List 13:    POPULAR
Sheet music
covergirls (1825–1948)

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CONTEXT.  "These developments further reflect the rise of Jacksonian democracy, with its emphasis on the new values of the Western frontier rather than the more traditional values cultivated in the eastern cities. Early music lithographs, with their imperfectly drawn musical text, but better prospects for music illustration, interested a public different from the one that purchased engraved music editions, now largely devoted to the fashionable repertoires of Italian opera and guitar songs... Lithographic sheet music virtually disappeared in the 1830s, perhaps because the engraved editions looked so much less amateurish. The process re-emerged, however, in the 1840s with the development of chromolithography for cover illustrations" (Krummel and Sadie).   SELECTION.  This Pop Culture list consists of 32 works of sheet music featuring women on their covers (1825–1948). From a print environment that hadn't yet been saturated by the flipping of magazines or the swiping of social media feeds: here is a sampling of covergirls, produced by engraving, lithography, and post-photographic practices; images and imaginations of women. The ordering is chronological, because the Cloud forgets in time.   TERMS. The following items are presumed to be preserved, at minimum, in VG+ condition; any flaws are noted and, on principle, do not impact the item's documentary value. "Disbound" refers to items that were earlier removed from the private bindings of collectors; these items have minimal surface wear to their left margins. Click on images to see full view of items. Purchases are guaranteed to be catalogued, shipped, and delivered to the collector's satisfaction. Returns are eligible within 10 days of receipt. Reciprocal terms are extended to the trade; institutional policies are accommodated. Prices are issued in USD; sold items will be marked as such regularly or at request. Shipping is charged at cost. Various forms of payment are accepted. Phone, text (416-729-7043), or email ( for acquisition inquiries; priority is given to first interest.  Subscribe to be added to our mailing list to receive advance copies of future lists.  NEXT. Our next catalogue ("On ephemera") will precede our exhibition at the Ephemera Society of America's Fair, March 16-18. It includes Tristan Tzara's final book contract, Claudio Costa's mobile museum of Ligurian peasant life, and an original videotape preserving fine-cuts of the :30 and :60 second versions of the infamous Apple 1984 Super Bowl commercial. Because the Cloud also remembers.
LOT 01
National airs, comprised in twelve numbers. Arranged for the piano forte...
London: Mayhew & Co., Music sellers to H. R. H. the Duchess of Kent, circa 1825.
60 USD

Illustrated cover (33 cm.), with elaborate engraving (unsigned). Followed by [5] pages of engraved music. With a cumulative title page for the 12-part series appearing to rear cover; this work being number 9, with manuscript correction to front cover (being otherwise printed as number 7).
Being the Royal Highness the Duchess of Kent, Victoria of Saxe-Coburg-Saalfeld (the mother of Queen Victoria), was equipped with an official music seller. At this undated point the firm commissioned with this duty was London's Mayhew & Co., here having printed a 12 part series of "national airs." The present work carries 11 such songs, numbered 95 through 105; three French and three English, with single songs being identified as Welsh, Venetian, Irish, Scotch, and Hungarian. The remarkable cover engraving of Empire is unfortunately unsigned; depicting four female figures around an Atlantic globe. With no OCLC copies discovered; not in Sheet Music Consortium database. The British Library holds other numbers from this series (2, 6, 7, 11, and 12); it is unclear whether the engraving is duplicated on these other numbers.
END OF LOT 01   Contact for purchase inquiries.
LOT 02
OWENS, John E. (singer);  CHAPIN (illustrator)
The celebrated, doleful, and pathetic legend of Villikens and his Dinah, with the dismally dreary, peculiarly pathetic, and [very uncomfortable] history of "ye true [lovers]." Including also the terrible fate of ye stern [parent].
Baltimore: George Willig, Jr., circa 1840.
40 USD

Front cover (36 cm.) printed in blue, illustrated with woodcut vignettes signed Chapin. Followed by [2] pages of engraved music, featuring the first verse of lyrics and the chorus, and [1] page of engraved lyrics, being verses 2 through 8. The sheets having come loose, with some staining showing through.
Romeo and Juliet are here transformed into their modern American versions, so well-captured in this engraved pantomime from an illustrator named Chapin. A rather lengthy song, with 8 verses of lyrics, here being promoted as they were performed by Mr. John E. Owens at Baltimore's Charles St. Theatre; an early example of the close collaboration between performance venues and music publishers, with this publication issuing from the successful Baltimore firm of George Whittig Jr. (1829–1910). Single OCLC record discovered as comparable: for a London imprint that places the song at the Royal Olympic Theatre in 1854, where it was being sung by a Mr. Robson.
END OF LOT 02   Contact for purchase inquiries.
LOT 03
Woman, a ballad.   London: Addison & Hollier, circa 1845.
40 USD

Engraved cover (34 cm.), with embellished typography; disbound from collector's binding. Remarkably fresh contents: [5] pages of engraved music, with lyrics. Plate mark 56.
A song of love-sickness, in three verses; composed and sung by Henry Phillips. With the chorus haunted by small variations; the final line resolving: "If she be not made for me / What care I for whom she be?" Dedicated—presumably with some degree of malice—to a Miss Mills. With a single OCLC record discovered in North America (UCLA) for an edition bearing the imprint of Mori & Lavenu, the former name of the Addison & Hollier firm.
END OF LOT 03   Contact for purchase inquiries.
LOT 04
BELLAMY, W. H. (lyricist);  Loder, Edward J. (composer)
Philip the falconer.   Boston: Oliver Ditson, circa 1845.
40 USD

Illustrated cover (34 cm.), featuring large lithographic scene (17 x 15 cm.); some minor discolouration to margin. With contemporary ownership signature to top corner of cover. Sewn contents, disbound from earlier collection; [3] pages of music with lyrics.
An early publication from Oliver Ditson, the Boston firm that would almost become synonymous with nineteenth century American sheet music. W. H. Bellamy's lyrics are here trained on the courtship between Philip, the local falconer, and the miller's sister; with the sister soon drawing comparisons to the noble falcon. The unsigned lithograph carries quite a bit of narrative weight, adding thematic borders for good measure. With no OCLC records discovered under the Ditson imprint; cover image likely from the New York firm of Sarony and Major, being so attributed on a variant imprint.
END OF LOT 04   Contact for purchase inquiries.
LOT 05
THOMAS, J. R. (composer);  CLAYTON, C. O. (lyricist)
Winsome Winnie of the mill (ballad).   New York: William Hall & Son, 1858.
40 USD

Illustrated cover (34 cm.), featuring large lithographic image by Endicott & Co. (24 x 21 cm.). Item disbound, with spine having been later reinforced. Contents: [3] pages of music with lyrics.
The mill was apparently a popular scene for mid-nineteenth century courtship. In this 1858 ballad, Clayton's lyrics depict the miller's daughter as something of a saint; the edition being dedicated to a Miss Eunice R. Pease. Interestingly, the image to this particular cover differs noticeably from the copy digitized by Johns Hopkins, the expression here being rather more wholesome.
END OF LOT 05   Contact for purchase inquiries.
LOT 06
JEFFERYS, Charles (lyricist);  GLOVER, Stephen (composer)
Dark-eyed Ellen.   New York: William Hall & Son, circa 1858.
75 USD

Chromolithographic cover (33 cm.) by Sarony & Co., with Quebec dealer's stamp to lower margin (J. T. Brousseau). Sewn contents disbound from earlier collection, with some trimming to top margin. Contents: [6] pages of engraved music, with lyrics.
Yet another saintly ballad, this time praising the dark-eyed Ellen Ray. Supporting the lyrics, her glaze is further emphasized by the chromolithographic work of New York's masterful Sarony & Co., whose colouring of Ellen Ray is certainly more subtle than that of Boston's J. H. Bufford. With only 4 OCLC records discovered in North America for this work (with varying New York, Boston, and London imprints); no copies in Canada.
END OF LOT 06   Contact for purchase inquiries.
LOT 07
LINGARD, William
On the beach at Long Branch.   New York: William A. Pond & Co., 1868.
60 USD

Illustrated cover (34 cm.) features full length portrait of William Lingard, after photograph of him costumed in drag. Contents sewn; disbound from earlier collection: [4] pages of music with lyrics, with advertisements to both recto and verso of rear cover; this last leaf now loose. This copy issued from the plain version of the edition, with a coloured one apparently also issued. The imprint identifies dealers in New York, Cincinnati, Pittsburgh, Chicago, and Milwaukee.
The incredible texture captured in Major & Knapp Eng. Co. representation of William Lingard's dress seems to echo the earnest sentiment of the lyrics from this "great character song:" "On the beach at Long Branch, one fine sum-mers day, / I met this handsome man / who stole my heart a-way; / Now I feel so bliss-ful / the hap-py mo-ments glide, / The day is quick-ly com-ing / when I shall be his bride." The rear cover features the lengthy Bulletin of new and popular music, vocal and instrumental, from New York's Pond & Co., with dozens of works individually listed and priced.
END OF LOT 07   Contact for purchase inquiries.
LOT 08
Hearts are trumps.   Detroit: The Whitney-Warner Publishing Co., 1900.

Illustrated cover (36 cm.), printed in green and red, featuring proto-psychedelic photographic portrait captioned "Elseeta, the Dancing Marvel." Contents: [3] pages of music, with advertisements to rear wrapper and verso of front.
With this turn-of-the-century publication, Detroit's Whitney-Warner Publishing Co. really displayed the significance of the cover. Without lyrics, L. W. Young's two step is inevitably coloured by the bewitching cover image of Elseeta, an exotic dancer who was then quite popular in the Detroit area. The mood is certainly quite different with the variant edition that Whitney-Warner published in the same year, which instead features an image of the Broadway performer and soprano Alice Neilsen. The rear cover of the present copy promotes another Elseeta work, with composition by Fred Stone.
END OF LOT 08   Contact for purchase inquiries.
LOT 09
BOWERS, Robert Hood (composer);  PECK, Raymond W. (lyricist)
My house boat beau.  New York: Jerome H. Remick & Co., 1906
40 USD

Illustrated cover (35 cm.), printed in green and black by Strobridge Litho Co. of Cincinnati; portrait of Broadway star Elsie Janis being set within a shimmering gilt-like frame. Contents: advertisement for other songs in this series to verso of cover, followed by [3] pages of music with lyrics. With further advertisement for the Remick firm to rear wrapper.
This publication from Jerome H. Remick & Co. (the successor to Whitney-Warner) was promoting the Broadway production of The Vanderbilt Cup, starring Elsie Janis, who would eventually become known as "the sweetheart of the AEF" for her touring efforts during WWI. With only 3 OCLC records showing for this handsomely-designed  publication; none in Canada.
END OF LOT 09   Contact for purchase inquiries.
LOT 10
TERRISS, Ellaline (singer);  WILLIAMS, Harry H. (lyricist);  VAN ALSTYNE, Egbert (composer)
Navaho.   [London?], circa 1903.
40 USD

Illustrated cover (36 cm.), with large photographic portrait. Contents: [3] pages of music with lyrics.
Yet another instance of marketing tie-ins for this work without imprint (presumably a pirated edition)—with an image of singer Miss Ellaine Terris from her role in The cherry girl, after a photograph by the firm of Alfred Ellis and Waller. Judging by the chorus, this vaudeville play wasn't exactly a high-water mark for race relations."
END OF LOT 10   Contact for purchase inquiries.
LOT 11
CAGGEAU, Inez (illustrator);  VAN ALSTYNE, Egbert (composer)
Vinita: intermezzo.  Detroit: Jerome H. Remick & Co., 1908.
30 USD

Colour cover (35 cm.), with illustrated female portrait signed Inez Caggeau. Short tear to edge. Contents: [4] pages of music, with advertisement for Remick to rear cover.
The music for this lyric-less work from Egbert van Alstyne is accompanied by a remarkable illustration from Inez Caggeau—presumably a female illustrator—who is also on record as providing the illustration for Remick & Co.'s There's Egypt in your dreamy eyes. With a single OCLC record discovered (British Library).
END OF LOT 11   Contact for purchase inquiries.
LOT 12
Carosio, E. (composer);  Demichelis, G. (lyricist)
Fascini / Enchantement / Bezauberung: valse lente. 
Milano: Carisch & Jänichen, 1909.
Hypnotically-illustrated cover (34 cm.), signed in lithograph by illustrator (unidentified). Modest edge-wear, with ownership inscription to top corner, and stamp from music dealer to lower corner (Turin). Some separation at spine. Contents: [6] pages of music with Italian lyrics, accompanied by alternate French lyrics by A. Colombani. Publisher's advertisement to rear.
For this song about enchantment, the unidentified illustrator plays-up the covergirl's hypnotic gaze; reinforcing the anatomy of the bilingual lyrics: "La bellezza de l'occhi tuoi / Luce span de nell'alma mia / Fremono i sensi d'alto desir. / Amor palpita / I suoi sospir / I suoi sospir." "Tes jolis yeux / Joyaux des dieux / Tes yeux de flamme / Ont pris mon âme / Depuis, sans trêve / Tes yeux de rêve / Maître mon roi / Brillent en moi / Brillent en moi." With no OCLC records discovered in North America.
LOT 13
CATALANO, F. (illustrator);  PÉREZ FREIRE, Osman (composer)
Mi ricurita!   Buenos Aires: Ediciones Breyer Hermanos, circa 1910.
60 USD

Illustrated cover (34 cm.), signed in lithograph by F. Catalan. Lovingly printed. Appears to have been disbound from larger collection; condition otherwise in near fine condition. Contents: [4] pages of music, with publisher's device to rear cover.
Boasting a truly exceptional cover image by one F. Catalan, this tango is dedicated to the brothers who headed the Argentinian music publishing firm of Ediciones Breyer Hermanos; published at a time when the first tango craze was about to hit Europe. With no OCLC records discovered in North America.
END OF LOT 13   Contact for purchase inquiries.
LOT 14
PÉAN, René Louis (illustrator);  D'AMOR, Pierre (lyricist);  SIMON, François (composer)
Matin d'avril.   Paris: A. Durand & Fils, 1912.
100 USD

Illustrated cover (35 cm.), signed in lithograph by René Péan. With small stamp to right side of print and modest edge-wear, otherwise near fine. Contents: [6] pages of music, with lyrics (in French), followed by advertisement to rear cover.
René Louis Péan (1875–1955) apprenticed as a lithographer in the studio of the master Jules Chéret, where he produced more than 150 posters between 1895 and 1913. Two of his works would become part of the celebrated Maîtres de l'affiche. With the present work, Péan applied himself to the sheet music format, two years before he was mobilized for the Great War (after which, his output would dramatically change). With only a single OCLC record discovered (BnF).
END OF LOT 14   Contact for purchase inquiries.
LOT 15
WHITING, George (lyricist);  BURT, Sadie (singer);  von Tilzer, Harry (composer)
I'm a little bit afraid of you, Broadway.
New York: Harry von Tilzer Music Publishing Co., 1913.
30 USD

Illustrated cover (35 cm.), signed de Takacs, printed in blue and orange; ownership inscriptions, with some creasing and edge-wear. Contents: [4] pages of music with lyrics, with advertisement to rear cover.
George Whiting was a small time piano player in San Francisco, where he met-up with dancer/singer Sadie Burt in 1911. With both of them already married, Whiting proposed that they should form a vaudeville duo; a partnership which would soon take on romantic form. When George's wife heard the rumours, she jumped on a train from Chicago, with Whiting and Burt, in turn, quickly bowing out of their run at the Crest theatre and jumping on a train for New York; Vaudeville legend has it that their two trains passed each other in the Rocky Mountains. In New York, Whiting and Burt met with success; with Sadie here depicted in rather melancholic pose in front of the bright lights of Broadway, in promotion for the 1913 production The passing show.
END OF LOT 15   Contact for purchase inquiries.
LOT 16
DE TAKACS, A. (illustrator);  MCCARRON, Charles (lyricist);  WALKER, Raymond (composer)
Poor Pauline.   New York: Broadway Music Corporation, 1914.
30 USD

Chromolithographic cover (35 cm.), signed with De Takacs' scrawl. Contents: [3] pages of music with lyrics. With advertisements to rear cover and front verso.
Another example of variant covers; this 1914 edition of Poor Pauline, features a dramatic cover portrait by the Hungarian-born André de Takacs, of an un-named muse. Corresponding closer to the promotional requirements for the serialized silent film The perils of Pauline, another edition from the Broadway Music Corporation features a cover illustration by Floyd, modeled after a photograph of the film's star Miss Pearl White.
END OF LOT 16   Contact for purchase inquiries.
LOT 17
BERLIN, Irving;  FREW, John (illustrator)
If that's your idea of a wonderful time. (Take me home).
New York: Waterson, Berlin & Snyder Co., 1914
30 USD

Illustrated cover (35 cm.), printed in red and black, signed John Frew. Separation at joint, with minor edge-wear. Contents: [3] pages of music and lyrics from Berlin, with middle leaf loose as issued; advertisements to verso of front wrapper and rear wrapper.
By 1914, the cinema was already established as part of the scenography of American dating, with a young Irving Berlin here offering some suggestive lyrics as to what kinds of activities were expected in the dark theatre, where Johnny proposes to take Geraldine after their time at the cabaret. Illustrator John Frew does well to capture the lady's insult.
END OF LOT 17  Contact for purchase inquiries.
LOT 18
IVERS, Harold (composer);  STARMER (illustrator)
Dream of the night: hesitation waltz.
New York: M. Witmark & Sons, 1914.
30 USD

Illustrated cover (35 cm.), after photograph of unattributed muse; signed Starmer. Dedicated to Louis Fisenne. Contents: [3] pages of music, followed by publisher's adverts to rear cover and its verso.
With single OCLC record discovered in North America (Michigan). The rear cover features an ambitious advertisement for The artistic series, described as "the most remarkable music book proposition ever offered to the music loving public, for, in addition to their contents being made up of universally famous compositions, each volume has a beautifully tinted, full cover, life-like, autographed portrait of a [male] musical celebrity, together with a brief story of his or her interesting career. Each piece has been especially edited for this series, and the printing, paper and binding beggard description."
END OF LOT 18   Contact for purchase inquiries.
LOT 19
HASSALL, John (illustrator);  RUBENS, Paul A.
Your King and country want you: a woman's recruiting song.
London: Chappell & Co. Ltd., 1914.

Illustrated cover (35 cm.), printed in black. Contents: [4] pages of music with lyrics, with excerpt from another Rubens song to rear cover.
With total mobilization, the Great War transformed the function of the covergirl. The present work from Rubens was subtitled a "woman's recruiting song," in the sense that women were here supplied with lyrics to help them recruit their male counterparts into the War effort: "Oh, we don't want to lose you, but we think you ought to go / For your King and your Coun-try, both need you so; / We shall want you, and miss you, but with all our might and main / We shall cheer you, thank you, kiss you, When you come back a-gain." A note to the lyrics states that "kiss" should be substituted by "bless" when sung by male voice. With addresses listed for Toronto, New York, and Melbourne distributors. Illustrated by the celebrated painter and poster designer John Hassall, with subtle texture to the singer's dress.
LOT 20
(CAVELL, Edith);  BRAZIL, Jules (composer);  THOMPSON, Gordon V. (lyricist)
Remember Nurse Cavell.
Toronto: Thompson Publishing Co., circa 1915.

Illustrated cover (35 cm.), printed in green and black and featuring photographic portrait of Edith Cavell with dog; signed to bottom margin (H.D.W.). Number 7 of the series Songs of the homeland. Contents: [3] pages of music with lyrics, followed by [1] page excerpt and advertisement for publisher to rear wrapper.
Published by Gordon Thompson's Toronto firm not long after Cavell was killed by a German firing squad for helping Allied soldiers escape from Belgium. "We have praised Joan of Arc, the soldier lass of France, / How she stirred defeated troops, to make a fresh advance / But our British hearts are moved / By a tale we long will tell / Of how she faced the foemen's guns / Our martyred Nurse Cavell!" With only 4 OCLC records discovered, none in the United States. Not found in Sheet Music Consortium database.
LOT 21
PERRIN, Lindsay E.
Why can't a girl be a soldier?
Goderich, Ontario: Independent Publishing Co., circa 1916.
60 USD

Single sheet, folded (36 cm.). Cover punctuated by halftone portrait of Canadian entertainer Arlie Marks with her bull terrier Patsey. Contents: [2] pages of music with lyrics, followed by blank rear.
From rural Ontario, Lindsay E. Perrin pushes suffragette logic to a militant conclusion. The first verse sings: "Since the world began, / it's been up to the man / to go forth and to fight with the Foe.— / And with aching heart, / to sadly depart / from the ones who he dearly loved so.— / Now it may seem strange / to suggest such a change, / but it seems al-right to me. — / And the Can-nuck maid, / who is never afraid, / I am sure with me she'll agree — / Why can't a girl be a soldier..." With 3 OCLC records discovered (Penn State, McMaster, Mount Allison). Not in Sheet Music Consortium database.
END OF LOT 21   Contact for purchase inquiries.
LOT 22
BIRCH, George
The ammunition girl: a real live marching song and one-step.
Toronto: Musgrave Bros., 1918.
100 USD

Illustrated cover, partially-after photograph, printed in blue and brown, with short tear to lower margin. Contents: [2] pages of music with lyrics, followed by brief text printed to rear cover: "Munition workers may obtain special rates on this song in quantities of no less than 20 copies."
The unattributed illustrator does well to capture the surreal materialism of songwriter George Birch's lyrics for this cross-Atlantic artillery romance: "It's the am-mu-ni-tion girl who backs the soldier. The girl who backs the man behind the gun. / Happy and gay, —working away. / A credit to the land she loves, and helps to win the day. / The soldier's friend you'll find, is the girl he left behind. / She's the busy little am-mu-ni-tion girl." With only 3 OCLC records discovered (British Library, University of Toronto, and Guelph); none in the United States.
END OF LOT 22   Contact for purchase inquiries.
LOT 23
FROST, Jack (lyricist);  KLICKMANN, F. Henri (composer)
My Uncle Sammy gals.   Chicago: Frank K. Root & Co., 1918.
30 USD

Elaborately-illustrated colour cover (35 cm.); unsigned. Contents: [2] pages of music with lyrics. Advertisement to rear cover.
END OF LOT 23   Contact for purchase inquiries.
LOT 24
Un doux aveu: waltz.   London: W. Paxton, circa 1920.
40 USD

Handsomely-illustrated cover (35 cm.), printed in blue and green; illustration unsigned. Contents: [6] pages of music, with excerpt to rear verso.
Presumably issued following the Great War, the covergirl has returned to the rituals of courtship, with a romantic confession being offered during a well-lit evening on the boardwalk. With no  matching OCLC records discovered for this London publication.
END OF LOT 24   Contact for purchase inquiries.
LOT 25
TARTARINI, G. (composer);  FRATI, E. (lyricist)
Amor gitano: tango.  Milano: A. & G. Carisch & Co., 1927.

Single sheet, folded (35 cm.), with boldly-illustrated cover (not signed), printed in black and green. Contents: [2] pages of music with lyrics; with advertisement to rear. Inscriptions to rear cover and minor fading to margins of front; otherwise remarkably well-preserved.

In the 1920s, a wave of tango music publications swept over Milan. Here, a wandering gypsy seduces a brunette named Nita with his love song—to inevitably tragic effect. The covergirl's post-Decadent illustrator is unfortunately not identified. With no OCLC records discovered.

LOT 26
BIXIO, C. A. (composer);  Cherubini, C. (lyricist)
Lucciole vagabonde: one step
Milano: Casa Edit. Musicale C. A. Bixio, 1927
30 USD

Single sheet, folded (35 cm.), with illustrated cover printed in purple and red; right margin worn. With [2] pages of music with Italian lyrics, followed by advertisement for portable record player to rear.
A song for vagaband lovers, compared to fireflies; with clever Baudelaire reference: "Noi siam come le lucciole / brilliamo nelle tenebre / schiave d'un mondo brutal / Noi siamo i fior del mal / Se il nostro cuor vuoi piangere / noi pur dobbiam sorridere / danzando sui marciapiè / finche la lunca c'è." With no OCLC records discovered.
END OF LOT 26   Contact for purchase inquiries.
LOT 27
LANGE, Arthur (adaptation); MANNING, Frederick (illustrator)
The magic flame.   Boston: The Boston Music Co., 1927.
40 USD

Illustrated cover (30 cm.), with vibrant orange flames framing a film still. Contents: [4] pages of music with lyrics, followed by publisher's advertisement to rear.
Promoting the theme from the silent film The magic flame, directed by Henry King and co-starring Ronald Colman and Vilma Banky; Romeo and Juliet set in the circus. The film now being considered lost, the vibrant cover image packs extra punch, especially since the film was nominated for best cinematography at the inaugural Academy Awards.
END OF LOT 27   Contact for purchase inquiries.
LOT 28
SCHREIER, [Filippo];  BOTTERO, [Aldo];  Lubatti, D. (illustrator)
Tango delle rose: canzone. 
Milano: Prop. Casa Edit. Music. Abramo Allione, circa 1928.
60 USD

Single sheet, folded (35 cm.), with illustrated cover, printed in yellow, black, green, and red; minor edge-wear. Contents: [2] pages of music with lyrics; with publisher's advertisement to rear.

Yet another Milanese tango; the rear cover advertises other works from the duo Schreier and Bottero—as "i compositori di moda"—with all of these works being accompanied by cover illustrations from D. Lubatti. With no OCLC records discovered in North America.
END OF LOT 28   Contact for purchase inquiries.

LOT 29
BIXIO, C. A. (composer);  CHERUBINI, B. (lyricist); Onorato (illustrator)
Il tango della Pampa.   Milano: Casa Editrice Musicale C. A. Bixio, 1929.
40 USD

Single sheet, folded (35 cm.). Illustrated cover, signed Onorato, printed in black and blue. Contents: [2] pages of music with lyrics, with publisher's advertisement for Spring 1929 titles to rear cover.
The boldly-illustrated covergirl stands-in for an overblown Argentinian fantasy from the popular composer/publisher C. A. Bixio: "E nella danza voluttuosa, fra le tue braccia è una sirena, schidue la bocca di verbena / mentre sospira una canson..." With no OCLC records discovered.
END OF LOT 29   Contact for purchase inquiries.
LOT 30
KOUNTZ, Richard (lyricist);  Shilkret, Nathaniel (composer)
Lady divine.   New York: M. Witmark & Sons, 1929.
30 USD

Illustrated cover (32 cm.), printed in green and black, featuring image of actress Corinne Griffith after photograph. Contents: [3] pages of music with lyrics, preceded by publisher's advertisement. Warner Bros. advertisement to rear.
With the popularization of talking pictures, the sheet music industry discovered a new impetus. The present work promotes the theme song (with lyrics) from the first Vitaphone picture, starring Corinne Griffith; with the rear further promoting Warner Bros.' Singing Pictures brand.
END OF LOT 30   Contact for purchase inquiries.
LOT 31
(SWANSON, Gloria);  GOULDING, Edmund (composer);  JANIS, Elsie (lyricist)
Love: your spell is everywhere.   New York: Irving Berlin, Inc., 1929.
40 USD

Soft coloured cover (31 cm.), illustrated after photograph of Gloria Swanson (signed BRII). Contents: [4] pages of music with lyrics, followed by advertisement to rear wrapper.
A lovely remnant from a fascinating fragment of film history. Edmund Goudling wrote and directed The trespasser initially as a silent film. Soon after its release, however, Goulding crafted a sound version of the film—launching Gloria Swanson's celebrity, with her first vocal role. Here, Goulding provides the music for one of the songs Swanson would sing, with lyrics provided by Elsie Janis—herself the covergirl from item 09 above.
END OF LOT 31   Contact for purchase inquiries.
LOT 32
STEIN, Gertrude (lyricist);  THOMSON, Virgil (composer)
Preciosilla: for voice and piano.   New York: G. Shirmer, 1948.

Wrappers (30 cm.), with titles printed in green script and Schirmer catalogue to rear, which shows some staining. Contents: [7] pages of music with lyrics.
Preciosilla was the stage name of the Spanish cuplétista Manuela Tejeda Clemente; who Stein and Alice B. Toklas are reported to have seen perform in 1912 Madrid. Originally written as a poem in 1913, Preciosilla would become one of a number of Stein's works set-to-music by her friend Virgil Thomson. With a rather interesting cover design by George Martin, who avoids the use of a covergirl altogether, in an admittedly loaded context: "Lily wet lily wet while. This is so pink so pink so pink in stammer, a long bean which shows bows is collected by a single curly shady, shady get, get set wet bet."
END OF LOT 32   Contact for purchase inquiries.
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