American Manuscripts & other Property from the Collection of Elsie and Philip Sang

Property from the Collection of Elsie and Philip Sang

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN SIGNED AND INSCRIBED PHOTO WITH MUSICAL QUOTATION TO MAXIE ROSENZWEIG, WHO FIRST INSPIRED HIM TO BECOME A MUSICIAN Photographic portrait by E. White Studio, (10 x 7 7/8 in.; 253 x 200 mm), New York, [ca. 1924]; somewhat tanned, some light soiling, 2 1-in. tears repaired on verso, pinholes in margins. Inscribed and signed to Maxie Rosenzweig, "To Maxie The 'Prophet' from George Gershwin, 'Georgie'." Also with an autograph musical quotation captioned "I was so young." On the verso, Rosenzweig (later known as Max Rosen) has inscribed and signed, "June 1924. Accepted & approved, Max." The story of George Gershwin and Maxie Rosenzweig is well knows to scholars and admirers of the composer. Gershwin was standing in the schoolyard at P.S. 25 in Manhattan when he heard Dvorak's Humoresque through an open window. The violinist was eight-year-old prodigy Maxie Rosenzweig. The two boys were to meet shortly after this and, according to Gershwin, "Maxie opened the word of music to me." Ironically, Maxie told Gershwin he did not have what it take to be a musician. As an adult, Maxie was known as Max Rosen and had a brilliant career as a concert violinist.

george gershwin | signed and inscribed photo with musical quotation to maxie rosenzweig, who first inspired him to become a musician

Fine Books and Manuscripts, Including Americana

(Gershwin, George) — Isaac Goldberg George Gershwin: A Study in American Music. New York: Simon and Schuster, 1931 8vo. Half-title, inscribed on the verso of the frontispiece by by George and Ira Gershwin in blue ink, with a sketch of a conductor by the latter, in-text illustrations and photographic reproductions; minor browning. Original blue cloth covered boards, upper board with George Gershwin's signature stamped in silver, spine stamped in sliver and red, pictorial endpapers; rubbing to spine, spotting to endpapers. Presentation copy, affectionately inscribed by George Gershwin: "For my friend Julian Street with the best of good wishes. George Gershwin Oct. 16, 1931." Just below this, alongside a sketch of a bowing maestro, Ira Gershwin has written "Ditto/Ira Gershwin." Julian Street was a prominent American author and reporter for the New York Mail and Express, heading up their dramatic department in 1900–01. He also contributed to numerous magazines over the course of his career. A member of the Dutch Treat Club, Street had his finger on the pulse of New York's arts scene.

View 1 of Lot 1185: (Gershwin, George) — Isaac Goldberg | Presentation copy, affectionally inscribed

(gershwin, george) — isaac goldberg | presentation copy, affectionally inscribed

Fine Books and Manuscripts

View 1 of Lot 175: (Gershwin, George) — Isaac Goldberg | Presentation copy, affectionally inscribed

Gershwin, George, and Ira Gershwin Autograph music manuscript signed ("Ira Gershwin"; "George Gershwin") of the Gershwins's occasional song "Strike Up the Band for U.C.L.A.," adapted from the title song of their 1927 musical Strike Up the Band 3 pages (338 x 262 mm) on a bifolium of 12-stave paper by Chappell (No. 2), comprising autograph title-page and 2-page music manuscript by George with lyrics written in by Ira, in ink [Los Angeles, 1936]; lightly browned, a few stains. Accompanied by a copy of the UCLA Student Handbook for 1936–37, featuring an address by Robert Schroeder, President of the Associated Students, and by a complimentary ticket to a football game between UCLA and Southern Methodist, 11 November 1935. The desire of the UCLA student body to have a new fight song happily coincided with George and Ira Gershwin moving to Los Angeles in 1936 to work on the Fred Astaire-Ginger Rogers musical comedy Shall We Dance. Maxson Judell, a longstanding member of the Hollywood musical community, approached the Gershwins about supplying a song, and they very quickly acceded. Actually, the music had written some years before for a musical stageplay, Strike Up the Band. Ira updated the lyrics to make them more appropriate for college sporting events and a fight song was born: "Let the drums roll out | let the trumpets call | let the whole world shout | U.C.L.A.! | With our battle cry | Bruin[s] conquer all! | We will do or die! | U.C.L.A." Almost ninety years later, the song is still performed at UCLA football games and other sporting events, although it has been subsequently joined by other fight songs, notably "Sons of Westwood" and "Mighty Bruins." The Gershwins presented the song to the school in September 1936; in return, the Associated Students made George and Ira Honorary Bruins and presented them with UCLA sweaters and lifetime passes to sporting events, which Ira frequently attended. This copy of "Strike Up the Band for U.C.L.A." was given by Ira Gershwin to Robert Schroeder, the President of the Associated Students for the academic year 1936–37.

View 1 of Lot 123: Gershwin, George, and Ira Gershwin | A college fight song written by the Gershwins

a college fight song written by the gershwins

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN CONTRACT SIGNED BY GEORGE GERSHWIN AND HIS COLLABORATORS WITH THE THEATRE GUILD INC. FOR THE FIRST PRODUCTION OF PORGY AND BESS Carbon typescript, 7 pp. on onionskin paper (10 7/8 x 8 1/2 in.; 278 x 216 mm), 5-line typed amendment pasted to final leaf, New York, 28 June 1935; stapled in upper left corner with first and last leaves detached, final leaf with tears at upper corners. The original agreement granting the Theatre Guild the rights to produce Porgy and Bess (at this point still referred to simply as Porgy), signed by composer George Gershwin, lyricist Ira Gershwin, authors Dubose Hayward and Dorothy Hayward, and Theatre Guild representative Warren P. Munsell. The agreement is also initialed twice by all the signers and Munsell has initialed several more times. This contract prepares the way for the first performances of the greatest operatic work written by an American composer thus far. Porgy and Bess opened at the Colonial Theatre in Boston on 30 September 1935 and transferred to the Alvin Theatre in New York on 10 October.

george gershwin | contract signed by gershwin and others for the original production of porgy and bess

Property from the Collection of Elsie and Philip Sang IRA GERSHWIN TWO LETTERS, ONE WRITTEN OVER A FAKE GEORGE GERSHWIN SIGNATURE, THE OTHER EXPLAINING THE HARMLESS DECEPTION Autograph letter signed ("George Gershwin," but actually Ira Gershwin), 1 p. (9 1/4 x 5 3/4 in.; 235 x 146 mm) on Hotel Sylvania letterhead, Philadelphia, 18 October 1926, to Mrs. Berthold Neur, New York; horizontal folds — Typed letter signed ("Ira Gershwin"), 1 p. (11 x 8 1/2 in.; 279 x 216 mm) on his Roxbury Drive letterhead, Beverly Hills, 24 June 1960, to Charles Hamilton, New York; horizontal folds. Ira Comes Clean. In summer of 1960, New York autograph dealer Charles Hamilton offered in his catalogue number 37 a 1926 autograph letter believed to have been written by George Gershwin. When Ira received the catalogue he wrote to Hamilton from Beverly Hills, "…I am sure you bought or acquired this letter in absolute good faith, and I am therefore a bit embarased to tell you that although it is a letter from my brother to Mrs. Neuer [sic], actually it is not his holograph. "When George and I were in Philadelphia at the Sylvania working on Oh, Kay!, George was in my room when either a second telegram or telephone call had just been received by him from Mrs. Neuer [sic], asking him again if he wouldn't attend her party in New York. He had to run off to a rehearsal, so I offered to dash off a note for him — and that is the one reproduced in your catalogue." The recipient of the note was Mrs. Berthold Neur, a friend of the Gershwins, whose husband was an American Piano Company official. The show was in need repairs and Ira accurately conveys George's sentiments: "I'm here in Philly with a new opus—Oh, Kay!, and will have to remain and nurse it for some time to come." Ira ends his note to Hamilton by pointing out that the handwriting and signature in no way resemble George's. "I can't recall ever having written any other note or letter for him, so in a way this letter is a rarity." REFERENCE: See Jablonski, Gershwin: A Biography, p. 133

ira gershwin | ira gershwin comments on a letter he wrote under george's name

Important Prints & Multiples Day Sale

ANDY WARHOL 1928 - 1987 GEORGE GERSHWIN (F. & S. II.231) Screenprint in colors, 1980, signed in pencil and numbered 78/200 (total edition includes 30 artist's proofs), from Ten Portraits of Jews of the Twentieth Century, on Lenox Museum Board, with the blindstamp of the printer, Rupert Jasen Smith, co-published by Ronald Feldman Fine Arts, Inc., New York, and Jonathan A. Editions, Tel Aviv, and with their inkstamp on the verso sheet: 1016 by 812 mm 40 by 32 in

andy warhol | george gershwin (f. & s. ii.231)

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN TYPED LETTER AGREEMENT FOR ROYALTY DISTRIBUTION FOR BRITISH AND EUROPEAN PRODUCTIONS OF PORGY AND BESS, SIGNED BY GEORGE GERSHWIN AND HIS COLLABORATORS 1 page (13 x 8 1/4 in.; 330 x 210 mm), [New York, c. 1935–1936]; tears with some paper loss along top margin (not affecting text), horizontal folds. Signed by composer Georgge Gershwin, lyricist Ira Gershwin, author DuBose Hayward and Theatre Guild representative Warren P. Munsell. Due to his untimely death in 1937, George Gershwin did not live to see a European production of his opera. He would likely have been horrified to know that the first European production was staged in Copenhagen in 1943 during the Nazi occupation, with an all-white cast performing in blackface.

george gershwin | letter agreement for performances of porgy and bess in europe, signed by george gershwin and his collaborators.

Fine Books and Manuscripts, Including Selections from the Collection of Barbara and Ira Lipman

The Passion of American Collectors: Property of Barbara and Ira Lipman

The Passion of American Collectors: Property of Barbara and Ira Lipman Gershwin, George; and Dubose Heyward Porgy and Bess. An Opera in Three Acts. New York: Random House, 1935 4to (310 x 230 mm). Frontispiece and title-page vignette printed in color. Full red morocco, spine and upper cover stamped in blind, top edges gilt; spine ends and joints rubbed, lower inner hinge starting. Linen slipcase. Copy 15 of 250 numbered copies signed by George Gershwin (composer), Dubose Heyward and Ira Gershwin (lyricists), and Rouben Mamoulian (director).

gershwin, george; and dubose heyward | the score of porgy and bess, signed by gershwin and others

Fine Books and Manuscripts Online

GERSHWIN, GEORGE Autograph music manuscript of "Leavin’ for de Promise’ Lan’" from the opera Porgy and Bess, Act One Scene Two The composition draft of the opening soprano solo [for Bess] with accompaniment, beginning "Oh the train is at the station", titled by Gershwin "Train" and "Promise Lan'" above the music, including a hitherto-unknown instruction for "Hand Clapping" (the rhythms written in the top margin on a hand-drawn 3-line stave); the music for Bess (with treble clef) and piano on up to four systems per page, each of three staves, comprising Bess's main solo, breaking off before the final ensemble to Act One, the rhythms notated in halved (occasionally quarter) note-values with respect to the published version of this scene, and other divergences, comprising some fifty-five bars of music in all, with a few alterations and a cue marked by Gershwin with an arrow, the brown wrapper bearing a presentation inscription by composer's brother Ira: "For Salka Viertel, Mms [Music manuscript] George Gershwin. Pencil sketch of 'Heading Fo' De Promise' Lan'' (Train Song) from the 1st Act Finale of 'Porgy and Bess' / Attached is an autograph which can be pasted on to mms. This autograph (signature rather) cut from a cancelled bank check. / I.G." 4 pages, folio (13 1/8 x 10 1/8 in.; 335 x 255 mm), a bifolium of 12-stave paper by Harms (No.2), page 2 containing 2 bars and a cue to page 3, Gershwin's signature clipped from a bank check pasted onto the first page (as directed by Ira Gershwin's presentation inscription); a few scattered stains and marginal chips and tears, not affecting the text, small glue-stain where the clipped signature has been affixed to the first page. "Porgy and Bess" is the greatest American opera and Gershwin's masterpiece, to which he devoted two years of his life. This sketch contains music for one of the main protagonists, the beautiful but dissolute Bess (soprano). It is one of the most substantial known sketchleaves for Porgy and Bess: nearly all those that survive are only one or two pages long. Bess's solo on this sketchleaf introduces the final part of Act One, Scene Two, following Serena's lament for her recently murdered husband Robbins. Bess was formerly the mistress of Crown, Robbins's murderer, but is now romantically entwined with Porgy. She jumps up and urges the denizens of Catfish Row to rise up and travel to the Promised Land: "Oh the train is at the station an' you better get on board." Pages 1 and 2 contain the music at Rehearsal nos 209-212 (pp.166ff) of the published vocal score (1935), including the refrain on page 3 ("Keep that drivin' wheel arollin', rollin', rollin', rollin, rollin'..."), as far as two bars after Rehearsal no. 213. The call for "Hand-clapping" at the beginning is especially notable: no such marking is found in Gershwin's complete piano-vocal manuscript of this scene, nor in the published score. The music is relatively close to Gershwin's final score, although notated in halved note values (ie beginning with "sixteenth-notes" in 2/4 time). However, the final seven bars on page 3 diverge more radically from the known version. Page 4 contains an apparently earlier and more rudimentary sketch for the refrain on page 3, containing only the voice part, as far as five bars after Rehearsal no. 214: "...Let it roll until we meet our brudder in the Promise' Lan'" (page 169 of the 1935 score). It would appear that Gershwin got as far as the start of page 2 and then interrupted his composition draft, when he realized that he first needed to make a preliminary sketch of the refrain (see page 4), before continuing the draft on page 3. Porgy and Bess is a substantial (and sometimes controversial) opera, replete with arias, duets and ensembles, and furnished with the sophisticated orchestral textures that set Gershwin apart from contemporary American songwriters. Gershwin's musical language is infused with the melodies and harmonies of blues and jazz, which had attracted him throughout his life, and which he here brings to a grand-scale operatic climax. Gershwin always intended the work to be sung by an all-black cast, which eventually led to it being premiered on Broadway rather than at the Metropolitan Opera House. The few minor white characters are accorded nothing to sing at all. The controversies surrounding the racial aspects, the portrayal of the Gullah community of South Carolina by a white Jewish New Yorker, some of the language in the original libretto, unauthorized performances in "black-face" and other such considerations have continued to affect the fortunes of Porgy and Bess over eight decades. Although best known for songs such as "Summertime" and "Bess You Is My Woman Now," the work as a whole is generally regarded as a major contribution to opera rather than as a Broadway musical. In this light, the present number constitutes the heroine's introduction to a classic First Act Finale, which, as with so many Romantic operas, culminates in a general ensemble. The "George and Ira Gershwin Collection" in the Library of Congress contains another four-page sketch for this number (in Box-Folder 132/5), which includes an earlier compositional stage of the music found here. The Library of Congress sketch is written out in the note values found in the final version and printed score (rather than halved values as here), but the music itself is still in a more primitive state than is achieved in the present manuscript. However, the two sources could well be close in date, since both form part of the same creative process. Sotheby's is pleased to acknowledge the help and advice of Wayne Shirley, the editor of the forthcoming critical edition of Porgy and Bess, in preparing the catalogue description for this lot. PROVENANCE Presented by Ira Gershwin to Salka Viertel (1889–1978), the actress and screenwriter for Greta Garbo; Salka's famous soirées in Hollywood were attended by Gershwin, Schoenberg, Brecht, Thomas Mann, Chaplin, Eisenstein and others, as described in her book The Kindness of Strangers (1969) — Acquired from Viertel, evidently at an early date, by Joseph H. Hirshhorn (1899–1981), the financier, art collector, and benefactor of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., and subsequently descended in the family to the present owner

autograph music manuscript of "leavin’ for de promise’ lan’" from the opera porgy and bess, act one scene two

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN GERSHWIN EXPRESSES INTEREST IN WRITING AN ARTICLE FOR A NEW MAGAZINE BEING PUBLISHED IN PHILADELPHIA Typed letter signed ("George Gershwin"), 1 p. (9 7/8 x 7 7/8 in.; 250 x 200 mm) on his Riverside Drive letterhead, New York, 23 October 1929, to Margaret Cass, Philadelphia; horizontal fold. Gershwin writes, "I told Maurice Speiser that although I never write articles I should like to write one for your new magazine. However at the present time, I am so tied up with reviving a show of mine, and with other engagements that I find it impossible to write anything, However, I can assure you that the first time I get free I shall be glad to write something to send you," The identity of the magazine is something of a mystery. Margaret Cass is styled "Managing Editor" in the address, but the name of the magazine is not given. The Philadelphia address, 1224 Chancellor Street, was the location of the Centaur Bookshop. Maurice J. Speiser was a prominent Philadelphia lawyer who represented many clients in artistic and literary circles and was a friend of Ernest Hemingway.

george gershwin | gershwin expresses interest in writing an article for a new magazine being published in philadelphia

GERSHWIN, GEORGE George Gershwin's Song-Book. (New York: Random House, 1932) ﻿ 4to (12 3/4 x 9 1/2 in; 322 x 235 mm). Half-title, photographic frontispiece, title-page printed in red and black with vignette, 18 full-page color illustrations, booklet score of "Mischa, Yascha, Toscha, Sascha" in pocket on rear pastedown (a little spotted and creased); minor spotting at fore- and lower edges. Publisher's dark blue morocco, spine stamped in gilt, joints, corners, and head and foot of spine variously worn rubbed, minor wear to extremities; original blue board slipcase; broken. First edition, no. 78 of 300 copies signed by Gershwin and Constantin Alajalov. Featuring eighteen songs, each accompanied by a full-page illustration by Alajalov, including some of the composer's most famous, "Fascinating Rhythm," "Swanee," "Strike Up the Band," and "I Got Rhythm" among them.

gershwin, george | george gershwin's song-book. (new york: random house, 1932)

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN THE COMPOSER, "TERRIBLY LONESOME," WRITES WHILE TOURING WITH LADIES FIRST. Autograph letter signed ("George"), 3 pp. (9 1/2 x 6 in.; 242 x 153 mm) on Hotel Belvedere letterhead, Baltimore, "Fri evening," (20 September 1918), to Max Abramson, New York; horizontal folds. Autograph envelope. Lonesome in Baltimore. In the fall of 1918, Gershwin went on tour as accompanist to vaudeville star Nora Bayes in the show Ladies First. In addition, the composer contributed two songs to the show: "The Real American Folk Song" (lyrics by Ira Gershwin, under the pseudonym "Arthur Francis") and "Some Wonderful Sort of Someone" (lyrics by Schuyler Greene). Gershwin appeared on stage as accompanist nattily dressed in a green tweed suit, purple shirt, and blue tie. In this letter from the tour's stop in Baltimore, Gershwin writes to his friend, journalist Max Abramson back in New York. He notes that writer James Montgomery has been called in to rewrite the first act. He also mentions one of his lyricists: "Schuyler Greene came here twice this week from Wash. He is the proud father of a boy born Tues. night." Before complaining of boredom in Baltimore and asking Abramson to meet him in Atlantic City the next week, he drops an interesting bit of news: "I have to rush over to Kernan's Hotel & have supper with Miss [Sybil ?] Morrison (The big suffragette) is waiting there. She is a fine woman & I enjoy her company."

george gershwin | george gershwin, "terribly lonesome," writes while touring with ladies first.

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN GEORGE GERSHWIN WRITES TO HIS MUSIC TEACHER, DESCRIBING HIS PROGRESS WITH PORGY AND BESS Typed letter signed ("George Gershwin"), 1 p. (10 3/4 x 8 3/8 in.; 273 x 212 mm) on his East 72nd St. letterhead, New York, 16 May 1935, to Joseph Schillinger, New York; horizontal fold. "I've finished the music for the opera and also the orchestrations of the first act and am now working on the second act scoring, but it goes slowly," Gershwin writes only four months before Porgy and Bess opened in Boston. From 1932 to 1935, Gershwin studied music theory, composition, and orchestration with Joseph Schillinger. Although Gershwin had studied with a number of teachers over the years, he stayed with Schillinger longer than any of the others. Gershwin was said to be an indifferent and undisciplined pupil. He continues in the present letter, "Would like to see you one of these days and perhaps continue to take some lessons as I am planning to stay in New York all summer. I would like to clear up the amount outstanding on the organ loan and perhaps we could work this out in lessons."

george gershwin | george gershwin writes to his music teacher, describing his progress with porgy and bess

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN AUTOGRAPH MUSIC MANUSCRIPT OF GEORGE AND IRA GERSHWINS' "WHO CARES?" FROM THE PULITZER PRIZE-WINNING MUSICAL OF THEE I SING. 9 pages (13 1/2 x 10 1/2 in.; 342 x 267 mm) on bifolia of 12-stave paper by Harms (No. 2), signed twice ("George Gershwin" and "George"), comprising autograph title-page and 8-page music manuscript with lyrics, in ink with additions and corrections in pencil, n.p., n.d. [New York?, ca. 1930–31]; some very light tanning and soiling. An early draft of one of the most popular songs from one of George Gershwin's most important musicals, Of Thee I Sing, signed twice by Gershwin and with corrections and additions in pencil. Of Thee I Sing, one of the Gershwins' most accomplished musicals, is a political satire about a Presidential candidate, John P. Wintergreen, who runs on a "love" platform. In the first act, Wintergreen's supporters even sing "Love Is Sweeping the Country" at a Madison Square Garden rally. By the second act Wintergreen is married to his true love, Mary Turner, and has been elected President. At a White House press conference, the President and First Lady lay out their platform in lyrics by Ira Gershwin that may strike a familiar note with anyone who follows American politics. President Wintergreen makes his intentions clear to the press: "I'll have no discussions / Of the farmers or the Russians / You can tell the people / They can all jump off a steeple." "Who Cares?," along with "Love Is Sweeping the Country" and the title song "Of Thee I Sing" have remained popular standards. "Who Cares?" has been recorded memorably by an array of celebrated vocalists, including Fred Astaire, Judy Garland, Ella Fitzgerald, Kate Smith, Anita O'Day, and continuing with later covers by Tony Bennett (1993) and Rufus Wainwright (2007). Other numbers, such as "We'll Impeach Him," have survived primarily as integral parts of an interconnected score. The show opened in New York on 26 December 1931, with William Gaxton as Wintergreen and Lois Moran as Mary Turner. The book was by George S. Kaufman and Morrie Ryskind, with Kaufman directing. Of Thee I Sing won the Pulitzer Prize for Drama in 1932 and was one of the longest-running Broadway shows of the 1930s. It has had several successful revivals. In 1970, George Balanchine choreographed a ballet titled "Who Cares?" for the New York City Ballet. The work was centered around the song "Who Cares?" and several other popular Gershwin tunes. An early working manuscript of an essential number in the Gershwin songbook.

autograph music manuscript of george and ira gershwin's "who cares?" from the pulitzer prize-winning musical of thee i sing.

Contemporary Discoveries

Andy Warhol 1928 - 1987 George Gershwin, from Ten Portraits of Jews of the Twentieth Century signed in pencil Andy Warhol and numbered 52/200 (lower right) screenprint in colors on Lenox Museum Board sheet: 40 by 32 in. (101.7 by 81.3 cm.) Executed in 1980; this impression is number 52 from the edition of 200 plus 30 artist's proofs, with the blindstamp of the printer, Rupert Jasen Smith, co-published by Ronald Feldman Fine Arts, Inc., and Jonathan A. Editions, and with their inkstamp on the verso.

View 1 of Lot 186: George Gershwin, from Ten Portraits of Jews of the Twentieth Century

george gershwin, from ten portraits of jews of the twentieth century

Prints & Multiples

Andy Warhol 1928 - 1987 George Gershwin, from Ten Portraits of Jews of the Twentieth Century (Feldman & Schellmann II.231) signed in pencil and numbered 79/200 screenprint in colors on Lenox Museum Board sheet: 40 by 32 in. 1017 by 812 mm. Executed in 1980; this impression is number 79 from the edition of 200 plus 30 artist's proofs, with the blindstamp of the printer, Rupert Jasen Smith, co-published by Ronald Feldman Fine Arts, Inc. and Jonathan A Editions.

View 1 of Lot 179: George Gershwin, from Ten Portraits of Jews of the Twentieth Century (Feldman & Schellmann II.231)

george gershwin, from ten portraits of jews of the twentieth century (feldman & schellmann ii.231)

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN RHAPSODY IN BLUE, FOR JAZZ BAND AND PIANO ….PIANO SOLO AND SECOND PIANO. NEW YORK: HARMS, [CA. 1927] Printed musical score, 4to (11 x 9 in.; 279 x 228 mm). 42 pp. with self-wrappers; inked stamp of Chappell & Son Studio in lower right corner of title-page, some soiling to title-page and upper right corners of first few leaves, small chip at upper right corner of title, first two leaves with some separation at joint. Presentation copy of one of the earlisest appearances of a piano solo arrangement for Rhapsody in Blue, Gershwin's undisputed masterpiece. Inscribed on the title, "For Ford Tarpley — who is just as thoughtful & generous in Paris as he was in Ashville [sic] N. C. with Best Wishes, George Gershwin" Biographical information on Ford Tarpley, recipient of this score, is sketchy. He appears to have written a stage play, Suicide (a comedy, no less), and written and produced a film, Vida the Vampire, both in 1916.

george gershwin | a signed presentation copy george gershwin's masterpiece, rhapsody in blue.

Property from the Collection of Elsie and Philip Sang GEORGE GERSHWIN GEORGE GERSHWIN'S SONG-BOOK, NEW YORK: RANDOM HOUSE, 1932 4to (12 5/8 x 9 1/2 in.; 321 x 241 mm). Photographic portrait frontispiece, illustrations by Constantin Alajalov. Publisher's blue morocco gilt, top edges gilt; joints cracked and rubbed, spine and edges rubbed. Copy 206 of 300 numbered copies, signed by Gershwin and Alajalov.

george gershwin | "george gershwin's song-book," limited edition, signed by the composer

Fine Autograph Letters and Manuscripts from a Distinguished Private Collection: Part II | Music, Americana, English and Continental Literature

four measures (without text), in black ink, on a single, hand-drawn stave, on a small bifolium of notepaper 1 page, 6 x 4 inches, integral blank, no place or date

autograph musical quotation of “bess, you is my woman now”, from porgy and bess, signed and inscribed by the composer: “porgy&bess sincerely george gershwin”

seven measures, in black ink on a single, printed stave 1 page, 3 1/2 x 6 3/4 inches., affixed by hinges to a backing sheet, no place or date

autograph musical quotation from “rhapsody in blue”, from the andante central section, in e major, signed and inscribed by the composer “rhapsody in blue sincerely george gershwin”

fine photographic portrait signed and inscribed by the composer, in black ink (“most sincerely, george gershwin”), showing gershwin seated at his steinway grand piano

Music, Medieval and Renaissance Manuscripts and Continental Books

FIRST COMPLETE EDITION, inscribed in black ink on the title ("To Maurice Yvain, with cordial greetings on his first trip to America, With Admiration, George Gershwin, Apr.29, 1930"), 167 pages, 4to (c.29 x 22cm), lyrics by Ira Gershwin, book by Morrie Ryskind, publisher's wrappers printed in red and blue, red cloth spine, modern red folding cloth box, front wrapper restored

strike up the band, [vocal score], new york: new world music corporation, 1930, signed and inscribed by gershwin to the composer maurice yvain

gershwin, george.

Fine photographic portrait signed and and inscribed, with a two-bar autograph musical quotation from the song "The man I love", on the photographer's mount ("To Miss Hamill - With affection George Gershwin"), showing the composer at the piano

Album of autograph musical quotations and signatures by George and Ira Gershwin and others

gershwin, george and ira gershwin.

[Three] Preludes for Piano, edition signed and inscribed on the title ("To Miss Hamill In gratitude for being so very nice. All good wishes and these preludes. George Gershwin Mar. 19, 1928"), New York: New World Music Corporation, 1927

4to (12 5/8 x 9 1/2in.; 321 x 241 mm). Photographic frontispiece portrait by Maurice Goldberg, illustrations by Alajalov. Publisher's cloth; worn, head and tail of spine frayed

gershwin, george. george gershwin's song-book. new york: simon and schuster, inc, 1932

The Library of an English Bibliophile Part VII

4to (311 x 230mm.), NUMBER 126 OF 250 COPIES SIGNED BY GEORGE AND IRA GERSHWIN, DU BOSE HEYWARD AND ROUBEN MAMOULIAN, colour frontispiece and large title-page vignette by George Biddle, publisher's red pebble-grain morocco, spine lettered in blind, black morocco label on upper cover, top edge gilt, original hessian-covered slipcase, endpapers with some browning, binding worn at extremities with repairs to spine and several small bumps on upper cover, slipcase worn at extremities

porgy and bess, an opera in three acts. libretto by dubose heyward, lyrics by du bose heyward and ira gershwin, production directed by rouben mamoulian. new york: random house, 1935

4to (323 x 242 mm.), FIRST EDITION, NUMBER 144 OF 300 COPIES SIGNED BY BOTH GERSHWIN AND ALAJALOV, photographic portrait frontispiece by Maurice Goldberg, photographic illustration of Gershwin's hands by Fitz, title-page vignette and 18 colour illustrations by Constantin Alajalov, printed music for one song ("Mischa, Yascha, Toscha, Sascha") in pocket attached to lower fixed endpaper, original full blue morocco lettered in gilt, top edge gilt, blue buckram folding case with gilt-lettering and decoration by Zaehnsdorf, ownership inscription on preliminary blank, binding very slightly rubbed at joints

george gershwin's song-book. new york: random house, 1932

The Maurice Neville Collection of Modern Literature (Part III)

4to (12 3/4 x 9 1/2 in; 322 x 235 mm). Half-title, photographic frontispiece, title-page printed in red and black with vingette, 18 full-page color illustrations. Eight-page score "Mischa, Yascha, Toscha, Sascha" in pocket at rear. Publisher's dark blue morocco, spine stamped in gilt, joints rubbed, minor wear to extremities; original blue slipcase, with minor discoloration and wear.

george gershwin's song-book. new york: random house, 1932 

number 134 of 250 copies, signed by George Gershwin, Dubose Heyward, Ira Gershwin and Rouben Mamoulian, large 4to (31.2 x 23.5cms), title and frontispiece illustrations in colour by George Biddle, publisher's red calf boards, with blind-stamped device and lettering to spine, raffia-covered card slipcase, joints splitting at extremities

Results for "George Gershwin"