opera

Hardcover. London, Hard Case Crime, 1st thus, 2015, Book: Very Good, Dust Jacket: None, Hardcover, colorful dust jacket with a retro-style illustration by Glen Orbik. Cashed out from the NYPD after 24 years, Doak Miller operates as a private eye in steamy small-town Florida, doing jobs for the local police. Like posing as a hit man and wearing a wire to incriminate a local wife who's looking to get rid of her husband. But when he sees the wife, when he looks into her deep blue eyes. He falls--and falls hard. Soon he's working with her, against his employer, plotting a devious plan that could get her free from her husband and put millions in her bank account. But can they do it without landing in jail? And once he's kindled his taste for killing...will he be able to stop at one? Like new.

Hardcover. Toronto, McClelland and Stewart, 1st, 1970, Book: Very Good, Dust Jacket: Good, Hardcover in a bright dust jacket, 128 pages, illustrated throughout by Searle's drawings. A witty and irreverent glance at the three-hundred-year history of the Hudson's Bay Company, North America's oldest continuing commercial enterprise. Light edgewear to the dust jacket, otherwise a clean, tight copy.

Softcover. London, Hard Case Crime, 1st thus, 2005, Book: Very Good, Dust Jacket: None, Softcover, colorful wraps with a retro-style illustration by Richard B. Farrell. Detective Matt Cordell was happily married once, and gainfully employed, and sober. But that was before he caught his wife cheating on him with one of his operatives and took it out on the man with the butt end of a .45.Now Matt makes his home on the streets of New York and his only companions are the city's bartenders. But trouble still knows how to find him, and when Johnny Bridges shows up from the old neighborhood, begging for Matt's help, Cordell finds himself drawn into a case full of beautiful women and bloody murder. It's just like the old days--only this time, when the beatings come, he may wind up on the receiving end. Like new.

Hardcover. NY, E. P. Dutton, 1st, 1981, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. INSCRIBED BY IRVING at the Bread Loaf Writer's Conference in red ink on the half-title page. A whimsical family saga of a hotel and a bear and an opera house. Irving's fifth published novel and the basis for a 1984 film adaptation by director Tony Richardson. Clean copy.

Hardcover. Boston, Little, Brown and Company, 1st, 1957, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with gilt lettering on spine. Volume XI in The History of United States Naval Operations in World War II. 360 pages, illustrated with maps (one fold-out) and b&w photos. Gilt on spine with light fading, lacks dust jacket, dj flap copy pasted inside front cover, otherwise clean, tight copy.

Hardcover. Greenwich CT, New York Graphic Society, 1st, 1964, Book: Very Good, Dust Jacket: Good, Hardcover, red cloth covers in a worn, chipped dust jacket. Menotti's own narrative version of his opera of the same name. The full color and b/w drawings are based on the set designs for the Metropolitan Opera's production. Photo of both author and illustrator appear on rear of jacket.

Hardcover. NY, Viking, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 472 pages. A very neat, tight, clean copy. Hailed as a literary masterpiece, Robertson Davies' The Cornish Trilogy comes to a brilliant conclusion in the bestselling Lyre of Orpheus. There is an important decision to be made. The Cornish Foundation is thriving under the directorship of Arthur Cornish when Arthur and his beguiling wife, Maria Theotoky, decide to undertake a project worthy of Francis Cornish -- connoisseur, collector, and notable eccentric -- whose vast fortune endows the Foundation. The grumpy, grimy, extraordinarily talented music student Hulda Schnakenburg is commissioned to complete E. T .A. Hoffmann's unfinished opera Arthur of Britain, or The Magnanimous Cuckold; and the scholarly priest Simon Darcourt finds himself charged with writing the libretto.

Hardcover. NY, Charles Scribner's Sons, reprint, 1929, Book: Very Good, Dust Jacket: None, Hardcover, frontis. with tissue guard., 277 pages. Original blind decorated black cloth with embossed illustration to front board. A mystery novel by the author of The Phantom of the Opera, one of the first in the 'locked room' sub-genre, first published in 1908 by Daily Mail (UK) and Brentano's (US) (Adey [Locked Room Murders] 1201). It has been adapted to film several times. The S.S. Van Dine Detective Library edition. Name and address on front fly leaf, otherwise clean.

Hardcover. NY, NBM Publishing, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 129 pages illustrated in color and b&w by Russell. In this volume, Russell's classic adaptations of Richard Wagner's Parsifal from the legend of the Holy Grail, Ariane & Bluebeard by Maeterlinck and Dukas, "The Clowns" taken from I Pagliacci by Leoncavallo, as well as two songs by Mahler: "The Drinking Song of Earth's Sorrow" and "Unto This World." Clean copy.

Hardcover. Chicago, University of Chicago Press, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 178 pages. The drama is the most social of the arts, depending upon physical space, audience, and social factors for its existence. It is no surprise, therefore, that the most successful criticism approaches theater the way Barber and Mullaney do: as historical artifact. Barber is the better known, having authored the classic Shakespeare's Festive Comedy (1959); the present volume is based on his papers and examines three early Elizabethan tragedies"Tamburlaine" and "Dr. Faustus" by Marlowe and "The Spanish Tragedy" by Kyd. Particularly interested in locating these plays in the unstable religious atmosphere of the late 16th century, Barber ably demonstrates his understanding of the social, historical, and economic factors that defined the era. Mullaney takes the novel approach of examining the theater in light of London topography; the title thus refers to the physical location of the playhouses as well as the social importance of the theater. Mullaney points out that the prejudice that forced the great theaters of the age to operate outside the city walls encouraged a drama that was radical and iconoclastichence its greatness. Mullaney's argument is fascinating and thought-provoking, convincingly presented. Clean copy.

Softcover. NY, Wayner Publications, 1st, 1971, Book: Very Good, Dust Jacket: None, Softcover, 100 pages. Very good, in illustrated wraps. Minor shelf wear and age-toning to creme paper covers. All text. No previous owner marks.

Hardcover. NY, Farrar Straus Giroux, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 181 pages. "In the 1960's and 1970's, American professor Norton Dodge forayed on his own in the Soviet Union, bought the work of underground 'unofficial' artists, and brought it out himself or arranged to have it shipped illegally to the United States. John McPhee investigates Dodge's clandestine activities in the service of dissident Soviet art, his motives for his work, and the fates of several of the artists whose lives he touched. The Ransom of Russian Art is a suspenseful, chilling, and fascinating report on a covert operation like no other". Clean copy.

Softcover. Los Angeles, Augustan Reprint Society, reprint, 1981, Book: Very Good, Dust Jacket: None, Softcover. Facsimile reprint of two 18th century editions; stapled wraps; 37 clean, 65 unmarked pages. The librettos and music by Motteux and Eccles. Clean copy.

Hardcover. New Haven CT, Yale University Press, 1st, 1994, Book: Very Good, Dust Jacket: None, Hardcover, black cloth covers with gilt lettering on spine. No dust jacket. Profusely illustrated throughout in black & white and color. 433 pages. This book examines the technical and aesthetic experimentation that went into printmaking, workshop practices, and the material and social contexts of print production, and it gives the fullest account ever written of the ways in which Renaissance prints were produced, distributed, and acquired. David Landau and Peter W. Parshall pose a range of practical questions about the production of prints. They investigate, for example, what materials were used, how they were acquired, and how a Renaissance printmaker's workshop operated. They explore the evidence that individual prints were beginning to be esteemed as works of art rather than as inexpensive substitutes for them, and the relationship between prints made to be collected and those of a more ephemeral nature intended for a wider audience. They discuss how prints were valued during the period, including the relative value of woodcuts to engravings, and engravings to etchings. And they investigate how prints evolved in relation to the pictorial arts of the Renaissance generally. Clean, bright copy. NOTE: DUE TO SIZE AND WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. NY, Farrar Straus Giroux, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. SIGNED BY WILHELM on the front fly leaf. Clean copy. Parkland Middle School is a place the students call Darkland, because no one in it does much to stop the daily harassment of kids by other kids. Three bullied seventh graders use their smarts to get the better of their tormentors by starting an unofficial e-mail forum at school in which they publicize their experiences. Unexpectedly, lots of other kids come forward to confess their similar troubles, and it becomes clear that the problem at their school is bigger than anyone knew. The school principal wants to clamp down on the operation, which she does when the trio, in their zealousness for revenge, libel a fellow student in what turns out to have been a setup. Now a new plan of attack is needed . . .

Hardcover. Boston, Little, Brown and Company, reprint, 1950, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with gilt lettering on spine. Volume III in The History of United States Naval Operations in World War II. 411 pages, illustrated with maps and b&w photos. Gilt on spine with light fading, lacks dust jacket, otherwise clean, tight copy.

Hardcover. NY, Cady & Burgess, 2nd Ed., 1852, Book: Very Good, Dust Jacket: None, Hardcover, small format, dark blue cloth with gilt design, lettering on the spine. 126 pages. This collection brings together the best-known songs and ballads of G.P. Morris, one of the most popular American writers of the 19th century. First edition with "First Complete Edition" stated on title page. Includes 68 "Melodies" (including "woodman, Spare That Tree") and 10 "Songs and Duets, from the Opera of The Maid of Saxony". scattered foxing to the text, endpaper paste-downs worn, otherwise clean.

Hardcover. Boston, Little, Brown and Company, reprint, 1950, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with gilt lettering on spine. Volume V in The History of United States Naval Operations in World War II. 389 pages, illustrated with maps (one fold-out) and b&w photos. Gilt on spine with light fading, lacks dust jacket, otherwise clean, tight copy.

Hardcover. Boston, David R. Godine, 1st, 2009, Hardcover, 192 pages. The photography of Angus McBean encompasses more than three decades of the history of British theater. His work includes most of the memorable productions of the Old Vic Company and of what is now the Royal Shakespeare Company; opera productions at Glyndebourne and the Royal Opera House, Covent Garden; ballet and operetta at Sadler's Wells; and West End productions of plays and musicals both old and new -- hundreds of productions in all. He was the favorite photographer of Vivien Leigh, Laurence Olivier, and Edith Evans, and he photographed countless plays starring John Gielgud, Ralph Richardson, and Alec Guinness, not to mention younger stars such as Audrey Hepburn, Richard Burton, and Elizabeth Taylor. In fact, McBean photographed virtually every great actor of his era, perhaps the most brilliant years in the annals of British theater.His studio was active and eclectic; among his patrons were not only actors, singers, and dancers, but also playwrights, producers, composers, artists, and writers. In his early career, McBean had been a pioneer of surrealist photography, with a highly popular series of "surrealized" portraits that appeared in The Sketch, and, later, of montage and multiple-exposure photography in a long-running series for The Tatler.In 1969, McBean approached Harvard University to initiate the sale of his collection, and in the following year his archive of glass plate negatives, index prints, and programs, together with the copyrights, became a part of the Harvard Theatre Collection, where it remains the most often-requested collection of visual material. The photographs in this book, selected and captioned by the archive's curator, Fredric Woodbridge Wilson, have been carefully reproduced from the original negatives.

Hardcover. Boston, David Godine, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 192 pages. The photography of Angus McBean encompasses more than three decades of the history of British theater. His work includes most of the memorable productions of the Old Vic Company and of what is now the Royal Shakespeare Company; opera productions at Glyndebourne and the Royal Opera House, Covent Garden; ballet and operetta at Sadler's Wells; and West End productions of plays and musicals both old and new-hundreds of productions in all. McBean was the favorite photographer of Vivien Leigh, Laurence Olivier, and Edith Evans, and he photographed countless plays starring John Gielgud, Ralph Richardson, and Alec Guinness, not to mention younger stars such as Audrey Hepburn, Richard Burton, and Elizabeth Taylor. In fact, McBean photographed virtually every great actor of his era, perhaps the most brilliant years in the annals of British theater.

Hardcover. NY, The Dial Press, 2nd pr., 1971, Book: Very Good, Dust Jacket: Very Good, Hardccover in a bright, unclipped dust jacket, 497 pages, b&w illustrations. An overview of what entertained America for 200 years, from opera to comics. Clean copy.

Hardcover. NY, Viking, 1st US, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. SIGNED by the author and dated on the title page, without dedication. Color illustration. Exhausted by her hectic stint as Miss Havisham's apprentice at Jurisfiction, Thursday Next, a Special Operative in literary detection, is delighted by a supposed respite in the Character Exchange Program in the Well of Lost Plots, a place filled with linguistic chaos, lousy books, plot devices, grammasites, and a murderer. Clean, like new.

Hardcover. London, Hodder & Stoughton, 1st US, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. SIGNED by the author on the title page, without dedication. Promotional postcard laid-in. (Juris Tech Respirator). Exhausted by her hectic stint as Miss Havisham's apprentice at Jurisfiction, Thursday Next, a Special Operative in literary detection, is delighted by a supposed respite in the Character Exchange Program in the Well of Lost Plots, a place filled with linguistic chaos, lousy books, plot devices, grammasites, and a murderer. Clean, like new.

Hardcover. London, Hodder & Stoughton, 1st US, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. SIGNED by the author on the title page, without dedication. Promotional postcard laid-in. (Swindon PD Speed Camera). Exhausted by her hectic stint as Miss Havisham's apprentice at Jurisfiction, Thursday Next, a Special Operative in literary detection, is delighted by a supposed respite in the Character Exchange Program in the Well of Lost Plots, a place filled with linguistic chaos, lousy books, plot devices, grammasites, and a murderer. Clean, like new.