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These two wonderful related items are handsomely matted together and framed under glass.
The great Polish concert pianist and composer, Ignace Jan Paderewski (1860-1941) was also the first Premier of the Polish Republic (1919).
Genthe, Arnold. Photographer. Born in Berlin in 1869, Genthe died in New Milford, CT on August 9, 1942. He studied classical philosophy, archeology, and philosophy at the Universities of Berlin and Jena, receiving a PhD in 1894. He studied at the Sorbonne in Paris from 1894 to 1895. A linguist, he was proficient in eight modern and ancient languages. Genthe moved to San Francisco in 1895 as a tutor and later opened his first photographic portrait studio. He had begun photographing as a hobby and became well known for a series of photographs showing life at the turn of the century in San Francisco's Chinatown, where old Chinese customs were still evident. To record the natural flow of life, he usually worked on the street with a concealed camera, capturing fleeting moments. He lost his equipment in the 1906 earthquake, but borrowing a camera, he compellingly documented the shattered buildings, devastating fire, and stunned survivors.
A member of San Francisco's Bohemian Club, a circle of artists and writers, Genthe had little difficulty moving amongst & photographing the artists & performers of New York when he moved to that City in 1911. His portraits, in the soft-focused romantic style popular at the time displays an insight and understanding of his subjects. Among his most famous works of that period are his much published photographs of Isadora Duncan and her troupe.
Genthe photographed hundreds of celebrities, not only from the dance and theatre world, but also financial & political personalities, including Presidents Theodore Roosevelt, William Howard Taft and Woodrow Wilson. Initially working with gelatin dry-plate negatives and film negatives in platinum and silver prints, he began using color in 1908 and produced many well-known monochromes.
(Ref.: Browne & Partnow: Macmillan Biographical Encyclopedia of Photographic Artists and Innovators; and Witkin & London: The Photograph Collector's Guide).
Anglin, Margaret. (1876-1958). Canadian-American Actress, accounted one of the finest of her day. Wife of author/playwright Henry Hull. Born in Parliament House, Ontario, Canada. Her father, Timothy Warren Anglin (1822-1896) a Canadian journalist and legislator was twice Speaker of Dominion House of Commons, while her brother Francis Alexander Anglin (1865-1933) was a Canadian Supreme Court judge. Raised in Canada, educated at the Convent of the Sacred Heart in Montreal, she left to become a pupil at the Empire Dramatic School in New York City, when Charles Frohman engaged her for her first professional appearance (1894) in the Civil War play Shenandoah. After a season with James O'Neill's company, she joined that of E.H. Sothern. Her first outstanding success was as Roxanne in Richard Mansfield's production of Cyrano do Begerac (1898). She was later leading lady of Frohman's stock company at the Empire, appearing in a variety of plays, including Mrs. Dane's Defence, Diplomacy, and The Importance of Being Earnest. Among her later successes were The Devil's Disciple and Camille, in which she appeared with Henry Miller. "In Chicago in 1903, she unearthed an obscure poet professor named William Vaughn Moody, who had written a play called The Sabine Woman. She and Henry Miller gave it a one-night tryout in Chicago. After the first act, she discovered she did not possess sole rights to the play. She called the author in and told him the contract would have to be re-written or she would not finish the play. This was accomplished and the play went on to its conclusion. It was wildly cheered by critics. The next season she brought it to New York under the title The Great Divide. It was one of the most spectacular successes of its day and she and Mr. Miller toured it for several seasons." A tall, big-boned woman, with serene, tragic features, and a rich voice, she was said to be at her best in statuesque roles where she could employ what Percy Hammond called her "roomy technique." For roles of sheer dramatic power she was unexcelled and in 1909 she gave he first classic production, Sophocles' Antigone in the Greek Theatre in Berkely, California. It was a tumultuous success. Thousands were turned away. Yet one of her great personal triumphs was as Joan in The Trial of Joan of Arc of which Alexander Woollcott said: "As the Maid, Miss Anglin plays with an eloquence and force she never surpassed. Working against her as she enters is all the deep prejudice in favor of a slim, frail, dauntless girl. Ten minutes after she enters, you surrender, and accept her as St. Joan. By some inner power she possesses an actual transmutation takes place." She went on to play Iphegenia in Tauris and Medea, Electra and Iphigenia in Aulis; and such Shakespearean parts as Viola, Rosalind and Cleopatra, all of which she played on tour.
Although usually cast in emotional roles, she played comedy occasionally. Among her most successful were Green Stockings, Billeted, and Caroline. In the latter part of her career her best known roles were Vivian Hunt in The Woman of Bronze (1927), Lady Fairfax in Diplomacy (1929), and Lady Mary Crabbe in Fresh Fields (1935). 'In 1927, in recognition of her achievements, she was awarded the Laetare Medal of Notre Dame Univesity.
Sadly, in her later years, describing a scene which brings to mind Gloria Swanson's role in Sunset Boulevard, a young author, Harding Lemay, recounts how, planning a "comeback to the Broadway she had left a decade earlier", Margaret Anglin hired him to work Pinero's Dandy Dick into a vehicle to bring her back to the stage. In 1958, Miss Anglin died in a nursing home just outside Toronto. She was 81. Very good .
Irish baritone Harry Plunket Greene made a notable contribution to British musical life not only through his concerts and recitals but also by writing and lecturing on his art, and in the field of competitions and examinations. He studied for two years at the Stuttgart Conservatory under Hromada, made his debut in "The Messiah" in 1888, and his operatic debut at Covent Garden in 1890. Thereafter he chose to make his career in recital. During the 1890s he became one of the foremost British interpreters of the German lieder, giving the first complete public performance of Schumann's "Dichterliebe" to be heard in London in 1895. He was much admired for his style, musicianship and intelligence. He created the title part in Hubert Parry's "Job" and was the original exponent or dedicatee of many of Parry's lyrical works. Charles Villiers Stanford wrote "Songs of the Sea" for him. He was a friend of Elgar and was the original baritone in the first performance of Elgar's "Dream of Gerontius" under Hans Richter in 1900.
This is a wonderful selection of the singer's correspondence, with many musical references. The letters, written in a somewhat difficult handwriting, are friendly, informal and at times teasingly affectionate. They are addressed to "Dear Griffin", and from the content it is clear that Griffin was a singer and Plunket Greene was his teacher or mentor: "I have just heard from Bowman [Paget Bowman of British National Opera Company] that a letter will arrive for you next Wednesday asking you to go down and play 'Pagliacci'..Let's run through it again before you go" [3/17/24]; "As soon as you have mastered time and can have a picture in your mind of the shape of phrases [you] will be able to go where you like and carry all before you.." [7/27/24]; "Don't forget that it is the word and not the note which pulls you out of your difficulties & that in the word it is the consonant & not the vowel which links up with the engine.." [7/27/24].
There are a number of references to other musicians. Plunket Greene writes of the British National Opera Company: "The B.N.O. wound up opening here. He [Bowman?] evicted Percy Pitt and got back Fred Austin & the change is little short of miraculous. The whole company shot up in style like a flower.." [7/27/24]. Conductor Percy Pitt left the BNOC in 1924 and became Principal Conductor at Covent Garden. There is a somewhat illegible reference here to Vaughan Williams' "Hugh the Drover" which was in the BNOC's repertoire and was first performed at His Majesty's Theatre on 7/14/24. In the same letter Plunket Greene writes of the death of cellist Victor Herbert, whom he would presumably have known from his time studying in Stuttgart: "Poor old Victor Herbert; I remember him so well. It is queer to look back on the time when he was principal cello in the Stuttgart orchestra in the '80s..". On October 27, 1927, he writes of the all-girl harmony singing trio formed in 1924 by Pearl [Hamilton] Santos, Violet Hamilton and Jessie Fordyce: "The Hamilton Sisters & Fordyce are just A1 as they are. I wouldn't interfere with them for anything. It's just perfect in its way. I do trust they leave things alone, not try to change."
Interestingly, in the 7/27/24 letter Plunket Greene makes a passing reference to proofreading his classic book on fly-fishing, "Where the Bright Waters Meet", which was published that year: "My fishing book will be out first week in September ". Taken together, these letters offer a delightful insight into the mind and personality of an important musical figure. Very good .
Dated August 10, 1978: "Finally here it is -- Sorry for the delay -- Dorle's [his wife's] and my mind were not with it for a while..If you do not get Opera News I thought you might like to see the very nice 'farewell'.."
Jean Dalrymple (1902-1998) was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Very good .
First edition. Very good .
A sumptuously illustrated book of portraits of musicians, with color borders and backgrounds. Many of the portraits are full-page, including those of Heifetz, Menuhin, Lotte Lehmann, Iturbi, Albert Spalding, Rose Bampton, Harold Bauer, Milstein, Piatigorsky, Szigeti, Segovia, Gigli, Robert Casadesus, Brailowsky and Toscha Seidel.
Limited edition of 1,000 numbered copies. Good .
The Italian-born conductor and composer Michael Costa (1808-1884) studied in Naples with his father at the Real Collegia di Musica and later with Niccolo Antonio Zingarelli. Although most of his works disappeared into obscurity, he composed a significant number of operas, symphonies and cantatas. After a visit to Birmingham, he settled in England. In 1830, working as a conductor at His Majesty's Theatre, Costa was able to influence many changes there and subsequently at Covent Garden. He was admired by Meyerbeer and Verdi. Having conducted several orchestras, he took on English citizenship and was subsequently knighted in 1869. Among those compositions which survived are his ballets "Kenilworth", "Une Heure a Naples", "Sir Huon" and "Alma". His operas "Malek Adhel" and "Don Carlos" were produced in Paris and London. Good .