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EXHIBITION 1 : "ART IS ONE" : THE CASE FOR THE REINTEGRATION OF THE ARTS
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EXHIBITION 1 : "ART IS ONE" : THE CASE FOR THE REINTEGRATION OF THE ARTS

By Lipton, Lawrence; [Ron Boise; "Nico" van den Heuvel; Taki; Alex Vilumsons; Joe Zirker; Shela; Eva Meyer]

Santa Monica: Michael Intrator, 1961. First Edition. Softcover. Very good. Zirker, Joe. Approximately 7½ x 7 inches. 12 pp. Color printed wrappers, unbound. Light toning and light soiling in wrappers and title page. Very good. Limited edition of 250 copies. Cover designs printed from three linoleum blocks by Joe Zirker. Program for Lawrence Lipton's EXHIBITION 1 "art is one" performance/exhibition at Galerie Nico in Venice, California, February 24, 1961. The program contains a statement by Lipton on his "case for the reintegration of the arts," poems by Ron Boise, Alex Vilumsons, Joe Zirker, "Nico" van den Heuvel, and Taki, and additional statements by van den Heuvel, Taki, Vilumsons, Zirker, and dancers Shela and Eva Meyer. EXHIBITION 1 was a more multimedia follow-up to beat poet Lipton's recent "Jazz Canto: Vol. 1" LP recording, featuring sculptures, prints, paintings, and dance in addition to music and poetry.

$75.00

[Cabinet Card Photograph of Fred Stone as the Scarecrow in THE WIZARD OF OZ]
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[Cabinet Card Photograph of Fred Stone as the Scarecrow in THE WIZARD OF OZ]

By [Stone, Fred; The Wizard of Oz]

New York: Obermüller & Son, 1905. First Edition. Photograph. Very good. [circa 1905]. Albumen photographic print mounted on cabinet card, 6½ x 4¼ inches. Photographer's stamp in lower margin of recto. Manuscript caption in the negative, "Fred A. Stone as 'The Scarecrow'." Child's inscription, dated March 11, 1905, on verso. 1/3-inch stain at upper edge of print and minor abrasion in upper-left corner of print, neither affecting subject of image. Mild wear to card. Overall very good. Cabinet card with a striking image of actor Fred Andrew Stone (1873-1959) dressed as his breakout role of the Scarecrow in the first stage production of THE WIZARD OF OZ. The original theatrical treatment (like the later film, a musical extravaganza) of Baum's classic story premiered in at the Grand Opera House in Chicago in 1902, two years after the publication of the book. It moved to New York's Majestic Theatre on Broadway in January 1903 and in September of that year began touring around the U.S. On March 11, 1905, a cast featuring the play's original stars played a matinee and an evening performance at the Garrick Theatre in Philadelphia. The verso of the present cabinet card contains an inscription in a child's hand on that date: "March 11, 1905 | The first play I ever went to see alone. | The scarecrow is perfect."

$400.00

THE ORIGINAL ELIOPHOBUS FAMILY [carte de visite (CDV)]
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THE ORIGINAL ELIOPHOBUS FAMILY [carte de visite (CDV)]

By [Lucasie Family; Eisenmann, Charles (photographer)]

New York: Charles Eisenmann, 1885. First Edition. Photograph. Near fine. [1880s]. Carte de visite, approximately 4 1/8 x 2 1/2 inches. Photographer's stamp on verso. Light foxing in upper margin of photograph and very minor wear to gilt edges, else a fine, crisp card and print. A splendid example of one of the most iconic images of the albino Lucasie family, whom P. T. Barnum brought from Amsterdam to New York in 1857 and advertised as “white Negro” natives of Madagascar, sometimes with the Barnumesque label, “Eliophobus” (sun-fearing), as seen here. The Lucasies, whose family included a daughter in addition to the son shown in this image, toured widely for Barnum and were one of his most popular attractions at his American Museum in New York. After the demise of the Museum, they performed on the circus circuit until what appears to be the death of both parents, Rudolph and Antiana, and their daughter in 1898. The son, Joseph, had studied violin from a young age and was reported to have distinguished himself in the art. He would continue to perform musically until his own death in 1909.

$350.00

CHE-MAH, THE CHINESE DWARF [carte de visite (CDV)]
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CHE-MAH, THE CHINESE DWARF [carte de visite (CDV)]

By [Che-Mah; Eisenmann, Charles (photographer)]

New York: Charles Eisenmann, 1885. First Edition. Photograph. Very good. [1880s]. Carte de visite, approximately 4 1/8 x 2 1/2 inches. Photographer's stamp on verso. Signed by Che Mah in blue on verso in Chinese characters and Roman letters. Light foxing in caption area of recto and edges of verso, light wear to photograph. Very good to near fine. Carte de visite portrait of Che-Mah (1838-1926), the "Chinese Dwarf," and an unidentified man of normal stature. In 1881, facing the the retirement of Mr. and Mrs. Tom Thumb and the recent death of Commodore Nutt, P. T. Barnum was scouting for new little-person talent and found Che Mah in London, where he had been performing for a year. Che Mah signed with Barnum and worked with him until Barnum's death in 1891. He went on to perform for Buffalo Bill's Wild West Show and various sideshows and dime museums in the Midwest before retiring to Knowx, Indiana around 1901. Although he was said to come from a farm in Ningbo, China, there is some question as to Che Mah's true origins. In his 1936 memoirs, THIS WAY TO THE BIG SHOW, retired Barnum and Bailey Publicity Director and circus collector Dexter W. Fellows declared matter-of-factly that "the Chinese dwarf ... was a London Jew."

$300.00

[Carte de visite (CDV) of Bearded Lady Annie Jones]
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[Carte de visite (CDV) of Bearded Lady Annie Jones]

By [Jones, Annie; Eisenmann, Charles (photographer)]

New York: Charles Eisenmann, 1890. First Edition. Photograph. Very good. [ca. 1890]. Carte de visite, approximately 4 1/8 x 2 1/2 inches. Photographer's stamp on verso. Some fadgin, light wear, and very minor foxing. Very good. Annie Jones (1865-1902), billed as the "Esau Child" as a girl and later as the "Esau Lady," was the most famous bearded lady of the 19th century. She toured with P. T. Barnum for many years as a member of his congress of “freaks," a term she is said to have campaigned against. An 1898 press release from the Barnum and Bailey Circus in advance of a European tour announced that Jones had called a meeting on January 6, 1898 to protest the word and find a less "oppobrious" alternative. The event, as Leslie Fiedler notes in FREAKS, may have been "dreamed up by the Barnum and Bailey public relations staff" (the release had made a point of noting that the meeting had been chaired by Sol Stone, the Human Adding Machine, and its minutes taken by the Armless Wonder with his feet). She was, in any event, a leading, lifelong member of the Barnum troupe before her early death from pneumonia at the age of 37.

$200.00

IDÉES SUR LE GESTE ET L'ACTION THÉÂTRALE PAR M. ENGEL, DE L'ACADÉMIE ROYALE DE BERLIN; SUIVIES D'UNE LETTRE, DU MÊME AUTEUR, SUR LA PEINTURE MUSICALE. . . . TOME PREMIER [-SECONDE].
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IDÉES SUR LE GESTE ET L'ACTION THÉÂTRALE PAR M. ENGEL, DE L'ACADÉMIE ROYALE DE BERLIN; SUIVIES D'UNE LETTRE, DU MÊME AUTEUR, SUR LA PEINTURE MUSICALE. . . . TOME PREMIER [-SECONDE].

By Engel, [Johann Jakob]

Paris [et al.]: Chez Barrois . . ., 1788. First edition in French. Hardcover. Very good. Two volumes. [4],324; [4],295 pp. plus 34 plates. Contemporary mottled calf, spines gilt, gilt eather labels, edges red. Calf worn at edges, corners, and joints, spine ends chipped. Toning in margins of endpapers and title pages, affecting some text, light scattered foxing. Very good. 1788-1789. First edition in French, after the German first edition of 1785-1786, "Ideen zu einer Mimik." Johan Jakob Engel (1741-1802) was a popular German Romantic philosopher, playwright, and, from 1787 to 1784, chief director of the Royal National Theater of Berlin. Illustrated with thirty-four fine etchings by Jacques-Louis Copia (1764-1799) of stage characters, male and female, in various poses, costumes, and scenes.

$700.00

AND THE ASS SAW THE ANGEL
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AND THE ASS SAW THE ANGEL

By Cave, Nick

London: Black Spring Press, 1989. First Edition, First Printing. Hardcover. Fine/near fine. [8],248,[3] pp. Publisher's cloth in pictorial dust jacket. Signed by the author, "Nick Cave 1989," on front free endpaper. Mild shelfwear. Fine in a near fine dust jacket. A rare signed copy of the first edition of Nick Cave's brilliant, deranged first novel.

$350.00

THEATRE ROYAL, DRURY-LANE. THIS PRESENT THURSDAY, FEBRUARY 25, 1808. . . THE NEW OPERA IN 4 ACTS OF KAIS; OR, LOVE IN THE DESERTS. . .
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THEATRE ROYAL, DRURY-LANE. THIS PRESENT THURSDAY, FEBRUARY 25, 1808. . . THE NEW OPERA IN 4 ACTS OF KAIS; OR, LOVE IN THE DESERTS. . .

By [Braham, John]; [Layla and Majnun]

[London]: Lowndes, Printer, [1808]. First Edition. Broadside. Fine. Broadside, approximately 11 1/2 x 8 1/2 inches, untrimmed. Portion of bottom line of text unprinted. Small remnants of paper tape on verso, else fine. Broadside advertising the twelfth performance of the opera, KAIS, OR, LOVE IN THE DESERTS, at Drury Lane, starring and produced by the renowned English tenor, John Braham. John Braham (ca. 1774-1856) rose from poverty and orphanhood in London to the heights of European opera, where he celebrated as one of the great voices of his age. As a British Jew, he also represented a major shift in Jewish status and social potential during the late Georgian era, becoming not only an artist of acclaim but also eventually the father-in-law of several English aristocrats. KAIS was based on the ancient Arabian love story of Layla and Majnun, which had been adapted into a famous work by Persian Poet Nizami Ganjavi in the 12th century, which in turn became the source for numerous later poets and mystics throughout the Middle East and Central and South Asia. The story gained great popularity in Europe after Isaac D’Israeli published an English translation in the early 19th century. It was upon this translation that Isaac Brandon based the libretto for KAIS. Braham and William Reeve composed the music for the opera, which opened in 1807.

$350.00

THE LAMBS PUBLIC GAMBOL : FOR THE BENEFIT OF THE MISSISSIPPI FLOOD SUFFERERS [caption title]
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THE LAMBS PUBLIC GAMBOL : FOR THE BENEFIT OF THE MISSISSIPPI FLOOD SUFFERERS [caption title]

By [The Lambs Club]

[New York: The Lambs, 1927]. Softcover. Very good. W. Spencer Wright. Quarto. [8] pp. Pictorial self-wrappers. 78 unique contemporary ink autograph signatures on front and rear wrappers. Early soft vertical fold (affecting all leaves), minor soiling to wrappers, with two-inch stain in rear wrapper. Very good. Program for the Lambs Club's 1927 Public Gambol, held May 15 at the Knickerbocker Theatre, benefiting the victims of the Great Mississippi Flood of 1927. The cover art, by W. Spencer Wright, features a nude satyress with a shepherd's crook and a lamb at her feet peering through a crack in a fence. The program is signed by Wright and 77 fellow Lambs, including such stage luminaries as Walter Catlett, Bill Desmond, Leon Errol, Lew Fields, Eddie Foy, David Warfield, and "Shepherd" Tom Wise.

$300.00

BREAD
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BREAD

By [Schumann, Peter]

Glover, Vermont: Bread and Puppet, 1984. First Edition. Softcover. Fine. Peter Schumann et al.. Quarto. [16] pp. including illustrations. Original pictorial self-wrappers, stapled. A fine copy. First edition of Bread and Puppet founder Peter Schumann's essay on and recipe for Silesian bread, illustrated with numerous photographic and woodcut images.

$50.00