international women’s day rare books & prints

International Women’s DayRare Books & Prints

March 8th

Golden Legend, Inc.11740 San Vicente Blvd, Suite 109

Los Angeles, CA 90049

Table of Contents~Delete4Immense Succés La Caméléonnia

~Delete4Alophe, Menue, Marie Taglioni~Delete5Amigioni, Carlotta, Celebre Auretti, La

~Delete6ballets russes, The Sleeping Princess. Souvenir program~Delete6Bonnart, Robert, La Bohémiene~Delete7Brun, Franz, Euterpe Engraving

~Delete8Camargo, Marie, La Camargo~Delete9Celeste, Céleste as the Maid of Cashmere Print

~Delete10Cerrito, Fanny, Mad'lle Fanny Cerrito, of Her Majesty's TheatreFanny…~Delete10Craig, Edward, Ellen Terry and her Secret Self

~Delete11Desmarets de, L'Ariane de Monsieur Des Marest~Delete12Duclose, Marie, Duclose in the role of Ariane

~Delete13Duvernay, Pauline, Two great prints from the Romantic Ballet~Delete14Duvernay, Pauline, Nayade in the ballet La Belle au Bois…

~Delete15François l’Hermite, Pantheé, Tragedie de Monsieur de Trista~Delete16Genest, Charles, Zélonide princesse de Sparte, tragédie

~Delete17Gilbert, Gabriel, Rodogune: tragi-comédie~Delete18Horton, Priscilla, Miss P. Horton as April Souvenir print

~Delete19Lancret, Nicolas, Marie Sallé. Se vende a Paris chez l'auteur d'entre…~Delete20Laroon, Marcellus, Lady Granny in her supposed grandure

~Delete21Le Moyne, Gallerie des femmes fortes, La~Delete22Lind, Jenny, Autograph note, 19 January 1849

~Delete22Lopokova, Lydia, Two photographs as Columbine in Le Carnival~Delete23Metastasio, Pietro, Partenope. Festa teatrale

~Delete24Nilson, Johann, Catharina Helena Stöber. German midget, model, 1721-1788~Delete25Orlik, Emil, Tilla Durieux spielen und traumen mit funf radierungen…

~Delete26Petronius Arbiter, La matrone d'Ephese: comedie par Mr B*** A~Delete27Shanh, Ben, Martha Graham poster

~Delete28Shawn, Ted, Ruth St. Denis: Pioneer and Prophet. Being a…~Delete28Sutherland, Joan, Designs for a Prima Donna

~Delete29Taglioni, Marie, Rare paper doll set with costume and box…~Delete30Taglioni, Marie, La Gitana The New Cachoucha

~Delete31Thebom, Blanche, Original silver print photograph by Angus McBean310-385-1903 • [email protected] of Contents ii

~Delete32Valéry, Paul, Degas Danse Dessin~Delete33Wong, Anna, Original photograph signed and inscribed after 1938

~Delete34Wright, Thomas, Womankind in all ages of Western Europe from…

310-385-1903 • [email protected] of Contents iii

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Immense Succés La Caméléonnia. (Anonymous)Immense Succés La Caméléonnia. AffichesAméricaines: Ch. Levy. Paris:10 rue Martel. (Ca 1895).Colored lithographic poster on paper. Mounted on silk.22 ½” x 31" folds, chips to margins. Colors bright.

The poster advertises a cabaret dancer whowore and waved colored silks in front onelectric lights to create a diaphanous effect ofmovement in colors. This type of performancewas pioneered by Loie Fuller but copied incabarets at the time. The dancer is lost to time. Hername suggests the color changes of a chamaeleon andalso evokes the theme of the Dumas story made into aplay La Dame aux Camélias (1852).

Rare. Only location is at Musée Carnavalet. Affiche#FF1774

$1,200

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Alophe, Menue . Marie Taglioni. . Taglioni, Marie

[Lithograph] . Gallerie de la Presse, / de la

Litterature & les Beaux Arts. / [ M.Alophe] / Marie

Taglioni. / 23 Chez Aubert gal Vero-dodat. - Imp

Aubert et Cie."1838 Lithographic portrait on wove

paper. 6 ½" 8 ½" (Plate mark). Window mat ( 11 ½"

14"). Trimmed at top edge with loss of Gallerie de

la Presse, / de la Litterature & les Beaux Arts. Ref:

Binney, Edwin Longing for the ideal: Images of

Marie Taglioni in the Romantic Ballet. 1984 #69;

Beraldi, Hentri. Les Graveurs du XIXe Siecle.

Jacques Laget, 1981, I. Menuet Alophe. I.p46.

$350

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Golden Legend, Inc. 310-385-1903 • [email protected]

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Amigioni, Carlotta (artist). Celebre Auretti, La . Verylarge engraving, printed on two sheets of laid paper. 12"x 18 3/8" plus wide margins. Untrimmed. Somedarkening to margins from mat, and faint staining toupper right margin. Slight soiling. Tape on top margin,verso. A lovely impression.

Anonymous engraving (English? French? Ca. 1750)probably after a lost painting by Carlotta Amigoni withthe face probably taken from a medal of Joanna Auretti.The subject of the print is either Anne or JannetonAuretti.

The Aurettis--Anne and Janneton (probably sisters) --were important dancers in England in the mid-1740s-1750s. Originally from Provence, they came to Londonwhere Anne created a sensation. Many dances are namedafter Anne, although some of them may have beencreated by and for Janneton.* As one source relates,“Both the Aurettis were capable in the then-currentschool of Mlle Camargo, but they appeared very oftenalso in character dances and in national dances of severalcountries.: (Highfill and Burnim, 176).

The Aurettis were influential in their own time. Anumber of melodiesin period collections are associatedwith Anne, including "Auretti's Dance" (Walsh'sCompleat Country Dancing Master, Fourth Book, ca.1747; Wright's Compleat Collection of CelebratedCountry Dances, Vol. 2, ca. 1742), "Auretti's DutchSkipper" (Walsh's Compleat Country Dancing Master,Fourth Book, ca. 1747; Wright's Compleat Collection ofCelebrated Country Dances, Vol. 2, ca. 1742; Walsh'sCaledonian Country Dances, 4th ed., 1744; and,Thompson's Collection of 200 Favourite Country Dances,vol. 1, ca. 1780-90), and "Auretti's Maggot" (Walsh'sCompleat

$3,000www.goldenlegend.com/pdfs/auretti_print.pdf

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(ballets russes) Diaghilev. The SleepingPrincess. Souvenir [program].

Diaghilev. The Sleeping Princess. Souvenir

[program]. Alhambra Theater. (London: Diaghlev)

1921. Quarto. 9 ½” x 12". 28p, plus covers in gold

and silver, dust soiled, with original silk ties. The

deluxe program for the first performance of Sleeping

Princess/la belle au bois dormant. Ballet in five

scenes, music by P. Tchaikovsky, with prelude and

Aurora’s Variation in scene II by Igor Stravinsky.

Choreography by Marius Petipa.

With page borders red and green. Story of the ballet

and of “Tchaikovsky at the Rusian Ballet” by Leon

Bakst. Color reproduction of the characters and

their costumes and double page centerfold of the

sets for the castel [sic] in the forest. Cast list for

each of the five scenes. Ads.

$500

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Bonnart, Robert (1652-17..). La Bohémiene.[Engraving] Chez N. Bonnart, rue S.t Jacques, à l'Aigle,avec Privilége du Roy, 1680 but reproduction based onthe original, 19th century, with hand-coloring. 9” x 12”matted .Ref: Hennin, 5131[Recueil. Collection MichelHennin. Estampes relatives à l'Histoire de France. Tome58, Pièces 5085-5180, période : 1680]

$200

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Brun, Franz Isaac. . Euterpe (Engraving).

. Brun, Franz Isaac (printmaker;

goldsmith/metalworker; German; Male; c.1535 -

c.1610/20).

Euterpe [Engraving on laid paper, last half of 16th

century. Strasbourg]. Bibliography See Bartsch IX

443-472 (as Maître FB); Hollstein 26.

Whole-length, winged female figure in profile to

left, wearing antique costume and playing a harp.

Image of the muse of music and lyric poetry.

Trimmed to platemark (uneven along right margin).

Height: 72 millimetres; Width: 50 millimetres. Fine

impression. Signed in the plate with monogram

‘FB’ and inscribed 'EUTERPE' along the upper

edge.

From a series of 9 engravings of the muses.

Franz Brun (b. Pressburg? Possibly trained in

Nuremburg. active 1559 - 1596) He was a

draughtsman, goldsmith and engraver from

Strasbourg. He engraved several series in the

manner of the Nuremberg "Kleinmeister".

Provenance: Friedrich August of Saxony (lugt 971);

two other: Hugo Ahne and a Dr K. O neither in

Lugt.

$1,250http://www.goldenlegend.com/pdfs/euterpe.pdf

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Camargo, Marie-Anne de Cupis, de (1710-1770). LaCamargo. D’aprés un portrait á l’huile, du Cabinet dul’Editeur. Paris: (n.d, ca 1825). Etching, hand-colored. 9"x 12 ½" mounted on board. Browned at edges.

A copy reproduced in the digital collection at the NYPLhas colors as ours: http://digitalcollections.nypl.org/items/441d82b0-23c0-0131-d0de-58d385a7b928#

A copy, however, in the V&A Museum has differentcoloring:

http://collections.vam.ac.uk/item/O102905/la-camargo-1760-print-lante-louis-marie/

The V&A catalogue record notes: “ Camargo wearsfashionable high-heeled shoes, so her feet were not asflexible as later dancers' who, at the end of the 18thcentury, adopted the new fashion for heelless slippersthat developed into today's ballet shoes.

The engraver Georges-Jacques Gatine (born 1773) isconsidered one of the 19th century masters of fashionplate etchings. He was closely associated with L'abbe dela Mesangere who was director of Journal des Dames.Gatine was the engraver for the important portfolio LeBon Genre (1817) which satirized Parisian social life andproved to be a inspiration for the art of Daumier;. He alsodid the landmark Incroyables et Merveilleuses , 1817.with Horace Vernet. Gatine did several other worksbased on drawings by Lante. Beraldi devotes a dozenpages to his oeuvre. The genre painter Louis-Marie Lante(born 1789) did watercolors for several collections ofcostume published by Journal des Modes after 1817, buthe is best known for Galerie des femmes celebresfrancaises.

$150

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Celeste. Céleste as the Maid ofCashmere [Print] . [London: Hodgson

and Graves, November, 1837]. After a paintingby E.T. Parris; Lithographed by A. Dick.

Octagonal 8 x 15" (plate size), 8 1/2 x 171/2" (sheet size). Original lithograph on paper.Mounted on stiff paper, trimmed to 1/4" of leftmargin, lacking publisher's logo at bottom.Beautifully framed 17 1/2” x 23”.

Madame Céleste (Anastasie Céleste desRousselles; 1810-1882). According to NancyReynolds, Celeste's "great popularity restedmainly on her eloquent performances inmelodrama, in which she was particularly notedfor her command of gesture."

References: Binney, English, no. 13; Reynolds,Nancy. “Madame Celeste,” Oxford, vol. 2.

$1,500http://www.goldenlegend.com/pdfs/celeste.pdf

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Cerrito, Fanny. (Mad'lle Fanny Cerrito, of HerMajesty's Theatre)Fanny Cerrito at Her Majesty’sTheatre. In her costume for La Cachucha which shefirst danced in Vienna in 1841. London: John Mitchell,publisher to Her Majesty, 33 Old Bond March 1, 1844.(Plate size: 30.5 x 22.9cm. 9 5/8" x 12 1/2"). Trimmedto half-inch margins all around, with loss of publisher'slegend at bottom margin. Window mounted.

A rare mezzotint, richly printed in blacks (mostRomantic ballet prints were lithographs).

Francesca "Fanny" Cerrito (11 May 1817 – 6 May 1909)was an Italian ballet dancer and choreographer. Noted forthe brilliance, strength, and vivacity of her dancing, shewas also one of the few women in the 19th century to berecognized for her talent as a choreographer.

$850www.goldenlegend.com/pdfs/cerrito.pdf

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Craig, Edward Gordon. Ellen Terry and her SecretSelf. London: Sampson Low, Marston & co. (1931)Fletcher & Rood A34c. 8vo. Original cloth, insert in backpocket, as issued. Fine with very slight fading to spine.Inscribed by Craig in 1931 to his friend HagenFalkenfleth.

$150

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Desmarets de Saint-Sorlin (Jean). . L'Ariane deMonsieur Des Marest. A Paris, chez MatthieuGuillemot, 1643. Second illustrated edition. Quarto.modern vellum . . The first edition was published 1632,octavo with one illustration (Brunet II, 633; TchemerzineII, 817).

The eighteen engravings that illustrate the work are inremarkable condition with deep contrasts and fine detail.

As H. Gaston Hall notes,”the two printings of this, thesecond, edition are important...The lavish illustrations ofthe quarto Ariane must have enhanced the status of thenovel altogether.”

The illustration on p.182 (frontis to Chapter V andpictured here) provides the first illustration in print ofa parachute, according to the British ParachuteAssociation.

$3,500http://www.goldenlegend.com/pdfs/ariane.pdf

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Duclose, Marie-Anne de Chateauneuf (1668-1748).Duclose in the role of Ariane,. Engraving on Paper.(Paris) 1714. Engraved by Louis Desplaces (1632-1739).After a painting by Nicolas de Largilliere (ca. 1656-1746) [cf: Benizet III, 217]. Large folio (20" x 15"), withgood margins. A fine impression with rich contrasts inshading, and excellent detail indicating this is an earlyimpression before the engraving plate had been worn.Framed.

Mari-Anne de Chateauneuf Duclose (1668-1748). Frenchactress who was accepted by the Comédie Française in1693, where she acted in tragic roles, later replacing MlleChampmesle and sharing feminine leads with MlleDesmares. Her strength lay in declamation, and she wasadmired in the roles of Molière. Her great talent waseclipsed by her volatile temper and by the changingstyles of acting best exemplified by that of AdrienneLecouvrer, her young rival.

Duclos in the role of Ariane is one of the grand portraitsof the French baroque theatre and one of the treasures ofLe Musée de la Comédie Française (Dacier, 20)

$2,500http://www.goldenlegend.com/pdfs/duclos.pdf

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Duvernay, Pauline (ballerina). Two great prints from

the Romantic Ballet. 1. Pauline Duvernay asFlorinda in “The Devil on Two Sticks”London: J. Mitchell, March 16th,1837/Lithograph after a portrait by A.E.Chalon

1. Fanny Duvernay in her cachuchacostume [London: T. Mclean, February14th, 1837].Lithograph after a drawing by J.F. Lewis.

Pauline Duvernary, (b. Paris, 1813; d. Lyndford,

England, 1894) studied at the ballet school of the

Paris Opera and was the prize student of Auguste

Vestris. By all reports she was a great beauty who at

the time rivaled Marie Taglioni. Duvernay's greatest

role was Florinda in The Devil on Two Sticks in

which she triumphed at Drury Lane, in London in

1836.

William Makepeace Thackeray, who could write

biting criticism of Marie Taglioni, rhapsodized

over Duvernay, whom he called ‘a vision of

loveliness, such as mortal eyes can't see nowadays...

There has never been anything like it–never."

$1,500www.goldenlegend.com/pdfs/duver2.pdf

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Duvernay, Pauline. . Nayade in the ballet LaBelle au Bois Dormant. Lithograph on heavy

paper. London? After 1833. Beaumont & Sitwell 41.

After a drawing by Edward P. Novello. Originally

printed : London: S.W. Fores, 1833.

The print depicts Duvernay en pointe in 4th position,

turned left with arms crossed over her chest, wearing

a layered gossamer dress decorated with leaf motifs,

a garland of leaves in her hair. Image size: 9 3/4" X

12 ½" . Sheet size 14" x 18". Delicately hand

colored in silver, blues, grays, flesh colors. Framed

under a velvet arch. Slightly worn and soiled; small

stain to lower edge; paper browned under mat and

slightly foxed and creased; remnants of mounting

tape to verso of mount.Faint pencil notes at bottom

of image.

One of the contemporary reprints of this lithograph.

Duvernay's solo was so successful that surviving

prints of her in this ballet show her as the Naiad, not

as the Princess. She became a great favorite with

London audiences.

Pauline Duvernay or Yolande Marie-Louise

Duvernay or Yolande Marie Louise de Varnay

(December 1812 – 2 September 1894) . French

ballerina. Her beauty and dancing skills captivated

audiences in Paris and London, and she enjoyed

tremendous popularity. She retired in 1837, at the

height of her career.

$750

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François l’Hermite (c. 1601 – September 7, 1655).

Pantheé, Tragedie de Monsieur de Trista.

Paris: Augustin Courbe, 1639. Priv 23 Feburary 1638; Achevé10 May 1639. Tragedy in five acts, verse. Tchemerzine X.P.417 for original 4to edition with same dates as this the 12moedition. 12mo. 19th century vellum.Based on Xeonophon’stouching tale in the Cyropadeia books V-II, Tristan’s versionfinds Queen Pantheé of Susa (Assyria) captured by Cyrus Kingof Persia. Her poise and her beauty cause her to be discoveredand spared. The play was popular enough to be mentioned asone of the 41 plays in Poisson’s Baron de la Crasse and in thepreface to Corneille’s Sophonsibe. It was reprinted three timesafter the author’s death. Durval published a Panthée at aboutthe same time (Paris: Courbé, 1639). His was also based onXeonphon’s Cyropaedia. This subject had also been treated byAlexandre Hardy.

$1,250http://www.goldenlegend.com/pdfs/panthee.pdf

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Genest, Charles-Claude de (1639-1719.

Zélonide princesse de Sparte,tragédie. Genest, Charles-Claude de (1639

-1719). Zélonide princesse de Sparte, tragédie.

Paris: Claude Barbin, 1682. Original edition of

Genest’s rare first play. Barbier 19559; Herissant,

Catalogue des livres de la bibliotheque de feue

madame la Marquise de Pompadourean (1765)

1045; Lancaster IV 212-214; Soleinne 1488.

Five-act tragedy in verse. Preface in prose. The play

was successful on the stage, although critics found it

to lack both action and to have an excessive number

of récits, faults to which Genest himself confessed.

Nevertheless, it was acted almost 20 times at the

Comédie Française, and was also given at Saint-

Germain at Versailles and in November of 1682 at

Fontainbleau. It remained in the Comedie Français’

repertory until 1705, with 45 as the total number of

performances there.

Because of his early dramatic work, Genest was

considered a potentially major playwright whose

later plays were even more well received than

Zélonide After a brief career on the Paris stage,

Genest instead became a fixture in planning and

writing the theatrical entertainments for the Duchess

of Maine at her private estate at Sceaux (about

which see full description at the link below)

$1,500http://goldenlegend.com/pdfs/genest.pdf

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Gilbert, Gabriel . Rodogune: tragi-comédie.

Paris: Chez Antoine Sommaville, 1646. Original

edition: issued simultaneously by A. de Sommaville,

A. Courbé, and T. Quinet. (The name on the title-

page is Rodogune, but elsewhere the character

appears as Rhodogune. Quarto. Bound in

contemporary mottled calf, spine with raised bands

lettered in gilt, with ornaments.Tragic comedy in 5

actd, verse.

A warrior queen of 17th century Frenchdrama

As is well-known, Pierre Corneille wrote a play

Rodogune: Princesse des Parthes, Tragedie (Paris:

Quinet, or Sommaville or Courbé, 1647). The

resemblances between Gilbert’s tragi-comedy and

Corneille’s tragedy is “too striking to be ignored.”

The framework of the two plays is the same; many

details are “identical” and only the dénouement is

different. In Corneille, the play rushes on to a tragic

conclusion. In Gilbert’s, “a pacific influence turn the

course of the tragic action, and the happy end

follows. In contradiction to her Amazonian

character, she pleads the weakness of her sex”

(Pellet, 62-3).

The dissimilar dénoument of Gilbert’s piece need

not be considered a blunder, but rather an intentional

device.

$2,500http://www.goldenlegend.com/pdfs/gilbert.pdf

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Horton, Priscilla [also known as Priscilla Reed]. Miss P.Horton as April [Souvenir print]. Lithograph by G.E.Madeley. London: G. Madeley, [ca. 1835]. Octagonallithograph on paper, nicely hand colored. 7 1/2 x 9 1/2",window mounted on matboard. Slight soiling, 1 1/2"closed tear on bottom margin, repaired. This printpictures Horton in the musical opera at the Strand in 1834called The Twelve Months probably after the text ofGilbert Abbott a Beckett (1811-1856).

Priscilla Horton, later Priscilla German Reed (2 January1818 – 18 March 1895), was a popular English singerand actress, known for her role as Ariel in W. C.Macready's production of The Tempest in 1838 and"fairy" burlesques at Covent Garden Theatre. Later, shewas known, along with her husband, Thomas GermanReed, for creating the family-friendly German ReedEntertainments. There, she was a mentor to W. S. Gilbert,and her performances inspired Gilbert to create some ofhis famous contralto roles.

$750

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Lancret, Nicolas, 1690-1743. . Marie Sallé. Se

vende a Paris chez l'auteur d'entre du quai de la

Féraille ala croix de Perles et chez Sr. De

Laramessin rüe de Platre a la 4e porte cochena

adroit par la rüe St. Jacques et ches la Ve de F.

Chereau rüe St. Jacques au deux pilliers d'or a

Veu Privilege du Roy. 1732. Bocher.#71. Height

17 ½" ie 1' 5 ½ 444.5m; Length 22" ie 17 ½

558mm. Framed. Sallé to front, feet in fourth

position, arms à la seconde, elaborate ankle-length

gown. Background left, trio of women dancing.

Background right, four boys playing woodwind

instruments in front of the Temple of Diana, heavy

foliage. Engraved by L'Armessin, Nicolas de, 1684

-1753.

Marie Sallé, one of the most prominent dancers of

her time, was a daughter of a tumbler. She became

a student of Françoise Prevost at the Academie

Royale in Paris. In 1725, the English theatre

manager John Rich took her to London where she

appeared to great popularity. In fact, Sallé’s

greatest success was in London because of the

stagnant rules of classical ballet at the Paris Opera

that prevented innovation “The particular beauty of

Sallé’s dancing lay in extraordinary grace,

expressive gesture and vivid pantomime.” (Moore

30). Her great popularity led her to be compared

to Marie Camargo. As a result, Lancret created a

painting of Sallé that was very similar to that he

had made of Camargo.* $3,000http://www.goldenlegend.com/pdfs/salle.pdf

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Laroon, Marcellus the younger. Lady Granny in her

supposed grandure . [etching on paper].(London:) Printed for CaringtonBowles Map & printseller inSt’Pauls Church yrd_London (ca.1770). Original edition, later stateEngraved by T.S. after M. Laroon.Etching on laid paper, with fleur delys watermark. Size 7 ½" x 111/8" (284 x 189mm) with threadmargin. Bottom margin trimmed.Slight soiling.

A raggedly dressed, cross-eyed oldwoman stands in front of St.James's Palace. Eight lines ofverse above the image describe her“supposed grandure”; anothereights line below describe her“native poverty.” The versessuggests she was once a fine lady;now, she is a deformed streetbeggar.

Catalogue of engraved Britishportraits preserved in theDepartment of prints and drawingsin the British museum, v. 2, p. 369Laroon, Marcellus, 1653-1702,

$1,000http://www.goldenlegend.com/pdfs/granny.pdf

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Le Moyne, Pierre (1602-1671). Gallerie desfemmes fortes, La. A Paris, chez Antoine de

Sommaville, au Palais en la salle des Merciers, à

l'Escu de France. M. DC. XLVII. Avec privilege du

Roy. Original edition. Picot, E. Bibliographie

Cornélienne,; 50; Tchemerzine; v. II, p. 558; BM

STC French, 1601-1700; C-1521

Folio (9 1/2 x 13 3/8”). 19th-century patterned

boards, calf spine, with raised band, decorated in

gilt. Text with 21 etchings worked with engravings.

The etchings are fresh without any sign of the wear

that would affect images in the later editions. .

La Galleries des Femmes Fortes (Paris, 1647) is

the most significant example of the numerous

galleries of women published during the first half of

the 17th century. It presents a strong argument that

femmes fortes (i.e. women who are strong, valiant,

courageous, or fearless) could become heads of

state. With this book, La Moyne contributed to the

long running querelle des femmes concerning the

abilities and status of women versus men, suggesting

that the femme sauvante and the femme forte thus

were interwoven.

La Gallerie des Femmes Fortes, in its twenty

sections, pictures and discusses twenty women from

history who exemplify leadership qualities of both

mind and body, including those qualities of the

warrior. Le Moyne created a compendium of

heroines from four epochs: early Jewish, barbarian

(i.e. non-Greeks), Roman, and Christian figures.

Each heroine is pictured in a large engraving$2,500

www.goldenlegend.com/pdfs/gallerie.pdfFull Description:

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Lind, Jenny (1820-1887). Autograph note, 19 January

1849. To an unidentified recipient concerning the

end of her operatic career: "Fraulein Lind

bedauert sehr dass sie keine weitere Engagements

fur die nachste Zeit annehmen kann."

Translation: ["Ms Lind regrets very much that

further commitments for the next year cannot be

accepted."]

At age 28, Lind was at the height of her career,

having made her triumphal debut in Vienna, in

1846, and the following year in London, in the

presence of Queen Victoria. But Lind was a

deeply religious woman who became convinced

that operatic performances required her to act in

a secular if not a sexual manner. In 1849, she

decided to give up operatic roles permanently.

That is the context of this letter.

$850www.goldenlegend.com/pdfs/Lind.pdf

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Lopokova, Lydia Vasilievna. [Two photographs] asColumbine in Le Carnival. Wearing white lace dresswith cherry designs, hair in curls. Matthew Arbuthnot(London, ca. 1915), each photo stamped, 43 & 44 NewBond Street stamps. 1. Half length, looking right, righthand raised, thumb and third fingers extended. Size 5 1/2x 8". 2. Silverprint. Full length portrait, looking right,hands extended, right foot extended. Size 5 1/2 x 7 7/8".

$800http://www.abaa.org/books/319524330.html

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Metastasio, Pietro. Partenope. Festa teatrale . da

rappresentarsi in musica nell imperial regio teatro

festeggiandosi i felicissimi sponsali di Ferdinando II.

di Borbone re delle Due Sicilie e di Maria Giuseppa

d'Austria, l'anno MDCCLXVII (Vienna: Nella

stamperia di Ghelen, 1767). Sartori 17845 (42pp.);

Sonneck 851; Schtz 4551.

First edition of the Ghelen libretto, with hisbeautiful typefaces, ornaments andillustrations.

Festival drama in two scenes with chorus at the end.

Music by Johann Adolf Hasse, libretto by Pietro

Metastasio. This drama was composed at the

command of Empress Maria Theresa for the

marriage of Ferdinand I (1751-1825), king of Two

Siciles, to Archduchess Maria Josepha of Austria.

The drama was at Vienna’s Burgtheater on

September 9, 1767. Mozart was in attendance. It had

been presented at court the evening before.

Like the few other Ghelen publications of the decade

devoted to festival performance, Partenope is an

elegant production with its many fine engravings

and ornaments suggestive of the characters at the

beginning of each scene. Ghelen was the court

printer for the Holy Roman Empire during this era.

There are a total of eight engravings (two full-page)

by J.C. von Reinsperger after J. Biderman.

$2,000http://goldenlegend.com/pdfs/patenope.pdf

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Nilson, Johann Esaias . Catharina Helena Stöber.

(German midget, model, 1721-1788). Augsburg,

ca.1775 (Schuster 374).

Etching with engraved text on laid paper; 230 x 166

mm (9 c x 6 ½ inches). A fine impression.

This is a rare souvenir portrait of Catharina Helena ,

a little person who was only two foot four inches

(ca. 70 cm) in height. She is shown posing jauntily

on a tabletop wearing a dress with a low neckline,

and an open over- skirt with lace and ribbons, and a

decorative hat.

Catharina Helena Stöber was exhibited, by herparents, in fairs all over Germany from herteens well into middle age with her fatherJohann who managed the exhibition. Herexhibition is said to have been very popular andto have made a great deal of money. (Katritzkyp.119 quoting Rudin, Lebenselixier, 72, 77,137.164).

Stöber was known for her perfect proportionsand for her elegant dress (as pictured here).The Artist Johann Esaias Nilson was animportant portrait artist, miniaturist andengraver and editor from Augsburg. He trainedunder Johann Thomas Kraus (1696-1775) inthe fundamentals of architecture

$3,500http://www.goldenlegend.com/pdfs/Stober.pdf

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(Orlik, Emil). Tilla Durieux spielen und traumen mitfunf radierungen und einer lithographie von EmilOrlik. Berlin: Galerie Flechtheim, 1922. No. 66 of

125 copies signed by Tilla Durieux and Emil Orlik.

Sm folio, vellum backed-boards, slightly rubbed.

With five original etchings and one lithograph, each

signed by Orlik.

Durieux trained in Vienna, her native town, and got

her first engagement in Bresla in 1902. Later she

worked with Max Reinhardt and Erwin Piscator in

Berlin. In 1912 she played Circe in Calderon’s

comedy of the same name. In 1913 she played Frank

Wedekind's Lulu in Munich.

Tilla Durieux was the first to perform OscarWilde's Salome on the stage and also thefirst Eliza Doolittle in Shaw's Pygmalion. In1914 she made her film debut in the silentmovie.

The artist Emil Orlik (b Prague, 21 July 1870; dBerlin, 28 Sept 1932) was a German printmakerand painter of Czech origin. Most notable in hisart career were two periods in Berlin.Immediately after arriving in Berlin in 1905 heformed a close connection with the theatredirector Max Reinhardt (1873-1943). Orlikworked on a series of set and costume designsfor productions at Reinhardts "German Theatre"where he had occasion to sketch playwrights,including Gerhardt Hauptmann, MaxmilianHarden, Luigi Pirandello, Frank Wedekind andOskar Kokoschka. He also often drew sketchesof the outstanding actors in Reinhardts group:Paul Wegener, Werner Krauss, Max $2,500

http://www.goldenlegend.com/pdfs/durieux.pdfFull Description:

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(Petronius Arbiter) Boindin, Nicolas (1676-1751); LaMotte, M. de (1672-1731); (Antoine Houdar). Lamatrone d'Ephese: comedie par Mr B*** A. A Paris:Chez Pierre Ribou, proche les Augustins, a la descente duPontneuf, a l'Image S. Louis, 1702. Original edition..Cioranescu, A. 18. s; 36563. Permis. Sep. 30, 1702. 12moDisbound. 46pp. Lacking last leaf (ads? Blank?) Note(s):"Avec permission." By Antoine Houdar de La Motte with thecollaboration of Nicolas Boindin. First performed Theatre de larue des Fosses Saint-Germain, Paris, France , September 23rd,1702. One act in seventeen scenes in prose.

Taken from Petronius Arbiters Satryicon.

Antoine Houdar 1672-1731 was a talented poet, playwright,critic and literary theorist who suffered from paralysis andpartial blindness most of his life.. Although he condemnedslavish adherence to the unities and the dramatic conventionsestablish by Corneille and Racine, his own dramas abandonedhis revolutionary opinions and conformed to the conventions ofthe day. Houdar was author of almost 40 plays and ballets.

Reference: Brenner, 1947, # 7820; Solenine 1587; MaupointM.200; Green, Joseph Hollingsworth. Menander to Marivaux:The History of a Comic Structure (1977) Locations: OCLC:CTY UAB

$1,000

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Shanh, Ben. (Artist. 1899-1969). Martha Graham

[poster]. Poster of Martha Graham (1963). Single

sheet, photo-lithograph printed in green, grey and

black. 21" x 30 3/4", nicely framed. For a 1963

exhibition of photographs of Martha Graham and her

company at the USIS Gallery, American Embassy,

London. The poster has letterpress at bottom noting

that Graham and her company will appear at the

Edinburgh Festival August 26-31, 1963.

This copy inscribed by Graham “With bestwishes from a dancer to dancers/ MarthaGraham” (Signature faded but readable).

The artist: Benjamin Shahn September 12, 1898

Kaunas, Russian Empire (present-day Lithuania)

Died March 14, 1969 (aged 70) New York City,

New York, Ben Shahn’s social-realist vision

informed his approach to art. Shahn’s examination

of the status quo inspired his creative process.

Although he often explored polemic themes of

modern urban life, organized labor, immigration and

injustice, he did so while maintaining a

compassionate tone. Shahn identified himself as a

communicative artist. He challenged the esoteric

pretensions of art, which he believed disconnect

artists and their work from the public.[ As an

alternative, he proposed an intimate and mutually

beneficial relationship between artist and audience.

Most copies of this rare poster were printed for the

American market without letterpress announcement

of the USIS show.

$800

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Shawn, Ted. Ruth St. Denis: Pioneer and Prophet.Being a History of Her Cycle of Oriental Dances. SanFrancisco: Howell, 1920. Copy 194 of 350 numberedcopies signed by both Shawn and St. Denis. Twovolumes. Folio (13" x 10"). Volume of text and volumeof 64 photo plates, each tipped to heavy paper andcaptioned. Original batik boards and cloth spines. Nameand small stamp on flyleaf, very slight wear, else fine.

Pioneer and Prophet is the best work ever done on RuthSt. Denis. The lengthy text, which is by her long-timepartner Ted Shawn, provides an excellent history of herdance career and the development of various styles. Thephotographic plates collect every available image of St.Denis in performance and include those by Genthe andBaron de Meyer. Many of these photos have never beenreproduced. This work is beautifully printed by JohnHenry Nash in the style of William Morris' KelmscottPress.

$2,000

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Sutherland, Joan. Designs for a Prima Donna. NewSouth Wales, Australia: Craftsman Press, 1985. Limitededition of 500 copies signed by Sutherland and herhusband, Richard Bonynge. Large folio (12.5 x 15.5").197pp. Fully illustrated with 63 tipped-in color plates.Original cloth, decorative folding cloth box. Mint copy.

This work reproduces 63 of the original designs in fullcolor of the costumes Sutherland wore in her mostfamous roles, including Alcina, Norma, Lakme, andLucia di Lammermoor. The designers representedinclude Oliver Messel, Franco Zeffirelli, Jose Varona,and many others. The work also retells Sutherland’sanecdotes of her travels around the world and of herfamous performances.

$850

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Taglioni, Marie. Rare paper doll set with costumeand box

A rarity of the Romantic Ball.

[Paper doll with costumes]. TAGLIONI Paris:

Simon. [c. 1835]. With the original publisher's box

(7 3/4" x 10.5/8") . Mannequin of Maria Taglioni

and seven ballet costumes that can be modeled on

the mannequin. Fine condition, front and back .

The paper doll set consists of a mannequin of Marie

Taglioni (engraved and hand colored, 3" x 9 1/8"),

with seven ballet costumes (each engraved and hand

colored, back and front then glued together at the

edges; each approx 4x6") With four (of six)

headdresses. The costumes and headdresses could be

placed over the mannequin to dress the dancer in the

costume of her important roles in the mid-1830s.

The box is decorated with hand-colored oval

cartouche of interlocked wreaths, with the name

Taglioni in center. Each wreath contains the name of

the ballet illustrated by a costume: La Belle au Bois

Dormant, Nathalia, La Tentation, Guillaumme Tell,

La Sylphide, and Le Dieu et la Bayadere. One

wreath bears publisher's name Simon à Paris and one

Opéra for the Paris opera where Taglioni performed

these in leading roles.

$6,000http://www.goldenlegend.com/pdfs/taglioni.pdf

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Taglioni, Marie; Glover, Charles W. La Gitana (TheNew Cachoucha). Danced By Madlle. Taglioni, In theGrand Ballet la Gitana, At her Majesty's Theatre, theCourts of Paris & St. Petersburgh. Arranged for the PianoForte, By Charles W. Glover. New York: Hewitt &Jaques, 239 Broadway, (ca 1841). Lithographic coveronly. Slight wear and soiling. Currier's Lithographers, N.Y.; W.K. Hewitt; G.W. Quidor Engvr. Reference:Harvard/Longing #81. Chaffee/American #78 (1839).

$250

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Thebom, Blanche (1918- 2010). [Original silver print

photograph by Angus McBean]. Extremely large(20 x 15 3/4" [image]; 23 11/16 x 175/16" [mat]). NP 1950. Signed by McBean onmat. Image in perfect condition, mat with several

small closed tears to margin, lower right corner

chipped.

Blanche Thebom (1918- 2010).was the first

American female opera singer to perform in Russia.

With a beautiful mezzo soprano voice, and equally

beautiful hair that extended six feet in length, she

had a long and successful career as a soloist .

Thebom performed at the Metropolitan Opera House

in over 350 performances.

Photograph by Angus McBean (1950) who writes

"After a series of conventional poses, McBean

decided to photograph Thebom with her hair let

down, which reached the floor. McBean contrived

this pose, which required that the singer lie down on

a bed of sand. He tore a sheet of wrapping paper to

fit the contours of her hair in order to protect it from

the grit."

Reference: Wilson, Frederic Woodbridge, The

Theatrical World of Angus McBean, (2008).

$3,000http://www.goldenlegend.com/pdfs/Thebom.pdf

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Valéry, Paul. . Degas Danse Dessin. . Valéry,Paul. Degas Danse Dessin. Paris: AmbroiseVollard, 1936. Edition of 325 copies, this is#75. 10" x 13 ½”. Original wrappers,protective sleeve backed in vellum andlettered Paul Valery Degas. With 26aquatint-etchings in color, tone or blackengraved on copper by Maurice Potin, afteroriginal pastel or chalk drawings by Degas.

Degas Danse Dessin pictures ballet dancersin costume and in the nude, subject matterfor which Degas was famous. Published byAmbroise Vollard in a livre d’artiste thatbrings forth Degas’ original drawings andmonotypes in fidelity.* Vollard writes “I hadto find an artist capable of fathoming thesensitiveness of [Degas’] drawing, thesubtlety of his tone. I turned to the painter-graver Maurice Potin who accomplishedwonders. He spared neither time nortrouble.” Potin often “had to engrave asmany as three different copper plates tocapture the rich, feathery effect of Degas’smonotypes. Six years were required for theproject. “In his superbly engraved plates ofaquatint-etching Potin has preserved the richblack and pastel colors of the original.”(Johnson p27)

$7,500www.goldenlegend.com/pdfs/degas.pdf

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Wong, Anna May. Original photograph signed andinscribed (after 1938). Wong, Anna May (B. SanFrancisco 1905- D. San Francisco -1980). ChineseAmerican Movie Star. Original photograph signed andinscribed. (6 1/4 x 9 1/4". Slightly trimmed at margins)

Anna May Wong, starring as Lan Ving in"Dangerous to Know." (1938) . Wong wears ablack and white dinner gown with a large leaf motif.Edith Head, who designed the dress, adheres to a m

olded silhouette, long sleeves and high neckline.

During the 1930s, American studios were looking forfresh European talent. Ironically, Wong caught their eye,and she was offered a contract with Paramount Studios in1930. Enticed by the promise of lead roles and topbilling, she returned to the United States. The prestigeand training she had gained during her years in Europeled to a starring role on Broadway in On the Spot adrama that ran for 1.67 performances and which shewould later film as Dangerous to Know

Provenance: Mary M. Spaulding (stamp on reverse).Spaulding Nee María Melero, was a Cuban writerassigned to Hollywood where she prepared a weeklyfeature “Cronicas de Cinelandia.” Spaulding obtainedlengthy interviews with movie stars...She also securedpersonalized photographs which subsequently appearedin “Carteles.” [her newspaper] (Pérez, p.290)

Pérez,Louis A. On Becoming Cuban: Identity,Nationality, and Culture

2008.

$1,250

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Wright, Thomas. Womankind in all ages of WesternEurope from Earliest Times to the SeventeenthCentury. London: Groombridge & Sons, 1869. 4to (61/2 x 8 1/4"). Red morocco blocked in gold, by Sotheran,with Anglo Saxon design on both covers. Gilt edges.340pp. Fine copy. With decorative title page in color plus10 chromolithographed plates based on scenes frompaintings and tapestries. Illustrated throughout as well inblack and white. Tracing the history of Womankind inWestern Europe, the author describes the condition,character, and manners of women throughout variousrevolutions of Western society. Beautifully bound.

$250

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IndexA

Alophe, Menue, 4Amigioni, Carlotta, 5Autograph note, 19 January 1849, 22

bballets russes, 6Bonnart, Robert, 6Brun, Franz, 7

CCamargo, Marie, 8Catharina Helena Stöber. German midget, model, 1721-1788, 24Celebre Auretti, La, 5Celeste, 9Céleste as the Maid of Cashmere Print, 9Cerrito, Fanny, 10Craig, Edward, 10

DDegas Danse Dessin, 32Designs for a Prima Donna, 28Desmarets de, 11Duclose in the role of Ariane, 12Duclose, Marie, 12Duvernay, Pauline, 14, 13

EEllen Terry and her Secret Self, 10Euterpe Engraving, 7

FFrançois l’Hermite, 15

GGallerie des femmes fortes, La, 21Genest, Charles, 16Gilbert, Gabriel, 17

HHorton, Priscilla, 18

IImmense Succés La Caméléonnia, 4

L

Page 1Golden Legend, Inc. 310-385-1903 • [email protected]

L'Ariane de Monsieur Des Marest, 11La Bohémiene, 6La Camargo, 8La Gitana The New Cachoucha, 30La matrone d'Ephese: comedie par Mr B*** A, 26Lady Granny in her supposed grandure, 20Lancret, Nicolas, 19Laroon, Marcellus, 20Le Moyne, 21Lind, Jenny, 22Lopokova, Lydia, 22

MMad'lle Fanny Cerrito, of Her Majesty's TheatreFanny…, 10Marie Sallé. Se vende a Paris chez l'auteur d'entre…, 19Marie Taglioni, 4Martha Graham poster, 27Metastasio, Pietro, 23Miss P. Horton as April Souvenir print, 18

NNayade in the ballet La Belle au Bois…, 14Nilson, Johann, 24

OOriginal photograph signed and inscribed after 1938, 33Original silver print photograph by Angus McBean, 31Orlik, Emil, 25

PPantheé, Tragedie de Monsieur de Trista, 15Partenope. Festa teatrale, 23Petronius Arbiter, 26

RRare paper doll set with costume and box…, 29Rodogune: tragi-comédie, 17Ruth St. Denis: Pioneer and Prophet. Being a…, 28

SShanh, Ben, 27Shawn, Ted, 28Sutherland, Joan, 28

TTaglioni, Marie, 30, 29The Sleeping Princess. Souvenir program, 6


Thebom, Blanche, 31Tilla Durieux spielen und traumen mit funf radierungen…, 25Two great prints from the Romantic Ballet, 13Two photographs as Columbine in Le Carnival, 22

VValéry, Paul, 32

WWomankind in all ages of Western Europe from…, 34Wong, Anna, 33Wright, Thomas, 34

ZZélonide princesse de Sparte, tragédie, 16


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