Golden Legend

Rare Books & Fine Prints

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

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Rare and Fine. A selection of books and prints

The link is below. Inquiries invited. Golden Legend, Inc. 11740 San Vicente Blvd Suite 109 Los Angeles, CA 90049 310-385-1903 Since 1982 ABAA/ILAB

Ménestrier, Claude-François (1631-1705). La statue équestre de Louis-le-Grand placée dans le temple de la gloire; dessin du feu d'artifice élevé sur la rivière de Seine, par les ordres de MM. les prévôt des marchands et échevins de la ville de Paris, le jeudi 13 août 1699; avec l'explication des figures, médailles et bas-reliefs. Paris: Impr. de Ve Vaugon, 1699.

This is the printed program for the “highlight of the ceremony” of dedication of 13 August 1699 for the giant equestrian statue of Louis XIV installed on Place Louis-le-Grand (destroyed 1792). The idea for the fireworks celebration was invented by “Menestrier following current ideas certainly based on Bernini” (p34, & Figure 77. Glorious Horsemen).

Included are four extra items: 2 engravings and 2 plaquettes not issued with the program La statue équestre de Louis-le-Grand but published as part of the fireworks celebration on the Seine, of August 13, 1699.

My Life and Dancing

Allan, Maud (1873-1956). My Life and Dancing. London: Everett, [1908]. First edition . Maud Allan was at the beginning of both modern dance and modern striptease. Placed somewhere between Isadora Duncan and Little Egypt, she is now considered an important figure in 20thcentury women’s attempt at freedom of expression through dance in a way that was free from society’s restrictions. Provenance: Carmen Tórtola Valencia (1882-1955): Early Spanish modern dancer born in Seville in 1882. Her first public appearance was in 1908, in the Gaiety Theatre in London as part of the show “Havana.” Her talent and choreographies were more highly appreciated by the intellectuals than by the general public. Emilia Pardo Bazán said of her that she was the reincarnation of Salomé. She died in Barcelona in 1955.

French Opera between Lully and Rameau

[Sammelband]. 15 opera and ballet librettos. Paris: C. Ballard or Ribou, 1700-1714. Bound in one volume, quarto (7 ½” x 9 ½"), contemporary calf, rubbed. Spine gilt, leather label, faded & worn at ends. Very clean, well preserved librettos. This sammelband consists of 15 libretto for opera and ballet, all original editions, performed at l’Academie Royal de Musique from 1700 to 1714 In this sammelband, there are several librettos of high importance. Callirhoé (#6) has been called the “finest achievement of Destrouche’s maturity"; Alçione (#9) is reckoned by La Gorce to have “one of the most beautiful scores of the entire French operatic Repertory”; Le Triomphe des arts (#12) was a ballet so popular that its fourth entree now called Pygmalion is performed to this day; Les Festes de Thalie, (#15) is an opera ballet that was the first modernized work produced at the Royal Academie des Musique using contemporary idioms of speech and modern dress. See full description

[Poster] Cocteau, Jean. Ballets Russes de Diaghilew (1939)

Advertising poster for the 1939 major Ballets Russes exhibition at the Musee des Art Decoratifs, Paris.Sheet size 61” x 34”. The first Diaghilev exhbition, organized by Serge Lifar, ten years after the death of Diaghilev. For a history of the printing of this poster see our full description.

Mlle. Sallé. Se vende a Paris chez l’auteur d’entre du quai de la Feraille ala croix de Perles et chez le Sr. De Laramessin rüe de Platre a la 4e porte cochera adroite par la rüe St. Jacques et chez la Ve de F. Chereau rüe St. Jacques au deux pilliers d’or. Avec Privilege du Roy. Paris, Engraving with Etching. N. Lancret pinxit; N. Delarmessin sculpsit.. [1732

Important engraving of Marie Sallé. 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).

Rare Libretti for operas in Spain under Farinelli’s Directions

Farinelli, original name Carlo Broschi, (born Jan. 24, 1705, Andria, Kingdom of Naples [Italy]—died July 15, 1782, Bologna), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera. The importance of Farinelli’s role as “impresario” in bringing serious opera to Madrid is made clear from several sources: During the nearly 25 years Farinelli lived at the Spanish court, he produced a “long series of sumptuously staged Italian opera. Overall, the Farinelli productions in Madrid anticipated tendencies that surfaced only later elsewhere in Europe.” His departure from Madrid ended “what was surely the most brilliant chapter for Italian opera in eighteenth century Spain” (DelDonna and Polzonetti, 260). “In 1747, [Farinelli] was appointed artistic director of the theatres at Buen Retiro and Aranjuez marking the beginning of a decade of extraordinary productions and extravaganzas in which he collaborated extensively with Metastasio.” Here he produced 23 operas and serenatas between 1747 and 1756. After the death of his patron Ferdinand VI in 1759, he was asked to leave Spain (Macy, 151). We offer four original libretti for operas directed by Farinelli. The link is below. Inquiries invited

Rare Books, Prints, Letters Many about set designs

The link is below. Shipping is free within the U.S. Kindly inquire
310 385 1903

Giustino dramma per musica. 1724 Original Libretto to this opera for carnival in Rome by Antonio Vivaldi

Roma: Nella stamperia del Bernabò: Si vendono a Pasquino nella libraria di Pietro Leone, 1724. Sonneck, 568; Sartori 12373. Giustino is a major opera. It shows Vivaldi on the verge of modernizing his style while summing up the most individual achievements of his earlier years. The rare libretto contains stage directions and much that is not in the original score. With contemporary Roman binding with arms of Mattei family on each cover. Kindly inquire
310 385 1903

17th and 18th century theatre and dance

We offer a fine selection of rare material, including books, prints and drawings. The link is below. Kindly inquire
310 385 1903

Anna Pavlova in Le Réveil Flore.

Original drawing with watercolors of costume for Anna Pavlova in Le Réveil Flore. London, 1914 (10" x 14"), signed and dated “Albert R.” Sept 1914. Annotated. On thin paper, laid down, clean break across length of image, mended. .The English premiere of the Awakening of Flora (Le Réveil de Flore) was presented on October 12, 1914, with scenery and costumes by Albert Rutherson. Queen Alexandra was in a box in the circle. Pavlova danced for the first time with Alexandre Volinine. The arrangement was by Clustine. The performance was a success and raised funds for the Red Cross World War I relief. This drawing is reproduced in Rutherson’s limited edition Sixteen Designs for the Theatre. Oxford, 1928. Albert Rutherson was influential in bringing about the modern use of the painted curtain, which soon found its way onto the vaudeville stages, for which he did a number of productions. $2,000.00

Auric, Georges. La Pastorale. Partition d’Orchestre. (Paris, 1926).

Folio (35 x 27 cm; 10 1/2” x 13 7/8”). 398pp. (2 + 395 + 1). Bound in brown paper covers with black tape spine. . Copyist manuscript on paper. Stamped “Heugel & Cie” on front cover, marked in ink 2.G.5. ( Schmidt GA 49, pp 241-2). The manuscript is very carefully drawn in black ink on 32-line paper, bearing the ink stamp of the publisher Heugel. Conductors Performance Score for a Diaghilev Ballet Annotations on almost every page with different colored inks, also erasures and paste over, indicating use in different productions. Especially dense annotation can be found on pp. 122-3, 146-7, 158-9, 225, 238-9, 241, 280-1, 296-7, 356-7, 394-5 (see illus). Some annotations are taken from the author’s holograph manuscript (Schmidt, 241 and *1)