Golden Legend

Rare Books & Fine Prints

11740 San Vicente Blvd Suite 109 Los Angeles CA 90049 • 310-385-1903 •

Just Arrived!

Les Beautés de L’Opera ou Chefs-d'œuvre lyriques illustrés par les premiers artistes de Paris et de Londres sous la direction de Giraldon. Avec un texte explicatif rédigé par Thèophile Gautier, Jules Janin et Philarete Chasles. Paris, Soulié, 1845. First edition. In original monthly parts. Rare

A beautiful Victorian publication describing contemporary ballets and operas and picturing their stars. “The stories of ten famous operas and ballets with some account of their principal contemporary exponents.” Beaumont pp89-90. $2,500.00 Featured ballets and operas: 1. Giselle ou Les Wilis. Engraving of Carlotta Grisi as Giselle. 2. Le Barbier de Séville. Engraving of Fanny Persiani as Rosina. 3. Le Diable Boiteux. Engraving of Fanny Elssler in Florinde. With Avis tipped to flyleaf dated 1er September 1844, with publication information concerning issues #4&5. 4.&5. Double issue: Notice sur les Huguenots. Engraving of Julie Dorus-Gras as Marguerite. Engraving of Valentine Treillet-Nathan. With Histoire de l’Opéra par Philarète Chasles. 6. Notice sur Norma. Engraving of Giulia Grisi as Norma. 7. Ondine ou La Naïde. Engraving of Fanny Cerito in Ondine. 8. Notice sur Don Juan. Engraving of Henriette Sontag as Anna. 9. Notice sur La Sylphide. Engraving of Marie Taglioni as Sylphide. 10. Notice sur la Juive. Engraving of Cornélie Falcon as La Juive. With title page and table of contents.

New Acquisitions: Finely bound books, livres des artistes, rare prints

In business since 1977, member ABAA since 1983. Inquiries invited. Golden Legend, Inc 11740 San Vicente Blvd Suite 109 Los Angeles, CA 90049 310 721 3584

books and prints before 1700

A list is at the link below. Many rare plays; fine bindings; festival accounts

Fine Bindings: A short list

A list of 17-19th century bindings, as well as, 20th century decorative bindings for artist books, a rare 1840 almanack beautifully bound in black inlaid morocco and other material form our inventory Inquiries invited phone 310 721 3584

Ballet Russe de Diaghilev Rare limited signed editions

We offer a list of rare limited editions, mostly from 1912-1922 including those signed by Anna Pavlova and Thamar Karsavina. The link is below.

new acquisitions

We offer a list of rare books including early-modern plays, art books and bindings, and a probable 17th century lesbian novel by Mme de Scudery, The link is below. No charge shipping within the U.S., returnable/ Inquiries are invited Gordon Hollis Golden Legend, Inc 11740 San Vicente Blvd Suite 109 Los Angeles, CA 90049 310 721 3584

Finely bound books. A selection

17th to 20th centuries including livres des artistes. Inquires invited. returnable. libraries can be billed after the beginning of the new fiscal year. 310 721 3584 The link is below.

Les Pastorales, ou Daphnis et Chloë. By Longus Sophista. (Vollard, 1902)

Bonnard, Pierre. (1867-1947). Les Pastorales, ou Daphnis et Chloë. By Longus Sophista. Paris: Ambrose Vollard, 1902. Copy #114 of 200 regular copies on Van Gelder paper with watermark “Daphnis et Chloë”. Entire edition 250: 50 on special paper; 200 on Van Gelder as this. Translation by Messire J. Amyot. Edited by Paul-Louis Courier. Printed at L’Imprimerie Nationale at the presses of A. Clot. Folio 10 1/4" x 12". Bound by Jacques Anthoine-Legrain in a wonderful mosaic binding that hints of two figures within a pattern of undulating flames. Against a background of pale red there is an inlaid design of blues, greens, whites and golds. Edges gilt, morocco doublures. Protected by a chemise of morocco tipped boards with matching slipcase signed by J. Anthoine Legrain. Dated 1959. With 151 original half-page lithographs by Bonnard. These are “quick, unstudied sketches, which appeal above all through their freshness. The simple grace of the pastoral life which they depict supplies a fitting background for the developing passion between Daphnis and Chloe.” (#384 The Art of the French Illustrated Book 1700-1914 by Gordon N. Ray. Cornell and Pierpont Morgan Library, 1982).

Heures Royales dédiées à Madame la Dauphine contenant les Offices qui se disent à l'Église pendant l'Année en Latin et en François. Nouvelle edition. Paris: Guillaume de Hansy, 1770.

Bound by Louis-François Le Monnier 3 ½" x 5 1/4". 563pps with a frontis of the Dauphine at prayer and two other engravings within the text. Bound in contemporary red morocco with both covers decorated at the center with a mosaic of a pomegranate in green and brown. Each corner bears a small mosaic of a tulips in green and gold. The borders show a roll of a floral image with bees and dragonflies above. The spine has five raised bands with title “Heures de Cour” in gilt over green panel and floral motifs repeated in the spine panels. Ownership initials surround the central image of a pomegranate on the front cover. The letter “B.” in gilt is incised at bottom of the rear cover.Linen endpapers, bookplate of S. Antoine de P. Edges worn, a few minor scuffs; otherwise a rich and lustrous binding. This type of mosaic binding popular in mid-18th century France is variously attributed to l'atelier de Louis Douceur or to the Ateliere a la Tulipe or the Atelier aux Bouquets de Fleurs (See Michon pp51-51). The most persuasive research, however, shows that the binding is done by the Paris atelier of Louis-François Lemonnier (fl 1737-1776).

(Photograph and ephemera). Sarah Bernhardt in Fedora (ca. 1882) photograph by Nadar, related note, as well as, autograph card signed “Sarah”.

1. Rare, large albumen photograph of Bernhardt as Princess Fedora. 7 ½” x 11 15/16" mounted on 9 ½ x 12" on stiff sheet signed by Bernhardt. Photograph by “Nadar” (pseud of Gaspard-Félix Tournachon.)* 2. Holograph schedule of Bernhardt’s travels written on one sheet (5" x 7 3/4"). 13 lines in ink possibly by Jacques Damala** on Sarah Bernhardt stationery, folded. This traveling schedule dates from October 13 (1887) through 11 January (1888) with cities of Anvers through Vienna, to Budapest, Constantinople, Cairo and Alexandria. At bottom in pencil: “puis Italie, Russie, Scandinavie, Londres”. 3. Small business card of Sarah Bernhard (with black margins), undated to “Mon cherie Julie”. Note of about 20 words in tiny hand, signed “Sarah”

Bacchus, triomphe de l’amour et de la gloire, opéra en un acte pour le théâtre et pour le concert

Vallancier (j.). ... Se vend à Paris chez Mr. Vanheck, à Lyon, chez l’auteur, s.d. [ca. 1750. Original edition of this opera composed by an important Lyonnaise composer, Jean Vallancier [Vallencier] (vers 1698 -23 janvier 1771). Vallancier wrote several other works including music based on the early poetry of Jean Jacques Rousseau. "Bacchus, triomphe de l’amour" is a unique copy, seemingly the only one extant. It is missing from all opera catalogues. Wholly engraved and bound in a wonderful 18th century binding of green morocco with inlays of floral designs in red brown and yellow. . Inquiries invited

Degas Danse Dessin, 1936.

Valéry, Paul. Degas Danse Dessin. Paris: Ambroise Vollard, 1936. Edition of 325 copies, this is #75. 10" x 13 ½”. Original wrappers, protective sleeve backed in vellum and lettered Paul Valery Degas. With 26 aquatint-etchings in color, tone or black engraved on copper by Maurice Potin, after original pastel or chalk drawings by Degas. Degas Danse Dessin pictures ballet dancers in costume and in the nude, subject matter for which Degas was famous. Published by Ambroise Vollard in a livre d’artiste that brings forth Degas’ original drawings and monotypes in fidelity.* Vollard writes “I had to find an artist capable of fathoming the sensitiveness of [Degas’] drawing, the subtlety of his tone. I turned to the painter-graver Maurice Potin who accomplished wonders. He spared neither time nor trouble.” Potin often “had to engrave as many as three different copper plates to capture the rich, feathery effect of Degas’s monotypes. Six years were required for the project. “In his superbly engraved plates of aquatint-etching Potin has preserved the rich black and pastel colors of the original.”(Johnson p27)