elegischer Gesang für 4 Singstimmen, mit Begleitung von 2 Violinen, Viola und Violoncello, oder des Pianoforte. Seinem geehrten Freunde Johann Freyherrn von Pasqualati zu Osterberg && gewidmet..., elegiac piece of music for four voices, accompanied by two violins, viola and violoncello or piano, dedicated to Johann Freiherr von Pasqualati zu Osterberg…, work No. 118; No. 4735, score for vocal parts and instrumental accompaniment, published by Tobias Haslinger, Graben, Vienna, inscribed with the owner’s name (twice) Ferd. v. Lidl, vocal parts (7 pages), piano (2 pages), SATB, string quartet (1 page each), all 34 x 26 cm EUR 760 – 900 US$ 900 – 1,100 Comp. Kinsky-Halm, p. 342; Hoboken No. 481 [EOT] 71 Die Schlacht bey Vittoria oder Wellingtons Sieg, set for piano duet of four hands, Tobias Haslinger, Vienna, No. 2364, (approx. 25 x 32 cm), 40 pages (the last page trimmed), and: Moscheles, J.: Cadenzen zu den Beethoven’schen Clavier-Concerten (cadences on Beethoven’s piano concertos), published by Bartholf Senff, Leipzig, nos. 129–133 EUR 400 – 450 US$ 470 – 530 [EOT]

72 Fidelio, two-act opera, op. 72, original edition, piano score, published by Artaria, Vienna, first edition of 1814, complete and authorised score for the performances at the Imperial and Royal Court Theatre, including No. 3 (quartet, 5 pages, PN 2330), No.5 (terzetto, 15 pages, PN 2332), No. 15 (duett, 7 pages, PN 2342), all 27 x 36 cm; each inscribed with the owner’s name (comp. Kinsky-Halm p. 183; Nottebohm p. 71; Dorfümmer p. 219; Hirsch, IV, 318). – Very rare original edition. The anonymous writer of the piano score was Ignaz Moscheles. EUR 2,400 – 3,000 US$ 2,800 – 3,500 [EOT] 73 Bessozzi, Allessandro (Italian composer of the 18th century) Five trios (e minor, E flat major, F major, D major, C major) for violino primo and secondo and basso; complete instrumental parts in the form of hand-written copies of the 18th century, double pages, the bass part titled, approx. 19 x 24 cm EUR 150 – 180 US$ 180 – 210 [EOT] 74 Casti, Giovanni Battista (1724 – 1803), probably based on the libretto by Carl Johann Ditter von Dittersdorf, Der betrogene Bräutigam oder der durch die Hülfe einer Fee beglückte Liebhaber (“Il sposo incanato”), three-act opera comique, 24 pieces, including a ”Ballo von Schäfern und Nymphen” (ballet of shepherds and nymphs), music hand-written by an 18th-century copyist, libretto with a stage property catalogue (59 pages, 20.5 x 17 cm), piano score (cembalo/voice part, 47 pages, inscribed with the owner’s name Hambourg on the title page), violino primo (34 pages), violino secundo (34 pages), viola alto (24 pages), violoncello (21 pages), flauto traverso and oboe (16 pages), corno primo (12 pages), corno secondo (10 pages), all 34.5 x 20.5 cm EUR 720 – 800 US$ 850 – 950 [EOT] 75 Damascini Divertimento ex G. Violino primo. Violino secondo. Con Basso, the individual instrumental parts 4 pages each, 19.5 x 25 cm, titled on the bass part and with a note of the theme; Divertimento in C a Violino primo, Violino secondo con Basso, the individual instrumental parts 4 pages each, 32.5 x 21.5 cm, titled on the bass part and with a note of the theme, numbered 10; and Primesberger, Divertimento in F a Violino primo, Violino secondo con Basso, the individual instrumental parts 4 pages each, 33 x 21.5 cm, titled on the bass part and with a note of the theme, all hand-written 18th-century copies, with a banderole EUR 260 – 360 US$ 310 – 430 [EOT] 76 Dittersdorf, Carl Ditter v.

(1739 – 1799) “Il combatimento delle passioni umani” for 2 violins, 2 horns, 2 oboes, viola and bass, complete parts of hand-written music by an 18th-century copyist, approx. 32 x 20 cm EUR 220 – 260 US$ 260 – 310 [EOT] 77 Duni (Duny), Egidio Romualdo (1709 – 1775) Das Milchmädchen oder die beiden Jäger (The Milkmaid or the Two Hunters), one-act Singspiel, the libretto by Louis Anseaume (1721 – 1784), 15 pieces, the music hand-written by an 18th-century copyist, individual instrumental parts: violino primo (16 pages), violine secunda (10 pages), alto viola (8 pages), basso (6 pages), flauto primo/oboe (5 pages), flauto secundo (3 pages), cornu primo (2 pages), cornu secundo (2 pages), unidentified instrumental part (9 pages), vocal parts: Röschen (8 pages), Niklas (4 pages), Raszan (8 pages), all approx. 24.5 x 29.5 cm EUR 480 – 550 US$ 570 – 650 [EOT] 78 Cancelled [EOT] 79 Farinello (Giuseppe?) (1769 – 1836) Aria Soprano solo”Per pietà del mio martire” con Recitativo “Ingrata liberta quanto mi costi” con Violino primo, Violino secondo, Viola & Basso, hand-written 18th-century copy, each of the individual parts comprising 2 pages, 32 x 29.5 cm EUR 90 – 120 US$ 110 – 140 [EOT] Fomeli, Nikolas 80 Sinfonia in F, violino primo (4 pages), violino secondo (4 pages), viola (2 pages), basso (3 pages), oboe primo (1 page), oboe secondo (1 page), corno primo (1 page), corno secondo (1 page), with a title page, all 35.5 x 23 cm, hand-written 18th-century copy EUR 100 – 150 US$ 120 – 180 [EOT] 81 Symphonia in D à 4 con Corni, individual instrumental parts: violino primo (4 pages), violino secondo (4 pages), viola (3 pages), basso (4 pages), all 35.5 x 23 cm, hand-written 18th-century copy

EUR 80 – 120 US$ 94 – 140 [EOT] Friebert, Joseph (1724 – 1799) Joseph Friebert (December 5, 1724 Gnadendorf/Lower Austria – August 6, 1799), a former tenor of the Imperial and Royal Court Orchestra in Vienna (after 1755), was the last musical director of the court orchestra at the prince diocese of Passau, following B.A. Aufschnaiter and G. Muffat. Friebert brought decisive impulses to Passau, where musical life was mainly dominated by church music. During his term of office the opera house and the Redoutensaal were built, which are still used for performances today. Friebert considerably favoured performances of operas by Mozart and the budding art of the so-called Mannheim School. With the aid of Prince Joseph Franz Anton Graf von Auersperg, an enthusiastic supporter of the ideas of the Enlightenment, Friebert enlarged the court orchestra and acquired extensive musical material for the library. During his Viennese sojourn Friebert got to know the most important personalities of contemporary musical life, including Gluck, Dittersdorf, and his teacher Josef Bonno. Before his engagement with Count Morzin, Joseph Haydn worked as a repetiteur at the court orchestra and entertained friendly relations with Friebert ever since. In 1794 Friebert performed a vocal version of The Saviour’s Seven Last Words in Passau in the honour of Haydn, who passed through the town on his way to England. It was used by Haydn when he adapted his composition as an oratorio, after having written adaptations for orchestra and string quartet. Apart from the cembalo and vocal parts of Haydn’s composition The Saviour’s Seven Last Words, only a Missa Pastoralis and a Christmas Symphony by Friebert have survived. His other compositions, particularly his works for musical drama, including at least a dozen of Singspiele and contemporary adaptions, are completely lost. Lit.: W. M. Schmid, Zur Passauer Mg., in: ZfMw 13, 1930/31, p. 305; Bauer, H.: Joseph Friebert (1723 – 1799) u. seine Stellung in der MG. der Stadt Passau, dissertation, Munich 1952, typescript; Krit. Ber. zu W. A. Mozart, Zaide (Das Serail), NMA II/5/10, ed. by Fr. H. Neumann, Kassel, etc. 1963, BVK, p. 17ff.; K.M. Pisarowitz, Joseph (Friebert) u. seine Brüder, in: Acta Mozartiana 17, 1970, pp. 74-78 (with further literature); MGG XVI, pp. 367-369. [EOT] 82 Das Serail (The Seraglio), German operetta, Passau, 1779, hand-written music for the Singspiel “Das Serail oder die unvermuthete Zusammenkunft in der Sclaverey zwischen Vater, Tochter und Sohn”, likely to have first been performed in 1777 in Wels; superb hand-written music by an 18th-century copyist, in excellent condition; piano part (cembalo and vocal parts), 92 pages and title page, 23.5 x 29.5 cm, bound; individual vocal parts (incomplete, partly without text): Zaide (16 pages), Comaz (14 pages), Renegat (10 pages); instrumental parts: violino primo (38 pages and title page), oboe primo/secondo (28 pages and title page , two-line notation), corno primo/secondo, (34 pages and title page; two-line notation), all 23.5 x 29.5 cm EUR 3,000 – 3,800 US$ 3,500 – 4,500

This work is the original and so far lost setting of the Bolzano libretto of 1779 by Karl Joseph Weiß, which Mozart and Andreas Schachtner used as a basis for their opera Zaide. Mozart’s Zaide is a fragment of a musical drama whose history of creation is still unknown. The written music was discovered by Mozart’s widow Constanze only after the composer’s death and published in 1838 by André in Frankfurt (where this "Turkish Opera" was also given its name Zaide). During his lifetime Mozart only made faint allusions to this work (in letters to his father Leopold of 1780–81). Today the Singspiel’s overture and finale, and above all the libretto, are lacking. According to the tradition of the Singspiel, the plot was mainly developed by spoken dialogue, so that we can only make conjectures about the plot of Zaide. The subject was already dealt with by Voltaire (Zaire, 1732) and was set for a musical drama by Michael Haydn in 1777. Upon Constanze Mozart’s request, Breitkopf & Härtel published a call in the Intelligenzblatt der Allgemein Musikalischen Zeitung in Leipzig to gather information about the title and the libretto of the "Turkish Opera" that had been unearthed from the composer’s estate, which, however, remained without response. In Die Textvorlage zu Mozarts Zaide (Acta Musicologia 8) Alfred Einstein was the first to establish a relationship between the Bolzano libretto mentioned above and Mozart’s Singspiel. The original text was considerably modified by Mozart and Schachtner so that no final conclusions can be made about the influence of the libretto (and Friebert’s composition) on Schachtner and Mozart’s work. What is mainly unclear is how Schachtner got hold of the work and whether the printed Bolzano libretto was available to him, or whether he saw a performance of the piece and was subsequently inspired by Friebert’s work as he had kept it in mind. Today it is assumed that Mozart gave up his work on Zaide in favour of Stephanie the Younger’s libretto of The Escape from the Seraglio. [EOT] 83 Friebert, Joseph (1724 – 1799) Nanerl bey Hof, German operetta, Passau?, probably after 1774; this Singspiel does not appear in any of Friebert’s oeuvre catalogues, very beautiful musical manuscripts by an 18th-century copyist, in excellent condition, two acts, 21 numbers, characters: Nanerl, Niclas, Astolf, Dorinda, Emilie; piano score (vocal parts and bass), 90 pages and title page, 23.5 x 30 cm, bound; violino 2 (40 pages and title page), alto viola (32 pages and title page), oboe/altern. flute 1 + 2 (4 pages each), horn 1 + 2 (6 pages each); all approx. 23.5 x 30 cm EUR 2,200 – 2,600 US$ 2,600 – 3,100 The plots of the librettos Nanerl bey Hof (cat. 83) and Lottchen am Hof (cat. 95) derive from the Italian intermezzo Bertoldo in corte (Vicenzo Ciampi 1752). In 1754 an adaption by Anseaume titled Bertholde à la ville and set to music by Marquis Lasalle d´Offemont was published in France. This work inspired Charles Simon Favart to write his libretto Ninette à la cour, which became the most important setting of the plot and served as a model for the German and Italian adaptions (including Giovanni Bartolomichi’s Contadina in corte set by Rust (Venice, 1764), Sacchini (Rome, 1765), and Anfossi (Rome, 1775). The piece was performed well into the early 19th century, including the partial setting by Berton the Younger in Vienna. The libretto Ninette à la cour already anticipates important motifs used by Beaumarchais, as well as by Mozart in his Le Nozze di Figaro. The libretto by Beaumarchais was only written 22 years later. As Favart’s work was performed quite often (e.g., in 1767 under the title Le Caprice Amoureux ou Ninette) and was published frequently with or without music, it could have been a direct influence on the text by Beaumarchais. In any case, it

shows that the audience had been fascinated by the corrupt circumstances described in the piece long before Beaumarchais’ version. [EOT] 84 Adelstan und Röschen, German operetta, two acts, ten numbers, hand-written part (18th-century copyist), violino primo (21 pages), 23.5 x 29.5 cm, bound by thread-stitching, 9 lines of music per page with key words of the text, characters: Adelstan, Röschen, Lyda, Werner, Coro EUR 400 – 500 US$ 470 – 590 [EOT] 85 Gasmann, Florian Leopold (1729 – 1774) Divertimento, individual instrumental parts: violino primo (6 pages, bound by thread-stitching), violino secondo (6 pages), viola (5 pages, the last page trimmed), basso (5 pages), all 33 x 21.5 cm, hand-written 18th-century copy, the title page and music with several hand-written annotations and sketches from different periods (including the date 1784-1791 on the title page) EUR 100 – 150 US$ 120 – 180 Gassmann was also the teacher of Antonio Salieri. [EOT] 86 Hasse, Johann Adolf (called “II Sassone”) (1699 – 1783) a) Aria, “Dovi e s’affreti/Quam me! Mi Deus!” for alto, V, I + II, viola, bass (plus organ); complete score including two vocal parts; 32 x 19.5 cm, cover sheet, damaged at the margins; b) Aria, “Disperato in mai turbato” for tenor, V I + II, viola, horn I + II, complete score; 33 x 21 cm; both hand-written 18th-century copies EUR 160 – 200 US$ 190 – 240 [EOT] Haydn, Joseph (1732 – 1809) 87 Grand Simphoni à plusieurs instruments composée par Ioseph Haydn No. 21 (G) à Vienne chez Artaria et Comp. 534.535 (1795)., (Hob. I 94; 1791; “Surprise Symphone”; 3rd London Symphony), parts: violino primo (8 pages), violino secundo (5 pages), viola (5 pages), violoncello e basso (5 pages), timpani (2 pages), all 34 x 25 cm EUR 520 – 700 US$ 610 – 830 [EOT]

88 Divertimento ex A à Flauto traverso, viola con basso, hand-written 18th-century copy, the individual parts comprising 4 pages each, 20.5 x 27.5 cm, the title page numbered No 8 and inscribed Primesberger 778, with excerpts from a vocal part on the reverse EUR 160 – 200 US$ 190 – 240 [EOT] Haydn, Joseph (1732 – 1809) 89 Deux Quatuors pour deux Violons, Alto et Violoncelle composés et dédiés à Son Altesse Monseigneur le Prince Regnant de Lobkowitz... Oeuvre 77. Vienna, Artaria, No. 1794, 898 (Sept. 1802), parts: VI (17 pages), VII (13 pages), viola (11 pages), violoncello (11 pages), all 33 x 24.5 cm, stamped with owner’s mark Ferd. v. Lidl in Ischl EUR 2,000 – 3,000 US$ 2,400 – 3,500 *Hob. III: 81–82; RISM H 3582; Cat. Hoboken, vol. 7, No. 661. – Rare authentic first edition of Haydn’s penultimate two string quartets, composed in 1799. The time that has elapsed between their composition and publication may be accounted for by circumstances concerning ownership. For a lengthy period the commissioner of the two quartets, Prince Lobkovitz, disposed of the exclusive right of performance. According to Griesinger, the six quartets composed by Haydn for Lobkowitz were the latter’s private property, for which Haydn had been well paid. [EOT] 90 The Seasons, complete piano score and text, Berlin, published by Leo’s Verlagshandlung, PN 62, 146 pages, 18 x 28 cm, original cardboard cover, with owner’s stamp Ferd. v. Lidl in Ischl EUR 80 – 100 US$ 94 – 120 [EOT] 91 The Creation, complete piano score and text, arranged by L. Erk., stereotype edition, Berlin, published by Leo’s Verlagshandlung (186?),108 pages, 18 x 27 cm, original cardboard cover, half-cloth binding, with owner’s stamp Ferd. v. Lidl in Ischl EUR 80 – 100 US$ 94 – 120 [EOT] 92 The Creation,

arranged for four-handed piano by Carl Czerny, Diabelli & Comp., Vienna, No. 3565, 5528; 201 pages, 25.5 x 33 cm EUR 720 – 800 US$ 850 – 950 [EOT] 93 The Seven Last Words of Our Saviour on the Cross, piano score with German text, Leipzig, Breitkopf & Härtel (1801), 68 pages, foxing, and a movement with hand-written vocal parts (SATB) EUR 1,000 – 1,200 US$ 1,200 – 1,400 [EOT] Hiller, Johann Adam (1728 – 1804) The impulses and impact of the work of Johann Adam Hiller (whose real name was “Hüller”) (1728 Wendisch Ossig/Görlitz – 1804 Leipzig) on the history of music continue to have an effect on our musical and cultural heritage. Nevertheless his outstanding merits are hardly recognised today. Hiller was the musical director of the “Grosses Concert” in Leipzig; later on participated in the foundation of the “Gewandhaus” and in 1781 became the orchestra’s first conductor. Starting 1789, he initiated numerous reforms in musical education at schools and in church music in his function as Kantor of the Thomaskirche in Leipzig. Through his regular publication of various musical periodicals he became one of the co-founders of musical journalism. His treatises and essays on the theory and practice of music made him one of the leading musical writers in Germany. Hiller’s promotion of outstanding musical talents paved the way for the foundation of the first German Conservatorium für Musik in Leipzig by Felix Mendelssohn Bartholdy in 1843. Between 1766 and 1779 Hiller wrote 14 singspiels, for the majority of which he collaborated with the German librettist Christian Felix Weisse (1726-1804). They were performed by the Koch’sche Theatergesellschaft and soon enjoyed great popularity on German stages. With his stage productions Hiller was a great pioneer in the development of the German singspiel, a musical genre that was further accomplished by the compositions of Mozart. In order to make his works more easily accessible, Hiller published simplified editions of (mostly two-part) piano arrangements. They mostly came out in several editions and spread quickly. The present examples of singspiels, however, are hand-written copies. Lit.: MGG VI, 409-421; Lehmstedt, M. (Ed.): Johann Adam Hiller. Mein Leben. Autobiogrphie, Briefe und Nekrologe, Leipzig 2004; Calmus, G.: Die ersten deutschen Singspiele von Standfuss und Hiller, Leipzig 1908 [EOT] 94 Lisuart und Dariolette oder Die Frage und die Antwort, romantic comic opera; libretto by Daniel Schiebeler; Leipzig, published by Bernhart Christoph Breitkopf and son, 1768, version in 3 acts; the music hand-written by an 18th-century copyist, vol. 1 vocal part and piano arrangegment (29 pages, incomplete, 21 x 34.5 cm); score: vol. I (Ist to IInd act, no. 2, 54 pages, 24 x 32 cm, with the owner’s name inscribed on the title page P. Bischoff), vol. II (IInd act, no. 3, 62 pages, 24 x 32 cm, inscribed

on the title page P. Schamler, vol. III (IIIrd act, 90 pages, 24 x 32 cm, , inscribed on the title page P. Schamler) EUR 720 – 800 US$ 850 – 950 [EOT] 95 Lottchen am Hof, early German singspiel, based on a libretto by Christian Felix Weiße; complete hand-written 18th-century score (inscribed on the tritle page Posessor Bischoff), 20 staff lines/page, with an introductory symphony (leading into aria no. 1), 96 pages, bound, foxing, damaged at the margins, 34.5 x 19.5 cm EUR 600 – 650 US$ 710 – 770 [EOT] 96 Die Liebe auf dem Lande, comic opera in 3 acts, 1768; 38 numbers and sinfonia, the music hand-written by an 18th-century copyist, piano arrangement (vocal parts and bass, 94 pages, 34.5 x 21.5 cm, with owner’s inscription Poss. Schamler on the title page), violino primo (Ist act, 15 pages, 35 x 21.5 cm), violono secundo (Ist-IIIrd acts, 27 pages, 36 x 22 cm), basso (Ist-IIIrd acts, 20 pages, 35 x 21.5 cm) EUR 480 – 600 US$ 570 – 710 [EOT] 97 Hoffmann Divertimento à Violino primo (flauto traverso), violino secundo con basso, hand-written 18th-century copy, 3 individual parts comprising 4 pages each, 18.5 x 24 cm EUR 80 – 120 US$ 94 – 140 [EOT] 98 Hummel, Johann Nepomuk (1778 – 1837) Grande-Sonata per il Clavicembalo o Piano-Forte con accompagnamento di Mandolino o Violino obligate dedicata al Signor Mora de Malfatti, Opus 37, Vienna presso Maisch, No. 364, 14 pages EUR 320 – 400 US$ 380 – 470 [EOT] 99 Italian (probably Lampugnani, Giovanni Battista, 1706 – 1784) Aria of Megacle, “Superbo di me stesso,” from “Meraspe”; complete parts written by an 18th-century copyist, for two violins, two oboes, two clarinets, bass, and tamburone, inscribed Josephi Lidl, approx. 23 x 31 cm

EUR 100 – 130 US$ 120 – 150 [EOT] 100 (Kalkbrenner, Christian, 1755 – 1806?) Music to Lanassa; symphony and six pieces, score, hand-written 18th-century copy, 15 pages, 37 x 22.5 cm EUR 200 – 260 US$ 240 – 310 [EOT] 101 Kozeluch (Leopold Anton or Johann Anton?) “Saltus Perma” for two violins, two oboes, two horns, and bass; complete parts written by an 18th-century copyist, on double and single sheets, approx. 37 x 24.5 cm EUR 280 – 300 US$ 330 – 350 [EOT] 102 Kozeluch, L. A. (1747 – 1818) Aria col suo recitativo a canto, Due Violini, Viola et Basso, inscribed “Del Signiert Leopoldo Kozeluch. Nicht dieser Author, sondern von Joseph Friebert”, recitative “Chloe, siehst du nicht voll Grausen, wie Donnerwolken ziehn...” and aria “Eine Hirtin, die die Liebe, sich und ihren Schäfer kennt...”; hand-written music by an 18th-century copyist, vocal and instrumental parts: sopran solo (4 pages, 23 x 31.5 cm, bound by thread-stitching; and music to a further recitative, “Aber schwarz und immer schwärzer zieht das Wetter sich herauf...” and an aria “Jetzo schon auf halbem Wege hält sie plötzlich wieder ein...”), soprano (1 sheet, 30 x 22.5 cm), violino primo (4 pages, 22 x 30.5 cm; the aria breaks off after 87 measures), violino secundo (3 pages, 30.5 x 23 cm), viola (3 pages, 30.5 x 23 cm), basso (2 pages, 29.5 x 23 cm) EUR 440 – 500 US$ 520 – 590 [EOT] 103 Kraus, B. Cantata ex B. Soprano solo “Liber ut curis”. Violino primo, Violino secondo, Alto viola e Violone & Cembalo, hand-written 18th-century copy, the individual parts 33 x 21 cm; the title page inscribed Febr. 1736, No. 180, Sub: Nonnoso EUR 100 – 150 US$ 120 – 180 [EOT] 104 Kreutzer, Conradin (Meßkirch in Baden 1780 – 1849 Riga) Der Taucher (libretto: Samuel Gottlieb Bürde), romantic opera in two acts (prior to 1809); hand-written early 19th-century arrangement, parts: violino primo (71 pages), violino secondo

(70 pages), viola prima (64 pages), viola secunda (59 pages), violoncello (54 pages), all 31 x 22.5 cm, inscribed with the owner’s name Ferd. v. Lidl Bad Ischl EUR 300 – 380 US$ 350 – 450 [EOT] 105 Martini, Giovanni Battista (1706 – 1784) Divertimento à Flauti traverso, Violino 2. do con Violoncello, hand-written 18th-century copies, individual parts (andante, minuetto), 18.5 x 24 cm EUR 60 – 100 US$ 70 – 120 [EOT] 106 Cancelled [EOT] 107 Mayseder, J. (1789 – 1863) Variations for violin and guitar, hand-written early 19th-century copy, 9 pages, 24 x 33 cm, numbered No. 6 and inscribed with the owner’s name Lidl EUR 60 – 90 US$ 70 – 110 [EOT] 108 Offertorio for the Feast of Saint John the Baptist, for 4 voices, 2 violins, bass and organ, first edition with a German translation of the text and a foreword by Dr. Carl Schafhäutl, score, Munich, published by Jos. Aibl, No. 1074/1088, the title page in Latin and German, K 72/74a; 16 pages, 33.5 x 26.5 cm EUR 600 – 900 US$ 710 – 1,100 [EOT] 109 Duae Missae breves à IV Vocibus, II Violinis et Organo obligatis, II Cornibus non obligatis (K. 235, supplement C 1.09); Monarchii Sumptibus Macarii Falter No. III; PN 111; vocal parts: soprano (7 pages, partly completed in hand-writing), alto (6 pages), tenor (7 pages), basso (6 pages), organo (8 pages), 37 x 23 cm; RISM M4099 EUR 720 – 1,000 US$ 850 – 1,200 [EOT] 110 Cancelled [EOT]

111 Missa pro defunctis. Requiem (K. 626), piano arrangement by Ludwig Erk, Berlin, published by Leo’s Verlagshandlung, 66 pages, 18 x 26 cm, with owner’s stamp Ferd. v. Lidl in Ischl EUR 100 – 150 US$ 120 – 180 [EOT] 112, 113 Cancelled [EOT] 114 Three easy trios for two violins and violoncello or flute, violin and violoncello, new, carefully supervised and annotated edition, nos. 14567–69 (1847?), Johann André, Offenbach/Main, 34 x 27 cm EUR 200 – 260 US$ 240 – 310 [EOT] 115 Gran Trio per Violino, Viola e Basso composta dal Sigr. W. A. Mozart. Opera 19, Vienna, Magonza: Artaria (1792), parts for violin and viola (the cello part missing); stamped with the owner’s name Ferd. v. Lidl EUR 120 – 150 US$ 140 – 180 Divertimento K. 563, RISM M6248, compare Haberkamp, p. 317 [EOT] 116 The ten famous quartets plus fugue for two violins, viola and violoncello, original print by Kohlert und Teller, Offenbach, for Joh. André, Offenbach/Main, PN 6687 (1847?); individual parts, 34.5 x 27 cm, inscribed with the owner’s name EUR 240 – 300 US$ 280 – 350 [EOT] 117 Miscellaneaou written music, string quartets, Quartet No. 5, (in A major, dedicated to J. Haydn, 1785; U. E. 77.); Quartet No. 19 (“Eine kleine Nachtmusik”, G major), Litolff Braunschweig No. 173; Quartet No. 3 (F major), Litolff Braunschweig No. 2694 B; string quartet No. I, (G major, K. 387), U. E. 73 b.; string quartet No. X, (F major, K. 590), U. E. 82. EUR 200 – 260 US$ 240 – 310 [EOT] 118

A collection of written music, duets for violin and viola, sonata for pianoforte and violin (C major, K. 303), Twelve duos for two violins (op. 70), sonata movements (for young people) for piano and violin EUR 200 – 260 US$ 240 – 310 [EOT] 119 A collection of written music, violin concerts, No. (D major), No. 5 (A major), No. 6 (E-flat major), piano and violin parts, Edition Peters, No. 2193 EUR 80 – 120 US$ 94 – 140 [EOT] 120 Oeuvres de Mozart: VIII. Sonates pour le Piano forte seul (C, A, F, B, D, D, a, D), au Magasin de l’imprimerie chimique J. R. priv sur le Graben No. 612; PN 54, 108 pages, 25 x 35.5 cm, title page and pages nos. 1-4 lacking; RISM 7372 EUR 440 – 500 US$ 520 – 590 [EOT] 121 Oeuvres de Mozart, Cahier 16: VIII. pieces pour le Piano forte seul et XXII Canons par W. A. Mozart, au Magasin de l’imprimerie chimique J. R. priv sur le Graben No. 612; PN 1476, 73 pages, 25 x 37.5 cm; RISM 7387 EUR 600 – 800 US$ 710 – 950 [EOT] 122 Oeuvres de Mozart: VII Sonates pour le Piano forte (C, B, C, F, F, Es, G), au Magasin de l’imprimerie chimique J. R. priv sur le Graben No. 612, PN 55, 99 pages, the title page missing, 24.5 x 35 cm; RISM M7374 EUR 520 – 600 US$ 610 – 710 [EOT] 123 Oeuvres de Mozart, Cahier II, Contenant Douze thémes variés pour le pianoforte; (K 352, 264 etc.); Leipzig, Breitkopf & Härtel, (1798?); 24 x 33 cm, 118 pages, half-leather spine with engraved title vignette; RISM M 7307 EUR 400 – 450 US$ 470 – 530 [EOT] 123-1 Mozart, W. A.,

Six Sonates pour le Clavecin, ou Pianoforte avec l’accompagnoment d’un Violon Dediés a Mademoiselle Iosephe D’Aurnhamer par Wolfgang Amadee Mozart. Oeuvre II., Publiés et se vendent chez Artaria, PN 22 (1781), sonatas K. 376 (374d), 296, 377 (374e), 378 (317d), 379 (373a), 380 (374f). piano part (85 pages), 24 x 33.5 cm, beautifully engraved title, frames on both, excellent condition, RISM M6492, see Haberkamp p. 173 ; Hirsch IV, 23 EUR 1,200 – 2,000 US$ 470 – 530 These sonatas were the first printed works by Mozart after he had settled in Vienna for good in 1781. Josefine Auernhammer, who the works were dedicated to, was Mozart’s second piano student in town. [EOT] 124 Vergiss mein nicht am Klavier, set to music by W. A. Mozart (!), published by the court music engraver B. Schott in Mainz (PN 26) (1794), (K. C 8.06 (Suppl. 246), RISM M 5428, 23 x 33.5 cm, 5 pages EUR 480 – 600 US$ 570 – 710 A composition by G.L. Schneider wrongly assigned to Mozart. [EOT] 125 Jupiter Symphony, arranged for four-handed piano, by C. Burchard and C. Czerny, August Kranz, Hamburg, No. 3467, 41 pages, 26 x 35 cm EUR 160 – 200 US$ 190 – 240 [EOT] 126 Menuett in F à quatre mains pour le Piano forte par W. Mozart, à Berlin chez Concha, PN 151, 2 pages, 31,5 s 26.5 cm; RISM M7217 EUR 600 – 800 US$ 710 – 950 A wrongly assigned composition. [EOT] 127 Overtures from operas set for four-handed pianoforte, No. 2 “The Magic Flute”; Hannover, C. Bachmann, PN 169 (c. 1830); 11 pages, 31.5 x 22.5 cm; foxing EUR 340 – 400 US$ 400 – 470 [EOT] 128 Don Giovanni,

Ouverture pour le Piano Forte à 4 mains; Hamburg, A. Cranz, 12 pages, 23 x 31.5 cm, RISM 4661; foxing EUR 300 – 360 US$ 350 – 430 [EOT] 129 La Clemenza di Tito (K. 621), Opera seria in due Atti. Composta e ridotta per il Cembalo da W. A. Mozart. Prix 36 Fr. a Paris, chez Maurice Schlesinger, Libraire et Editeur de Musique. Rue de Richlieu No. 107. Edition gravée et imprimée par Marquerie Fréres, PN 13, (1822), 35 x 27 cm, 112 pages, half-cloth binding, RISM M5119 EUR 520 – 600 US$ 610 – 710 [EOT] 130 La Clemenza di Tito, piano arrangement of the individual pieces, 14 parts, Vienna, Artaria & Co, from the series “Raccolta d’arie”: a) Overture (without title page, Artaria, No. 545), b) Duetto: “Come ti piace imponi” (without title page, G. Cappi, No. 234), c) Aria “De se piacer mi vuoi”(No. 160), d) Duettino “Deh se prendi un dolce amplesso” (No. 161), e) Marcia (G. Cappi No. 546), f) Aria “Del piu sublime soglio” (No. 169), g) Duetto “Ah perdona al primo affetto” (No. 163), h) Aria “Parto, ma tu ben mio!” (No. 168), i) Aria “Torna di Tito alato” (No. 162), J) Aria “Tu fosti tradito” (No. 164), k) Rondo “Deh per questo istante” (No. 165), l) Aria “Se all’Impero amici Dei” (No. 167), m) Aria “Se altro che lacrime”(No. 166), n) Rondo “Non piu di fiori vaghe catene” (No. 159) 23 x 34 cm, the article by an anonymous author regarding the missing serial numbers by an unknown author of a), b), and e); RISM M5124, M5142 – 5156 EUR 4,000 – 6,000 US$ 4,700 – 7,100 [EOT] 131 COSI FAN TUTTE, comic opera in two acts by W. A. Mozart, complete piano arrangement with German and Italian text, and for solo pianoforte…, complete edition of the operas, original lithographed print, published by Carl Ferdinand Heckel, Mannheim, 1828, 210 pages, original half-leather binding, the spine labelled Mozarts Werke III, coloured paper cover (the spine damaged, rubbed), the paper slightly tanned (dated on p. 210), the missing title page and page 2 (Personaggi), as well as the jacket, added in the form of photocopies, approx. 32 x 25 cm, and: SANG UND KLANG im XIX/XX. Jahrhundert, Berlin – Leipzig, c. 1900, 408 pages, the cover blemished, approx. 33 x 25 cm EUR 360 – 550 US$ 430 – 650

[EOT] 132 Don Juan, opera in two acts, complete piano arrangement with German text, Leipzig, Philipp Reclam jun. (c. 1865), 147 pages, 26 x 20 cm, vol. 9, inscribed with the owner’s name Ferd. v. Lidl EUR 90 – 110 US$ 110 – 130 [EOT] 133 Figaro’s Wedding, comic opera in four acts by W. A. Mozart, piano arrangement with text in German and Italian, 2nd edition, Braunschweig, published by G. M. Meyer, PN 135 (1832?) EUR 100 – 150 US$ 120 – 180 With the added aria “Al de sio”, pages 220–224; (RISM M4353). [EOT] 134 Ascanio in Alba. Theatralisches Festspiel in 2 Acten (K. 111), 1771, score, Leipzig, Breitkopf & Härtel (c. 1880), 189 pages, 34 x 27 cm (Mozart’s Werke. Serie V. Opern. No. 6) EUR 400 – 600 US$ 470 – 710 [EOT] 135 Viva! Mozart Suite Commissioned by the General Secretariat of Mozart 2006 Salzburg, established by the City and the Federal Province of Salzburg, eight composers closely affiliated with Salzburg wrote the Viva! Mozart Suite fur multi-percussion, brass-wind players and orchestra, which was performed for the first time by the Salzburg Mozarteum Orchestra under Johannes Kalitzke and with the soloist Martin Grubinger in the assembly hall of Salzburg University on 18 November 2005. On 27 January 2006, this musical birthday present will be performed within the framework of the exhibition Viva! MOZART in a sepcial room in the New Residence in Salzburg. The complete score in full-cloth binding, 42 x 30 cm, all parts hand-signed; Wolfgang Danzmayr, “Get up, Salzburg!”, for eleven brass-wind players and tamburones; Klemens Vereno – “Londoner Skizzen”, for orchestra; Stefan David Hummel – “Thankful Time”, for multi-percussion and two drums from a far distance; Alexander Müllenbach – “Augenmusik für Wolfgang”, for orchestra Ludwig Nussbichler – “InSight7”, for 15 instruments Anders Koppel – “Faschingsschwank aus München”, for marimba and orchestra Alexandra Karasoyanova Hermentin – “Annäherung”, for 14 instruments Andreas Aigmüller – “Im Wirkungskreis Sarastros”, for orchestra, op. 81; and a portfolio with authograph sketches and score sheets of the Viva! Mozart Suite, as well as a CD with a recording of the first performance

EUR 1,200 – 2,000 US$ 1,400 – 2,400 [EOT] 136 Pach Cassatio à Violino primo, Violino secundo, Viola di alto obl. con Violono, hand-written 18th-century copy, the individual parts bound by thread-stitching, 32.5 x 20.5 cm, the title page inscribed No. 30, Ferd. v. Lidl, Ex rebus Joh. Joseph Krall EUR 80 – 120 US$ 94 – 140 [EOT] 137 Paisiello, Giovanni (1741 – 1816) Die eingebildeten Philosphen, German adaptation of the opera I filosofi immaginari or I astrologi immaginari, probably by Dittersdorf and Stephanie the Younger, two acts and sinfonia, hand-written music by an 18th-century copyist, individual instrumental and vocal parts: atto primo (24 pages, 31 x 21.5 cm), violino primo (55 pages, with 6 vacant pages, 33.5 x 23 cm), violino secondo (41 pages, 24.5 x 28 cm), violina (1.), viola (atto primo: 13 pages, 22.5 x 30 cm; atto secundo: 14 pages, 24.5 x 29.5 cm), violone (atto secondo: 12 pages, 22.5 x 30 cm), oboe secondo (12 pages, 23 x 30 cm), flauto (1st + 2nd), due fagotti (22 pages, 23 x 30 cm), vocal part of Clarisse (Ist act: 8 pages, 24 x 32.5 cm; 2 x IInd act: 27 pages, 30.5 x 21.5 cm and 13 pages, 24 x 32 cm), vocal part of Cassandra (Ist act: 10 pages, 24 x 32 cm), vocal part of Petroniano (Ist act: 11 pages, 23.5 x 32 cm; IInd act: 12 pages, 23 x 30 cm), Giuliano (17 pages) EUR 760 – 850 US$ 900 – 1,000 [EOT] 138 Panvitska (1752 – 1814) Divertimento ex G à Violino primo, Violino secondo con Basso; the individual parts comprising 4 pages each, 19 x 25 cm, the bass part with a title page and excerpt from the theme; Divertimento ex F à Violino primo, Violino secondo con Basso, the individual parts comprising 4 pages each, 19 x 25 cm, the title page with an excerpt from the theme; both hand-written 18th-century copies, with a banderole EUR 130 – 150 US$ 150 – 180 [EOT] 139 Reichhardt, Johann Frierich Brenno, opera in three acts (first performed in 1789), score of the Ist act, 116 pages, 31.5 x 23 cm, with hand-written inscription of the owner’s name W. Rust EUR 440 – 550 US$ 520 – 650 [EOT]

140 Miscellany of individual pieces from various operas, through c. 1820, incuding Himmel: duet of Fanchon/Eduard from “Fanchon, das Leyermädchen”; Dalayrac: “Valbelle”, aria from “Zwey Worte”; Gyrowetz: cavatina from”Ida die Büßende” (Vienna 1807), duet from “Der Augenarzt” (Vienna 1811); Mayer, Simon: aria from “Adelaisa et Aleramo”; Weigl, Joseph: duet from “Ostade”; Poisl: duet from ”Aucassin (?) und Nicolette”; Roth: aria from “Der Dichter und der Tonkünstler”; Blumroder: aria from “Die Jagd”; Pavesi: cavantina and canzonet from “Celanira”; Mozart: duet of Belmonte/Constanze from “The Escape from the Seraglio”; 86 pages, 25 x 33 cm, hand-written contemporary copies; the cover sheet missing EUR 180 – 220 US$ 210 – 260 [EOT] 141 Miscellany Czerny, Charles: Décaméron Musical. Recuil de Compositions brillantes et faciles pour le Pianoforte à quatre Mains… Oeuvre 111 Cahier VII. Propriété de l’Editeur, Leipzig chez H. A. Probst, Fantasie sur de themes des Operas de Mozart, (PN 227 g, 21 pages); Neuvième Grande Sinfonia avec Choeur final sur l’Ode de Schiller: “An die Freude”, composée par Louis van Beethoven Op. 125 arrangée pour le Pianoforte à quatre mains… No. 360, Leipzig chez Fr. Kistner, Mayence chez les fils de B. Schott, Nouvelle Editions (83 pages), 26.5 x 33.5 cm EUR 120 – 200 US$ 140 – 240 [EOT] 142 Miscellany of written music, with a hand-written inscription “Helene Alberti”: Pollini, Francesco: Dodeci Walzes per Cembalo Piano Forte… e dédicati alla Sra. Marianna Artaria Fontaine da Ferdinando e Francesco Artaria. A. Milano presso li sudetti sotto il Copertode Figini a Paris a la Typographie de la Sirene, peristyle du Theatre Favart. Deposti alla Biblioteca Reale. Op. a 11. a. (15 pages); Ries, Ferdinand: Sonatine pour le Pianoforte… Oeuv. 45. Proprieté des Editeurs, Leipzig, au Bureau de Musique de C. F. Peters, London, chez M. Clementi & Co. (PN 1306) (9 pages); Gelinek/Mozart: Six Variations pour le Clavecin ou Piano-Forte sur l’Air/Ein Mädchen oder Weibchen/liré de l’Opera/Die Zauberflöte/de Mr. Mozart. Composeés et Dediées à Mademoiselle Rosa Comtesse de Kinsky. Par Mr. L’Abbé Gelinek. 433 a Vienne chez Artaria Compl. No. 4 (8 pages); Vanhal: Variazioni dell’aria - Viva viva la regina - nell’Opera una Cosa rara. Per Clavicembalo o forte Piano con Violino e Violoncello a piacere… Opera 36 in Vienna presso Artaria Compl. PN 203 (7 pages), Vigano, Salvatore: Variazioni nel Ballo Psammi re d’Egitto… Milano presso Luigi Scotti Professore Editore ed Incisore di Musica, ferdinando Artaria Mercante di Stampe, PN 48 (7 pages); Leidesdorf, M. L.: Variations en Fantasie pour le Piano-Forte sur la Romance favorite/assis al pié d’un salice/de l’opera: Othello de Rossini… Oeuvre 96. Vienne chez D. Sprenger au Kohlenmarkt No. 266, PN 574, (11 pages); Huglmann, Joseph: Variations ou Fantasie sur la cavantine: O cara Memoria avec l’Indroduction Amor, Fortuna e Pace de l’Opera: Adele di Lusignano de Caraffa… Vienne chez D. Sprenger, au Kohlmarkt No. 255, PN 689 (15 pages); Gelinek: Easy variations for pianoforte of the popular waltz from the opera “Der Freischütz”, Vienna, published by Artaria & Comp., No. 2674 (10 pages), Czerny, Ch.: 21 études (without title

page), M. B. 270 (35 pages); original cardboard, gold embossed half-cloth binding, 24 x 32 cm EUR 260 – 320 US$ 310 – 380 [EOT] 143 Miscellany Auber, D. F. E.: La Muette de Portici. Die Stimme von Portici, five-act opera, complete score for pianoforte solo (without text), Vienna, published by Tobias Haslinger, No. 5450, (112 pages, with engraved title page); Mozart, W. A.: Oeuvres Complettes de Wolfgang Amadeus Mozart au Magasin de Musique de Breitkopf & Härtel à Leipzig: XXX vocal pieces with pianoforte accompaniment by W. A. Mozart, published by Breitkopf und Härtel, Leipzig, V. (100 pages), 25 x 32 cm, the title page decorated with a vignette of a muse and a singer with a lute. W. Böhm after Kininger, including: K. 472, 473, 474, 476, 519, 523, 524, 441, 517, 520, 307, 529, 619, 633, 596, 597, 598, 308, 437, 579, 152, 392, 518, 391, 529, 390, 531, 468, 530, 349. – The majority of the texts in German, partly in French and Italian. One of the volumes of the intended complete edition by B & H, which, however, remained incomplete; RISM M7317 EUR 2,200 – 2,600 US$ 2,600 – 3,100 [EOT] 144 Sassone Aria Soprano solo con Violino primo, Violino secundo, Viola & Basso, hand-written 18th-century music; soprano (“Age age...”, 1 sheet, 20 x 32 cm), violino primo, violino secondo, alto viola, basso, one sheet each, 32 x 20.5 cm, the title page inscribed “Num. 203 P. Normann” EUR 80 – 120 US$ 94 – 140 [EOT] 145 (Schenk, Johann Baptist) (1753 – 1836) Der Fassbinder, one-act opera (operetta), the text by Josef Weidmann after Boccaccio; the subject was set to music repeatedly, e. g., by Audinot in 1761); sinfonia and 13 pieces, the music hand-written by an 18th-century copyist, score of the arrangement for vocal and piano parts (incomplete, the title page inscribed with owner’s name Possessor Beckmann 1778), violino secondo (13 pages), viola (9 pages), basso (9 pages), cornu primo (6 pages), cornu secondo (6 pages), flauto traverso primo (incomplete, title page and one sheet), flauto traverso secondo (9 pages), all approx. 21.5 x 36 cm; the instrumental parts inscribed with owner’s name EUR 240 – 300 US$ 280 – 350 [EOT] 146 Spoor Cassatio in 7 à due Violini, due Flauti, due Corni con Basso,

the music hand-written by an 18th-century copyist, with complete individual instrumental parts, 18 x 21 cm EUR 80 – 100 US$ 94 – 120 [EOT] 147 Stadler, Maximilian Deux Sonates suivies d’une fugué pour le Piano forte composées par l’abbé Maximilian Stadler, 8. Suite du Répertoire des Clavecinistes, à Zuric chez Jean George Naigueli, 34 pages, 26 x 35 cm EUR 480 – 600 US$ 570 – 710 [EOT] 148 Staimez Trio in C major for two violins and bass, hand-written 18th-century copy, the individual instrumental parts four pages each, with title page (torn at the margins), 33 x 21 cm EUR 80 – 120 US$ 94 – 140 [EOT] 149 Stamitz, Karl (1745 – 1801) Six Quatuors a Deux Violons, Viole e Violoncelle dont deux à grand Orchestre, deux concertants et deux dont les premieres parties peuvent sejouer par une Flute, Hautbois, Violon, ou Clarinette dediés à son Altesse Electorale Maximilien Joseph Duc de Baviere, Archi = Echanson de l’Empire etc: … Prix 10’ 10 s Se crouvent à Strasbourg chez l’auteur avec privilege exclusiv du Roy; hand-written 18th-century copy, individual parts: VI (14 pages, with a dedicatory inscription), VII (14 pages), viola (12 pages), basso (12 pages), all 38.5 x 26 cm, bound by thread-stitching, with cover sheet EUR 600 – 700 US$ 710 – 830 [EOT] 150 Starzer, Josef (1727? – 1787) “Aria in C” for V I+II, flauto traverso I+II, cornu I+II con basso; two parts each on a one-sided sheet, the bass part with title page, hand-written 18th-century copy, 19.5 x 25.5 cm EUR 80 – 120 US$ 94 – 140 [EOT] 151 Stegmayer, Matthäus (1771 – 1820) Rochus Pumpernikl, ein musikalisches Quodlibet in 3 Acten … im vollständigen Klavierauszuge Wien Im Verlag der k. k. priv. chemischen Druckerey am Graben No. 612;

(compilation of pieces by various composers, arranged by M. Stegmayer after Moliére’s Monsieur de Pourceaugnac, music by Haibel and J. v. Seyfried; 28. Jan. 1809), PN 1410; 64 pages, 25 x 36 cm, the title page inscribed with owner’s name Lidl and numbered 3 EUR 440 – 500 US$ 520 – 590 [EOT] 152 Tuma, Franz (1704 – 1774) Parchia à 2 Violini con Basso, hand-written 18th-century copy, individual instrumental parts, 31.5 x 20.5 cm EUR 60 – 100 US$ 70 – 120 [EOT] 153 Cancelled [EOT] 154 Strauss Divertimento ex D à Flauti traverso, Viola con Violon, hand-written 18th-century copy, the individual parts comprising two pages each, 31 x 20.5 cm, the bass part with title page, numbered 2 and inscribed Primesberger 778 EUR 60 – 100 US$ 70 – 120 [EOT] 155 Umlauff, Ignaz (Vienna 1746 – 1796 Meidling) Das Irrlicht, auch Der Irrwisch oder Das Irrlicht oder endlich fand er sie, first performed on January 17th, 1782 at the ViennaBurgtheater; hand-written parts of the 18th century: violino primo (38 pages), violino secundo (38 pages), viola (36 pages), basso (38 pages), flauto (34 pages), all 34 x 23.5 cm EUR 320 – 400 US$ 380 – 470 [EOT] 156 Vanhal, Johann Baptist (1739 – 1813) Symphonia in C major for strings, two oboes, two clarinets and tamburone, complete parts by an 18th-century copyist, the string part (27.5 x 43 cm, torn at upper margin) signed Ex rebus Josephi Lidl, wind part (23 x 29 cm); Divertimento in G major for two violins and bass, parts for V I (12 pages) and V II (24 pages, with numerous vacant pages), 18 x 24.5 cm, with a banderole; both hand-written 18th-century copies EUR 140 – 180 US$ 170 – 210 [EOT]

157 Wagensail, Georg Christoph (1633 – 1708) Sinfonia in C major for two violins, two oboes, two horns, tamburone, viola and basso, parts for two violins and viola, hand-written 18th-century copy (Primesberger 778); 33 x 22 cm EUR 80 – 100 US$ 94 – 120 [EOT] Zimmermann, Anton (1741 – 1781) 158 A Quadro, individual instrumental parts: violino primo (6 pages, with title page, numbered 5 and 28), violino secondo (6 pages), viola (4 pages), basso (4 pages), all 23 x 30 cm, hand-written 18th-century copy EUR 100 – 150 US$ 120 – 180 [EOT] 159 Cassatio in F à Flauto traverso Violino solo e Viola di alto e Cornu primo e Cornu secundo e Violoncello con Basso, hand-written 18th-century copy, the individual parts bound by thread-stitching, 35 x 22.5 cm, the title page inscribed M: P: EUR 80 – 120 US$ 94 – 140 [EOT] 163 Aglaja. Ein Taschenbuch für das Jahr 1818, 4th year, Vienna, published by J. B. Wallishauser, with engraved title page and five copper engravings, 238 pages, 12.5 x 10 cm, beautiful gilt decoration to spine and cover, gilt edges, slipcover EUR 180 – 260 US$ 210 – 310 Including R. Walther, Mozart’s Ende [EOT] 164 Angermüller, Rudolph Commemorative portfolio: “In diesen heil’gen Hallen” Mozart auf den Bühnen der Salzburger Festspiele, Internationale Stiftung Mozarteum Salzburg and Bayrische Vereinsbank, Munich 1991, twelve stage designs and colour reproductions of figurines (by L. Sievert, C. Holzmeister, O. Kokoschka, L. Damiani, J.-P. Ponelle, M. Pagano), each approx. 30 x 42 cm, No. 496 EUR 260 – 300 US$ 310 – 350 [EOT]

165 Anonymous writer, Eine biographische Skizze von Wolfgang Amadäus Mozart, a biographic sketch of Mozart’s life, based on verified sources, with a portrait of Mozart and a picture of his birth-place, Salzburg, published by Josef Oberer, 1837, 54 pages, 15.5 x 10 cm EUR 80 – 100 US$ 94 – 120 [EOT] 166 Arnold, I. F. Mozarts Geist. Seine kurze Biografie und ästhetische Darstellung seiner Werke. Ein Bildungsbuch für junge Tonkünstler. Erfurt, Henning, 1803, with an engraved portrait by (F. W.) Nettling, XII, 452 pages, one unnumbered sheet, contemporary paperpack binding (slightly rubbed and blemished) EUR 720 – 800 US$ 850 – 950 Wurzbach XIX, 221. – First edition, extremely are. – This book is the first biography that refers to Mozart’s individual works in more detail (Bory). – A work dedicated to J. W. von Goethe. – Foxing and slightly browned. [EOT] 167 Freisauff, Rudolf von, Mozart’s Don Juan 1787–1887, a contribution to the history of this opera, edited on the occasion of its 100th anniversary by the Internationale Stiftung Mozarteum in Salzburg, Salzburg, H. Kerber, 1887, 23.5 x 16 cm, 197 pages with nine artistic supplements, original cloth binding EUR 160 – 200 US$ 190 – 240 [EOT] 168 Gräffer, Franz Josephinische Curiosa; oder ganz besondere, theils nicht mehr, theils noch nicht bekannte Persönlichkeiten, Geheimnisse, Details, Actenstücke und Denkwürdigkeiten der Lebens- und Zeitgeschichte Kaiser Josephs II Wien, Ignaz Klang, 1848, 5 volumes in three books (vol. 1, 196 pages; vol. 2, pages 197 – 392; vol. 3, 200 pages; vol. 4, pages 201 – 426; vol. 5, 172 pages, each with a frontispiece), contemporary half-cloth bindings with marbled covers, hardcover editions, and: Francisceische Curiosa; oder ganz besondere Denkwürdigkeiten aus dem Lebens- und Regierungs-Periode des Kaisers Franz II. (I.), with two woodcuts, Vienna, Ignaz Klang, 1849; 197 pages, half-cloth binding EUR 1,000 – 1,200 US$ 1,200 – 1,400 Goed. IX, 79, 54; Mayer Coll. 2288; Hayn-G. VIII, 450 (only vol. 1). A rare collection of amusing stories and reports, first edition. Dealing with Mozart, Feßler, Da Ponte, the re-edition of books, freedom of the press, etc. [EOT]

169 Gräffer, Franz Kleine Wiener Memoiren und Wiener Dosenstücke. In Auswahl herausgegeben, eingeleitet und mit Anmerkungen und alphabetischem Register versehen von Anton Schlossar unter Mitwirkung von Gustav Gugitz, with 72 illustrations of rare contemporary originals, Munich, Georg Müller, 1918–1922, 2 vols., LXXX, 566 pages; 462 pages, 20.5 x 12.5 cm, original leather bindings with gold-embossed spines and gilt edges EUR 520 – 600 US$ 610 – 710 Memorabilia from Old Austria, vols. XIII and XIV. – From the numbered edition of 50 Van Gelder hand-made paper, full-leather binding (this copy unnumbered) with ex libris of Franz Gräffer (vol. 1) and ex libris of Hans Schließl (twice) [EOT] 170 Kalbeck, M., Koch, L., Saar, Ferdinand v., On the Unveiling of the Mozart Monument in Vienna on April 21st, 1896, Vienna, published by the Mozart-Denkmal-Comité; with an extensive list of the contributions to the Mozart Monument Fund and the text of the deed of donation to the City of Vienna. The committee members included J. Brahms, E. Hanslick, H. Richter, C. Zeller, and others; 36 pages, 27 x 19.5 cm EUR 160 – 200 US$ 190 – 240 [EOT] 171 Kölle, Gustav Opern-Typen, No. 1 (out of 6), Berlin, c. 1890/95, titel page, nine sheets, each with six chromolithographed reproductions of texts, original leather binding embossed in black and gold (text, music, figures, ornaments), approx. 23 x 30 cm EUR 100 – 120 US$ 120 – 140 [EOT] 172 Meinardus, Ludwig Mozart - Ein Künstlerleben, with two steel-engraved portraits, Berlin and Leipzig, Guttentag, 1883, 505 pages, two full-page steel engravings with facsimile signatures, protected by tissue paper, original red linen binding, richly embossed in gold and black, gold embossed title at front cover and spine, gold-coloured flyleaves, 21 x 14 cm EUR 100 – 150 US$ 120 – 180 [EOT] 173 Nebhut, Ernst (text) Mit Mozart auf Reisen. Die Reisen Mozarts 1762–1791,with illustrations by Ferry Ahrle, with comments and partially coloured drawings, Frankfurt/Main, Umschau Verlag, 1970, 23.5 x 24 cm, 135 pages, cloth binding, the jacket lacking

EUR 20 – 40 US$ 23 – 47 [EOT] 174 Nohl, Ludwig Mozart nach den Schilderungen seiner Zeitgenossen, Leipzig, published by Fr. Thiel, 1880, with wood engravings of portraits of Mozart as a boy and grown man, Constanze Mozart, and the Mozart family (folded), 3 unnumbered sheets, 410 pages, 22 x 14 cm, contemporary embossed cloth binding with gilded spine EUR 100 – 130 US$ 120 – 150 [EOT] 175 Nork, Friedrich N. (Kron, Selig) Figaro’s Memoiren (Memoiren von Figaro), Leipzig, 1833, published by the Wigand’sche VerlagsExpedition, inscribed with the owner’s name Graf Alfred Althan, 215 pages, 18 x 11 cm EUR 100 – 150 US$ 120 – 180 [EOT] 176 Nottebohm, G. Mozartiana. Von Mozart herrührende und ihn betreffende, zum großen Theil noch nicht veröffentlichte Schriftstücke. Nach aufgefundenen Handschriften herausgegeben… (largely unpublished documents related to Mozart), Leipzig 1880, IX, 139 pages, with examples of written music EUR 180 – 240 US$ 210 – 280 [EOT] 177 Mozart, Leopold Leopold Mozarts hochfürstl. Salzburgischen Vice-Kapellmeisters gründliche Violinschule, with four engravings and a table, third and enlarged edition, Augsburg, published and distributed by Johann Jakob Lotter und Sohn, Buchdrucker und Musikalien Verleger, 1787, three unnumbered sheets, 268 pages, four unnumbered sheets, with an engraved frontispiece (partly restored), a folded music table and three copper engravings, 21.5 x 17.5 cm, inscribed with the owner’s name Carl Anton Poeschl, with slipcase (20th century, gold print) EUR 3,600 – 4,500 US$ 4,300 – 5,300 [EOT] 178 Mozart, Leopold Werkverzeichnis für Wolfgang Amadeus Mozart (1768). Ein Beitrag zur Mozartforschung, introduced and edited by Karl Franz Müller, Salzburg, published by Palls, 1955, with two portraits and two folded facsimiles, 24.5 x 20.5 cm, 25 pages, one unnumbered sheet, original cardboard binding with original jacket

EUR 120 – 150 US$ 140 – 180 Leopold Mozart’s “Verzeichniß alles desjenigen, was dieser 12jährige Knab seit seinem 7ten Jahre componiert, und in originali kann aufgezeiget werden”. (A list compiled by Leopold Mozart of his son’s compositions written when he was seven to twelve years old.) [EOT] 179 Mozart, Leopold Leopold Mozarts Hochfürstl. Salzburgischen Vice-Capellmeisters gründliche Violinschule, with four copper engravings and a table, 4th edition, Frankfurt and Leipzig, 1791, with four examples of written music, 268 pages, 20 x 16.5 cm, the last table incomplete and added as a more recent copy EUR 3,200 – 4,500 US$ 3,800 – 5,300 [EOT] 180 Mozart, Leopold Gründliche Violinschule, facsimile edition edited by Prof. D. Dr. Hans Joachim Moser, VEB Breitkopf & Härtel, Leipzig, 9 unnumbered pages, 268 pages, four unnumbered pages, 20 x 17 cm, original half-leather binding, with a folded table, facsimile of the final third edition, Augsburg 1787 EUR 52 – 70 US$ 61 – 82 [EOT] 181 Vulpius, C. A. The Magic Flute, new adaptation of the three-act opera, music by Mozart, first performed at the Ducal Court Theatre in Weimar on January 16th, 1794. Leipzig, Heinsius, 1794, 104 pages, original contemporary paperback cover (rubbed and blemished, the binding loose). EUR 1,000 – 1,200 US$ 1,200 – 1,400 Goed. V, 513, II, 29. Rare first adapted edition with the offensive scenes of Schikaneder’s libretto removed, so that all intentions regarding ideas of the Enlightenment were completely eliminated. The success of The Magic Flute with the broad public was brought about by this ‘harmless’ version (comp. of Scholz in: Opernwelt, 11/2000, p. 65). Ex libris at front of inside cover. The flyleaves blemished. [EOT] 182 Procházka, Rudolph Freiherr von Arpeggien. Musikalisches aus alten und neuen Tagen, Dresden, published by Oscar Damm, 1897, 154 pages, half-cloth binding, 22.5 x 14.5 cm EUR 200 – 240 US$ 240 – 280 The contents include chapters on Mozart in Prague, on the history of the Magic Flute and ist relationship to Prague, and on musical life in Prague in Mozart’s day.

[EOT] 183 Rommel, Otto Die Alt-Wiener Volkskomödie. Ihre Geschichte vom Barocken Welt-Theater bis zum Tode Nestroys. With 250 illustrations, four of them in colour, published by Anton Schroll & Co.,Vienna, original full-cloth binding, 1096 pages, 24 x 18 cm EUR 380 – 450 US$ 450 – 530 [EOT] 184 Santner, Carl Musikalisches Gedenkbuch, with contributions by J. Hausleutner, Julius, K. A. Kaltenbrunner, C. E. Kauteczky, F. Hilarius Proschko, Dr. Isidor Proschko, Gustav Schilling, Dr. J. N. Vogl, 1st year, Vienna, Leipzig, Expedition der deutschen Liederhalle, 1856, 16 x 11 cm, 225 pages, one unnumbered page, two illustrations, two music supplements (one of them folded) EUR 90 – 120 US$ 110 – 140 Includes: “Rückblicke auf die bedeutenderen, zu Ehren des hundert’sten Geburtstages W. A. Mozart’s, am 27. Jänner 1856 abgehaltenen Feste und Feierlichkeiten” (a review of the celebrations held on the occasion of the 100th anniversary of Mozart’s birth, based on reports by eye-witnesses) [EOT] 185 Schünemann, Georg Musikerhandschriften von Bach bis Schumann, 96 reproductions of autographs from the Department of Music of the Preussische Staatsbibliothek in Berlin, 3rd edition, published by Atlantis, 1936, 106 pages, 96 facsimiles of musical manuscripts on 80 plates and examples of written music in the text, 31 x 22 cm, original full-cloth binding EUR 80 – 120 US$ 94 – 140 [EOT] 186 Schurig, Arthur “Konstanze Mozart”, letters and documents, published on behalf of the Mozarteum in Salzburg, with a biographic essay, edited by A. Schurig, Dresden, published by Opal, 1922; 189 pages, 28 x 22.5 cm; with a portrait, two facsimiles of letters, and a folding genealogic table of the Weber family (damaged), No. 529 from the edition of 1,500 EUR 520 – 550 US$ 610 – 650 [EOT] 187 Schurig, Arthur

Wolfgang Amadeus Mozart. Sein Leben und sein Werk auf Grund der vornehmlich durch Nikolaus von Nissen gesammelten biographischen Quellen und der Ergebnisse der neuesten Forschung dargestellt (his life and work, based on biographical documentation compiled by Nikolaus von Nissen as well as on latest scientific findings), two volumes, Leipzig, published by Insel 1913, 515/408 pages with 50 illustrations on plates printed on one side (49 full-page ill., one double spread), four facsimiles, a music supplement, and a folding family tree, 26 x 18 cm EUR 180 – 220 US$ 210 – 260 [EOT] 188 Slevogt, Max/Ponte, Lorenzo da “Don Juan. Heiteres Drama in zwei Akten von Lorenzo da Ponte mit zwanzig Zeichnungen von Max Slevogt in Holz geschnitten von Reinhold Hoberg”, libretto printed by the Druckerei der Taubstummen, Vienna, 1788, Berlin, Gurlitt, 1921, folio (approx. 33.5 x 25.5 cm), 130 pages, with 20 drawings by M. Slevogt, the first full-page illustration signed, original red leather binding with green back; this work forms part of the fourth series of the “Neue Bilderbücher” published by Fritz Gurlitt, Berlin, edition B, No. 213 from the edition of 250 EUR 720 – 800 US$ 850 – 950 [EOT] 189 Slevogt, Max “Randzeichnungen zu Mozarts Zauberflöte”, Volksausgabe in Kupfertiefdruck. Berlin, Paul Cassirer, 1924, with 47 plates after etchings by Max Slevogt, (approx. 35 x 27.5 cm), original paperback binding with lettering on the spine and cover EUR 200 – 260 US$ 240 – 310 [EOT] 190 Valetin, E. Neues Mozart-Jahrbuch im Auftrage des Zentralinstituts für Mozartforschung am Mozarteum Salzburg…, 1st year, 1941, published by Gustav Bosse, Regensburg, 224 pages with illustrations and examples of written music, embossed frontispiece, original full-cloth binding, with a hand-written dedication of the Japanese ambassador to Berlin Hiroshi Oshima of 1942, and: Beethoven-Festnummer der Österreichischen Gitarre Zeitschrift, 1st year, issue No. 3, Febr. 1927 EUR 140 – 200 US$ 170 – 240 [EOT] 191 Wildermann, Hans Wolfgang Amadeus Mozart, Leben und Gestalt in 36 Darstellungen, edited by Jérome Bessenich, with an introduction by Bruno Walter and an essay by H. Wildermann, Goetheanum, Dornach 1956, 3 pages, 56 mounted plates with 8 pages of explanatory text (approx. 28 x 30 cm), full-cloth binding EUR 160 – 200 US$ 190 – 240

[EOT] 192 Wolff, Hellmuth Christian Musikgeschichte in Bildern, edited by Heinrich Besseler and Max Schneider, vol. IV: Musik der Neuzeit/Lieferung 1: Oper. Szene und Darstellung von 1600 bis 1900, Leipzig, VEB Deutscher Verlag für Musik 1979, 213 pages, with more than 189 illustrations, partly full-page and colour reproductions, original full-cloth binding and original jacket, 34 x 24 cm; and: Bory, Robert: Wolfgang Amadeus Mozart. Sein Leben und Werk in Bildern, Geneva, Les editions contemporaines, 1948, 32 pages of text, pages 35– 218 illustrated throughout, pages 219–225 with an index of names, 32 x 24 cm EUR 100 – 150 US$ 120 – 180 [EOT] 193 Wurzbach, Constantin von Mozart-Buch, Vienna 1869, published by the Wallishausser’sche Buchhandlung (Josef Klemm), 308 pages, 19 x 12 cm, original cardboard binding EUR 100 – 150 US$ 120 – 180 [EOT] 194 Wyzewa, T. de/Saint-Foix, G. de W. A. Mozart. Sa vie musicale et son Oeuvre de l’Enfance a la Pleine Maturite(1756 – 1773). Essai de Biographie Critique suivi d’un Nouveau Catalogue Chronologique de l’Ouvre Complete du Maitre, 5 volumes, Paris, Desclee, de Brouwer et Cie 1936 – 1946, vol. I: L’Enfant-Prodige, 3e Edition, XII, 526 pages with eight plates, four facsimiles, and numerous examples of written music; vol. II: Le Jeune Maitre, two unnumbered pages, 457 pages with five plates, two facsimiles and numerous examples of written music; vol. III: Le Grand Voyage, L’Installation à Vienne, 424 pages with six plates, a facsimile and examples of music; vol. IV: L’Epanouissement: Figaro, Don Juan, et les Grandes Symphonies, 398 pages with ten plates, two facsimiles and numerous examples of written music; vol V: Les Dernieres Annees, 368 pages with twelve plate, facsimiles and examples of written music, 25 x 15.5 cm, half-leather binding EUR 520 – 600 US$ 610 – 710 [EOT] 195 Two books Vill, Susanne: Cosi fan tutte. Beiträge zur Wirkungsgeschichte von Mozarts Oper, edited by the Forschungsinstitut für Musiktheater of Bayreth University, with a contribution by W. Pütz: “Le Nozze di Figaro” auf dem Theater, published by Mühl’scher Universitätsverlag Bayreuth, Werner Fehr, 1978, 23 x 15.5 cm, 319 pages with numerous illustrations and plates, further contributions by L. Finscher, K. Hortschansky, R. Angermüller, H. Weber, Ch. J. W. Konold, etc.; Verchaly, André: Les Influences Ôtrangeres dans L’Oeuvre de W. A. Mozart, Paris, 10. - 13. Octobre 1956; Colloques Internationaux du Centre National de la Recherche

Scientifique; Edition du C. N. D. L. R. S., 276 pages, 23 x 19 cm, with numerous examples of written music and seven illustrations by Ernst-Fritz Schmid EUR 180 – 220 US$ 210 – 260 [EOT] 196 Two books a) Schmidt, Leopold: W. A. Mozart, c. 1920, published by theSchlesische Verlagsanstalt, 2nd extended and improved edition, 148 pages with numerous illustrations and facsimiles, 26 x 18 cm, (“Berühmte Musiker Lebens- und Charakterbilder nebst Einführung in die Werke der Meister.” vol. XIX.), b) Briefe Mozarts. With an introduction by Max Mell, army edition, 26,000–35,000, Leipzig, Reclam, 295 pages, 18 x 11.5 cm, original paperback edition, Insel-Bücherei No. 516 EUR 60 – 100 US$ 70 – 120 [EOT] 197 Proteste von Persönlichkeiten des internationalen Kulturlebens gegen den Plan, Mozarts Wohnhaus in einen Büropalast umzuwandeln (Protests of high-ranking personalities of international cultural life against plans of turning Mozart’s residence into an office building), edited by the Internationale Stiftung Mozarteum, 1951, 44 pages EUR 72 – 90 US$ 85 – 110 [EOT] 198 Die Säkularfeier der Geburt Mozarts in Salzburg 1856, publication on the celebrations held on the occasion of the 100th anniversary of Mozart’s birth in the city of Salzburg, 25 pages EUR 72 – 90 US$ 85 – 110 [EOT] 200 Mozart, W. A., Symphonies, K. 297, D major, Symphonie parisienne: fragment; édition facsimilé du manuscrit original conservé au Mozarteum de Salzburg, illustrée de deux dessins à la sanguine par Hans Erni. Lucerne: Éditions de la Galerie d’art du national Interart, (1949), 8 pages, 2 unnumbered sheets, No. 256 from the numbered edition 1000 EUR 320 – 400 US$ 380 – 470 [EOT] 201 Mozart, Wolfgang Amadeus Piano trio in E major (K. 542),

facsimile of the autograph perserved in the Preussische Staatsbibliothek in Berlin, Munich, Drei Masken, 1921, 23 x 32 cm, horizontal quarto format (26 + 1 pages), original paperpack edition with title plate EUR 360 – 450 US$ 430 – 530 [EOT] 202 Giambettino CIGNAROLI (1706 – 1770), attributed to Portrait of the 13-year-old Mozart, Verona, 1770, according to latest findings, however, painted by the artist’s nephew Severino dalla Rosa (1745 – 1821), facsimile print after the original owned by Alfred Cortot, Lausanne, published by Bärenreiter, Kassel, Basel, London, 79.5 x 66.5 cm, framed EUR 220 – 260 US$ 260 – 310 [EOT] 203 Mozart, W. A. Letter to his friend Josef Bullinger, whom he asks to prepare his father and sister gently for the bad news of his mother’s death: “Paris le 3 julliet 1778, Allerliebster Freund! für sie ganz allein. Trauern sie mit mir, mein Freund! - Dies war der traurigste Tag in meinem Leben - dies schreibe ich c. 2 uhr nachts -ich muß es ihnen doch sagen, meine Mutter, meine liebe Mutter ist nicht mehr! - gott hat sie zu sich berufen, er wollte sie haben...”, facsimile reproduction from before 1900, 28 x 21 cm, creased (twice), damaged at right margin and along the creases EUR 520 – 600 US$ 610 – 710 [EOT] 204 Elisabeth WEBER-FÜLUP (Budapest 1883 – 1938 Vienna) Upright-standing lady in a stole and plumed hat, full-length portrait of Eleonore Schickaneder, signed and dated at lower right E. Weber-Fülop 1914, oil on canvas, approx. 220 x 100 cm, craquelé, repairs, flaking to the paint, the frame damaged EUR 1,400 – 2,000 US$ 1,700 – 2,400 [EOT] 205 A collection of items from the estate of the Schikaneder family (primarily from Eleonore Schikaneder, E. L.) Notebook (entries of theatre programmes and parts, as well as a repertory list of E. L. in alphabetical order); libretto, “Däumling - Märchen in 3 Akten für das Kindertheater bearbeitet von Anna John”, Mainz, Jos. Scholz; three images for personal cards (E. S.), album with theatre reviews (E. S.) dating from c. 1889 – 1902, 34 photographs (black and white; approx. 18 x 24 cm) with motifs of buildings in Austria related to Mozart’s life and work, with a catalogue, “Mozart-Häuser in Wien, Aufnahmen F. Dr. Engert” EUR 240 – 300 US$ 280 – 350

Eleonore Schikaneder (“Lori”) was the great-granddaughter of Karl Josef Schikaneder (see cat. no. 207) and thus a direct offspring of Urban Schikaneder, the brother of the famous Emanuel Schikaneder. Lit.: Österreichisches Musiklexikon, entry on Schikaneder [EOT] 206 A collection of items from the estate of the Schikaneder family “Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens”, edited by Adolf Bäuerle; Nos. 1–76 of 1827 (20th year, including the article “Emanuel Schikaneder: Berichtigung dessen was über ihn im Brockhaus’schen Conversations-Lexicon irrig angeführt ist”); 320 pages; Géza Rech: “Das Salzburger Mozartbuch”, published by Residenz Verlag, Salzburg 1964; E. v. Komorzynski: “Emanuel Schikaneder, Ein Beitrag zur Geschichte des Deutschen Theaters”; Berlin W35, published by B. Behr’s Verlag (E. Bock), 1901; 194 pages; “Der Vater der Zauberflöte Emanuel Schikaneder”, Vienna, published Paul Neff, 1948, 240 pages; “In Dur und Moll, Ein Quartett von Wilhelm Weigand”, 1944, published by Eugen Händle, Mühlacker; M. Morold: “Mozart - Sein Leben Seine Persönlichkeit”, Österreichischer Bundesverlag, 1931; “Die Zauberflöte - Unbekannte Handschriften und seltene Drucke aus der Frühzeit von Mozarts Oper, edited and introduced by Fritz Brukner, with seven pictorial supplements and four facsimiles of theatre programmes, published by Gilnhofer & Ranschburg, Vienna, 1934; F. Klingenbeck “Die Zauberflöte - Ein Buch mit 53 Bildern u. 1 Farbtafel als Liebeserklärung an die Zauberflöte sowie mit kritischen Betrachtungen zu den Unwahrscheinlichkeiten der Schikanederschen Textdichtung”, published by A. F. Koska, Vienna-Berlin 1966, with a typed letter by Klingenbeck; “In neuem Glanz - Das Theater an der Wien - Lebenslauf einer Bühne von 1801 bis heute”, Österreich-Reihe, vol. 210/211, Berglandverlag, Vienna, 1963, 82 pages; E. Breier: “Die Tochter des Lichtes. Historischer Roman aus den 90er-Jahren des vorigen Jahrhunderts”, novel about Emanuel Schikaneder and the creation of the Magic Flute; O. E. Deutsch: “Das Freihaustheater auf der Wieden 17871801” (“Die Geburtsstätte der “Zauberflöte” von Mozart im sterbenden Freihaus der Vorstadt Wieden - Zum 150. Gründungstag des Theaters und zum 125. Todestag Emanuel Schikaneders”); Vienna-Leipzig, Deutscher Verlag für Jugend und Volk, 1937, 2nd edition, 48 pages; “Das Theater an der Wien - Festschrift zum 28. Mai 1962, with a newspaper article and a programme, “Festakt zur Eröffnung des Theaters an der Wien” of May 28th, 1962“;“Mozart-Gedenkstätten in Salzburg – mit einem Verzeichnis der in Mozarts Geburtshaus ausgestellten Gegenstände“, edited by the Internationale Stiftung Mozarteum; Zillner, F. V.: “Salzburgische Kulturgeschichte in Umrissen. Veröffentlicht auf Veranlassung und Kosten des k. k. Baurathes Herrn Karl Ritter v. Schwarz“, Salzburg, Endl & Perker, 1871, 255 pages; printed portrait of E. Schikaneder (framed) EUR 600 – 800 US$ 710 – 950 [EOT] 207 A collection of letters to Carl Schikaneder Ten letters to Carl Friedrich Schikaneder, one from his sister Marie, four from his sister Antonia, five from his father Carl Joseph, dated 1832, 1834, and 1835; the majority of them addressed to: Carl Friedrich Schikaneder: Cadet bei dem 4. Infanterie-Regiment Graf Albert Gyulai No. 31 der 9ten Companie des Herrn Hauptmann von Marsano zugeteilt in Meiland,

partly bearing seals; and two further letters, one of them from Urban Schikaneder to his son Joseph Schikaneder, Graz 1817 (as a photocopy), one sheet with notes of Urban Schikaneder EUR 1,600 – 2,400 US$ 1,900 – 2,800 Urban Schikaneder (1746–1818) was the elder brother of the well-known Emanuel Schikaneder and also worked in his theatre group from time to time. His son Carl Josef Schikaneder (1773–1845) also was a passionate man of the theatre (for example, he participated in the 200th performance of The Magic Flute on October 22nd, 1795). He was a singer, actor, and author of various operas, Singspiele, and theatre plays. He had four children: Karoline, Antonia, Marie, and Carl Friedrich. [EOT] 208 Two portrait photographs of Eleonore Schikaneder, c. 1914, three postcards depicting photographs of Eleonore Schikaneder, two photographs of Jakob Schikaneder (painter in Prague), four children’s portraits of further members of the Schikaneder family, two theatre programms dating from c. 1900, naming Eleonore Schikaneder as a member of the cast EUR 80 – 100 US$ 94 – 120 [EOT] 209 Contract between the Director of the German Royal Theatre in Prague Eduard Kreibig and the choir singer Marie Schikaneder, printed contract referring to an engagement from April 16th, 1876 to Palm Sunday 1879 over a salary of 30 guilders, with a hand-written addition of the period of notice, signed by Eduard Kreibig in Prague on July 15th, 1875, 4 pages, 30 x 22.5 cm, torn at taped crease EUR 120 – 180 US$ 140 – 210 [EOT] 211 Theatre programme of the Royal Municipal Theatre in Brno, of Tuesday, October 31st, Armuth und Edelsinn, original play in three acts by Herr von Kotzebue, Russian Imperial President … Joseph Rothe, with cast and price list, 35 x 43 cm, glazed EUR 480 – 600 US$ 570 – 710 [EOT] 212 Theatre programme of the Royal Municipal Theatre in Brno, of Sunday, November 30th, 1797, Das Faustrecht in Thüringen, third and last part, a musical drama in four acts after Hasper a Spada, by Karl Friedrich Hensler, set to music by Franz Xaver Gerl, member of the local theatre … Joseph Rothe, with cast and price list, 44 x 35 cm, glazed EUR 720 – 900 US$ 850 – 1,100

The composer and singer Franz Xaver Gerl (1764–1827) was a pupil of L. Mozart in Salzburg. In 1789 he became a member of the Schikaneder theatre group and sang the part of Sarastro in the first performance of The Magic Flute. It was for him that W. A. Mozart wrote the aria “Per questa bella mano” (K. 612). Another setting of the libretto of Das Faustrecht in Thüringen by the composer Ferdinand Kauer was first performed in four parts at the Leopoldstadt Theatre in Vienna in 1797–98. [EOT] 213 Theatre programme of the first performance of Don Giovanni in Prague, at the Gräflich Rostitz’sches National Theatre, on October 29th, 1787. Oggi, per la prima volta: Don Giovanni ossia il Dissoluto punito. Dramma giocoso in due atti con balli analoghi. Parole del Signiert Abbate da Ponte, musica del celebre maestro Signiert Amadeo Mozart..., 22 x 35 cm, creased (twice), damaged at the margins and along the creases EUR 1,300 – 2,000 US$ 1,500 – 2,400 [EOT] 214 A collection of French black-and-white photographs (1st half of the 20th century), dealing with the reception of the work of W. A. Mozart in France in the 19th and 20th centuries: pictures of portraits, buildings, instruments, stage scenery, etc., approx. 80 pieces (arranged an groups of ten, with an introductory text), all 29 x 22.5 cm EUR 240 – 280 US$ 280 – 330 [EOT] 215 Schreiber’s Children’s Theatre, figurines of a paper theatre of The Magic Flute (12 pieces, height approx. 15 – 16 cm), accomanied by a text of a fairy-tale adaptation of The Magic Flute in five acts by Ernst Siewert (16 pages), pasted on cardboard, with different newspaper cuttings and a theatre programme of Mozart’s Magic Flute EUR 200 – 260 US$ 240 – 310 [EOT] 216 Anniversary postcard, published on the occasion of the anniversary of Mozart’s 150th birthday, Salzburg, January 27th, 1906, as well as 13 collector’s cards (Nos. 1–6 (twice), and a portrait) “From the Life of Mozart”, Liebig Company’s Fleisch-Extract, two programmes of the Metrololitan Opera House, Nozze di Figaro, and a text book, Marriage of Figaro - Composed by Mozart, used condition EUR 140 – 180 US$ 170 – 210 [EOT] 217 Ackermann’s Arist’s postcards

Mozart, five historical portraits, series No. 14 x 8 cm, the case stamped Eug. Richter’s Nachf. K. u. K. Hofbuchhandlung Salzburg, used condition EUR 80 – 120 US$ 94 – 140 [EOT] 218 Old music satchel, leather, signed Antonio Salieri EUR 100 – 150 US$ 120 – 180 [EOT] 220 An English square piano, c. 1780 unsigned, F to F3 (49 keys), stichmass (three-octave span) 468 cm, mahogany corpus and support, with inlaid decoration in various woods (probably rosewood and holy) on the lid, probably original leather-covered hammer tips and tuning pins, the front side of the keys made of boxwood, the nameboard and the sides probably replaced, the nameboard pierced on the right-hand side for introducing the lower bass strings, (uncovered) brass and steel strings, damper-action control, F 750, c2 288, f3 100, width 876 cm, depth 315 cm, height xx cm, the separate mahogany base modified several times, height 79 cm EUR 60,000 – 80,000 US$ 70,900 – 94,500 [EOT] Visiting my wife’s grandmother (Anne Fox Maule) in the summer of 1995, a wooden case standing in her living room caught my attention. Asking her what it contained, she readily replied that it used to be Mozart’s travelling piano, which had been in her family for several generations. She managed to report that the instrument had been acquired around 1899 by her grandfather, the painter Peter Ilsted, and that it had formerly belonged to Mozart’s widow Constanze, who had lived in Copenhagen wir her second husband, the councillor of state G. N. Nissen. Since its acquisition through Peter Ilsted the instrument had been passed down in the family, who had appreciated and preserved it as a valuable cultural object for more than 100 years. It appears in several works by Peter Ilsted. Family tradition has it that Peter Ilsted was told the following when buying the object: “After Nissen had retired in 1820, he and Constanze left Denmark and never returned. Before their departure the majority of their possessions was offered for sale. The piano was acquired by Copenhagen’s musical director Carl Gottlob Füssel and later passed down within the latter’s family. Füssel had bought the instrument from Constanze as he had been told that it had once belonged to the composer W. A. Mozart, of whom he was a great admirer.“ After Peter Ilsted’s son-in-law Peter Olufsen, a member of the lawcourt, had inherited the instrument in 1933, it was mentioned and reproduced in printed media on several occasions. During a concert tour of the Vienna Philharmonic Orchestra in 1962 Herbert von Karajan and several members of the orchestra visited Peter Olufsen. On that occasion they had a chance to inspect the instrument and hear it being played. The event was recorded on film by the Austrian Broadcasting Corporation. This is what I was told by Anne Fox Maule, and it aroused my interest because I have always held Mozart’s music in high esteem. Anne Fox Maule had decided that after her death the instrument should go to her eldest son Guarin Fox Maule. However, in September 1997, she died prematurely, and the piano passed into the hands of my wife’s father. He passed away about two years later. His estate also included the small instrument, which now belongs to my wife and her brother. When the instrument came to our house I started to investigate into the matter on the basis of what I had been told. With the invaluable support of the Copenhagen Musical History Museum I took up my inquiries and went as far back as Constanze’s and Nissen’s stay in Denmark. This turned out to be far more complicated than I had originally suspected. As all sources had long run dry, I proceeded only very slowly with digging up documentary evidence. However, I succeeded in finding out that Nissen’s substantial private archives and parts of his possessions seem to have been stored away as the family considered it possible to return after Nissen’s sick leave of two years. Unfortunately it proved to be impossible to locate these archives, so that an essential source of information about the life he and Constanze were leading between 1797 and 1820 has disappeared. The following is a brief excerpt from my notes: There must have been a motivation for bringing this instrument, which in 1810 was absolutely outdated, to Denmark. The fact that there is no evidence that it was shipped to Copenhagen and was kept there may be explained by two reasons.

First, it is well known that in many cases Nissen got rid of notes and letters that later might become a burden for him and Constanze. Being a careful and conscientious official, he could not have it that the instrument (which had been smuggled into Denmark, so to say) should suddenly be declared Mozart’s personal property. It can be assumed that he kept possible evidence, including the instrument’s English provenance, a secret in order to take no risks. English products used to be rather unpopular after the bombardment of Copenhagen (1807), and there was a general import ban on crafted and manufactured articles from abroad. Second, Constanze must have realised that the instrument was neither mentioned in the inventory established after Mozart’s death nor in his correspondence, and that the value of this outdated instrument thus was practically zero. She and Nissen therefore seem to have been happy to be able to sell it as a kind of pretium affectionis to an admirer of Mozart’s music instead of having to drag the worthless case along on their long and tiresome journey across Europe to Austria. In the beginning my attention was directed to the work that contained all information about Mozart, his time, and his family, i.e., Mozart, Briefe und Aufzeichnungen. I worked through this gigantic work, whose index and volume of commentaries turned out to be quite helpful. My dream to undertake a study trip to Salzburg and Augsburg, however, unfortunately did not come true. I also consulted a number of other works, which refer to the Briefe und Aufzeichnungen anway. An instrument that aroused my interest (despite its rather insufficient discription) was mentioned in Mozart’s letter to his father Leopold from Nancy of October 3rd, 1778: “- wenn ich das kleine Clavierl, das der fischetti und Rust gehabt hat, zu meinem schreibtisch haben könnte, wäre es mir sehr lieb, indemme es mir besser taugt, als das kleine von stein.“ (sic). His father replied from Salzburg on November 23rd, 1778: “und das Clavicordin stehet schon längst unter dem Schreibtische.“ (sic) I was struck by three things: first, mention is made here of an instrument that is referred to nowhere else in the Briefe und Aufzeichnungen; second, both Mozart and his father were in doubt about how to refer to this instrument, both using a diminutive form (Leopold probably employed the more unusual expression); third, the instrument seemed to lack a solid support – it was possible to put it up beneath a desk. Mozart must first have seen the instrument before his departure in September 1777, and then again after his return to Salzburg in late January 1779. Apart from the correspondence of October and November 1778 I have found no further information about this instrument, although I have tried hard to find something, also in the context of the relationship between Leopold and Fischietti and Rust. An inquiry I sent to the International Leopold Mozart Society in Augsburg brought no findings whatsoever. At least it is known that (Giacomo or Jakob) Rust, a sick and indebted man, lived in Leopold Mozart’s house for a while. (Could the instrument have been a compensation for his rent?) The Mozart family owned far more instruments than is generally assumed. After Leopold Mozart’s death on May 28th, 1787, parts of his possessions were sold at auction between September 25th and 29th, 1787. The 265 unsold items included “ferner ein clavichord und offenbar auch andere instrumente”. The inventory of Mozart’s estate, compiled in December 1791, only lists his concert grand (“mit pedal“), which used to be his favourite instrument. It is the same that is now in the Mozarteum; however, the pedal is missing. Constanze is known to have prevented that parts of the estate, including musical instruments, were included in the inventory. Before Constanze and Nissen travelled to Copenhagen in 1810, each of the two sons was given an instrument. In a letter to Carl Thomas in Milan Nissen wrote from Vienna on June 13th, 1810: “… Das Clavier Ihres seligen Vaters ist Wolf geschenkt worden…“. (The letter was written by Nissen and signed by both Constanze and him.) In the summer of 1829 Constanze asked Wolf to give the instrument back to her, and on August 11th, 1829 she wrote in her diary: “Mein liebes Clavier … erhalten“. (Nissen could no longer object, as he had died in 1826.) On June 23rd, 1841 Constanze signed her testament, leaving her two sons “ein Clavichord von ihrem seligen Vater Mozart“ and “mein Piano-Forte“, which they were supposed to divide up between themselves. Constanze died on March 6th, 1842. A sheet of paper was discovered that had been pasted into the interior of the piano. It said: “Auf diesem Clavier hatte mein seeliger Gatte Mozart componirt die Zauberflöte, La Clemenza di Tito, das Requiem und eine neue Freimaurer-Cantate in zeit von 5 Monate. Dieses kann ich bestättigen als seine Wittwe Constanza Etaträthin von Nissen,gewessene Wittwe Mozart“. Today this instrument (whose origin and history are unknown) belongs to the Mozarteum. According to Constanze’s hand-written addendum to the testament, there also existed “…2 Clavircorde Von ihrem Seligen Vater Mozart…“, (borrowed) keyboard instruments that were also left to her sons. According to several sources there is still some uncertainty as to several instruments mentioned in the testament and its addendum. Gathering information about Constanze in the course of the previous years, I found out that she was a very special woman. Her talent for business was evident, and her evasiveness and vanity prevailed until the very end. One can say that while Nissen is known for his numerous deletions, Constanze became notorios for her additions.

Sometimes it must have been difficult for Nissen to be her second husband. He often had to give in and deny his own pretensions towards order, morals, and honesty in order to please her. The thought has crossed my mind that Constanze, after 38 years, probably made a mistake and, having been deceived by her own memory, put the small sheet of paper inscribed “Auf diesem Clavier…“ into the wrong instrument. Her responsible, honest, and extremely careful husband Nissen could not prevent her from doing so as he had died, as I mentioned earlier, in 1826. There certainly exists information I was unable to find. However, if there were competent objections, they would have been raised when the present instrument was consigned with the auctioneer Bruun Rasmussen in December 2004. The objections that were made and reported to me orally all came from Danes; they were far-fetched statements such as Mozart allegedly having never played on instruments whose long keys were white (!). Everybody interested in Mozart’s life and career will be able to find hints referring to the information and conclusions listed above. Scholarship would appreciate it if a more competent person than I made an effort to either confirm the position of this small instrument in the history of music or also rebut it. References: : Carl Thrane: ”Fra Hofviolonernes tid”. Schønbergske forlag, Kjøbenhavn 1908. : K. Lindhard: ”Beskrivelse af Mozarts rejseklaver”, 1930. : K. Lindhard: article on ”Mozarts klaver i Nyhavn”, 1931. : Dr. G.Kinsky: „Die Klaviere im Mozart-Museum zu Salzburg“, Zeitschrift für Instrumentenbau, 1933-34, no. 54.

: Erich Valentin: ”Das Testament der Constanze Mozart-Nissen“, Neues Mozart-Jahrbuch, 1942. : Prof. N. Schiørring: Feuilleton, Berlingske Tidende, Copenhagen 26/01/1956. : Mozarteum, Bärenreiter, 1962: ”Mozart, Briefe und Aufzeichnungen“. : A.Witeschnik: ”…Diesen Kuss der ganzen Welt“, Stiasny Verlag, 1962. : Österreichischer Rundfunk, film adaptation of ”…Diesen Kuss…“, 1962. : "Se&Hør": ”Mozarts klaver i Nyhavn“, 1966 and 1970. : G. Gábry: ”Das Reiseklavichord W.A.Mozarts”, Akadémiai Budapest, 1968. : G. N.Nissen: ”Biographie W. A. Mozarts”, with a foreword by Rudolph Angermüller, Georg Olms Verlag, 1972. : R.Maunder: ”Mozart’s Keyboard Instruments“, Early Music, May 1992. : Mozart-Jahrbuch, Internationale Stiftung Mozarteum, 1994, pp. 87–88. : Siegbert Rampe: ”Mozarts Claviermusik. Ein Handbuch“, 1995. : Sabine Hoffmann, Berlin, report based on photos of the instrument, 2003. : Michael Cole, report based on photos of the instrument, 2003. : Michael Latcham, detailed report on the instrument, Copenhagen 2004. : “Makers of the Piano”, Martha Novak Klinkscale. : Telephone conversations, M. N. Klinkscale/P. W. Lassen, 2004. : Letters and telephone conversations, Clara Radnoti, Budapest/P. W. Lassen, 2004. 221 An square piano, c. 1800–10 inscribed “Caspar Katholnig, Bürger in Wien”, 73 keys (AA-F4), original tuning pins (about one third lacking), Viennese action (incomplete, not in working order), partly with original leather coverings, width of keyboard 97 cm, the strings partly replaced (about one third lacking), the soundboard and wooden frame damaged, the nameboard, sides and flattened corners at the front with beautiful inlaid decoration in different woods, the pedals lacking, the veneer partially damaged, width approx. 156 cm, depth approx. 59 cm, height approx. 23 cm (corpus), on four legs, the instrument needs restoration EUR 6,000 – 7,000 US$ 7,100 – 8,300 [EOT] 222 A Baroque chest of drawers, probably Salzburg, mid 18th century, spruce corpus, walnut veneer, parquetry as well as marquetry in the form of scrolling ornaments in maple, yew and walnut, three large drawers with bombé sides and flattened at the centre, two locks and a key, cast, engraved and fire-gilded 18th-century ornamental fittings, the interior lined with decorative paper, height approx. 89 cm, width approx. 134 cm, depth approx. 68 cm, authentic and unrestored condition with traces of wear, the central lock missing EUR 5,200 – 7,000 US$ 6,100 – 8,300 Compare a similar piece of furniture in Mozart’s birth-place. Provenance: old family property, Salzburg [EOT]