Wurlitzer-Bruck has an extensive holding of original woodcuts, engravings and lithographs from the 16th to 20th-centuries, including portraits of composers, performers and instrument makers, genre scenes showing musical performance, caricatures, song sheets, pictures of musical instruments, etc.
In addition to prints, we have many photographs, both signed and unsigned, as well as paintings.
We deal only in original materials. Many items are offered in decorative archival-quality mats, some already framed and ready for gift-giving. Custom framing can be arranged on request.
Albanese, Licia (1909-2014)
Photograph As Violetta
, signed "Licia Albanese". Inscribed to "Helen Hubbard". Total Measurement Of 9.50" H X 7.50" W. Fine condition except for slight rippling.
A character portrait of Italian-born soprano Licia Albanese as Violetta in Verdi's La traviata, signed "To Helen Hubbard / with affectionate wishes".
Licia Albanese made her Metropolitan Opera debut in 1938 in the title role of Puccini's Madama Butterfly - a role for which she is fondly remembered - but her greatest triumph there came four years later, when she sang Violetta for the first time. The New York Times hailed her performance for being "sincere and artistic, simple and direct to be praised for its restraint and its avoidance of the slightest hint of bathos." Violetta became a definitive role for Albanese, and she sang it often at the Met over the next 20 years. Arturo Toscanini was especially fond of Albanese and selected her to sing Violetta in his only recording of the opera.
6.75" H X 5.25" W Matted With A Total Measurement Of 13" H X 11 " W. Very good condition.
A wonderful pencil caricature of the great English conductor looking somewhat quizzical and standing in front of a microphone, his baton aloft in his right hand. Olga Koussevitsky was a patron of the arts and the second wife of the famous conductor Serge Koussevitsky. She was well-known for her caricature portraits and had an exhibition in New York City. This caricature is dated 1958, followed by her autographed initials.
1803. 26âh X 16.50â W. ( 683 X 417 Mm). Total Size In Mat: 31.25" H X 25" W. Overall appearance is excellent with only a couple of very tiny tears on upper edge, a couple of small slight creases and the bottom label a bit soiled. Trimmed to near the platemark.
A fine impression of this large and marvelous print by James Ward (1723-1792) after the oil painting by Sir Joshua Reynolds, showing the great 18th-century soprano standing full-length portrayed as St. Cecilia, the patron saint of music. She is holding a score and appears to be singing together with a group of four cherubs above her, while another is placing a wreath on her head.
Elizabeth Billington's (1765-1818) mother was a pupil of Johann Christian Bach and Elizabeth also had some lessons with him. Her operatic debut took place in Dublin in 1784. She appeared in London in 1786 as Rosetta in Love in a Village and her success was immediate and catapulted her into a long and illustrious career in England and Italy. Many operas were written for her and her colorful personal life gave rise to much gossip.
Metopolitan Opera Production Photograph Of 1914 L'Amore Dei Tre Re Premiere
, signed "Lucrezia Bori". Total Measurement Of 5" H X 7" W. Tiny pinholes in each corner, otherwise excellent.
Lucrezia Bori signed this dramatic production shot from the Metropolitan Opera's premiere staging of Montemezzi's L'Amore dei tre re, featuring Adamo Didur, left, as Archibaldo and Bori as Fiora in the opera's second act. Bori apparently signed in black ink, then traced over it in white, inscribing it in Italian "To Signor Reiss, remembering the Amore dei tre re" and dating it "New York 1914" in black ink in the upper righthand corner.
Though it is largely forgotten today, Italo Montemezzi's L'Amore dei tre re was an international sensation before World War I, and its Metropolitan Opera (and U.S.) premiere was a headline event. Toscanini conducted a cast led by Bori, Didur, Pasquale Amato and - as the hero Avito - tenor Edoardo Ferrari-Fontana, in his Met debut in the role he had sung in the world premiere. In a glowing opening night review, W.J. Henderson in the New York Sun wrote that "the production adds much to the artistic standing of the Metropolitan Opera House." He added that "Miss Bori must have astonished her most devoted admirers by her impersonation of Fiora. To summarize briefly, it was lovely in its pictorial quality and sung almost flawlessly."
French Caricature: "Les Bonnes Tétes Musicales -- Musique De La Garde Nationale".
Matted In A Gilt Frame Having A Total Measurement Of 19" H X 16" W. Good condition.
Amusing French caricature by Frédéric Bouchot (1798-186?), who worked for many French caricature magazines and was well known for his musical subjects. The caricature is number 16 of a set of 30 (second quarter of the 19th century), and is entitled "Section des instrumens honteux" (section of disreputable instruments), and the caricature depicts a pair of percussionists playing triangle and cymbals. The lithograph is hand-colored with gelatin overtones.
Handsomely Ovalized In A Decorative Triple Matte With A Total Measurement Of 12" H X 11" W. Fine condition.
This etching of a middle-aged Brahms was done by the English artist Samuel Hollyers (1826-1919), who worked for a good part of his life in New York and is well known for engravings of Dickens as well as New York street scenes.
Total Size In Mat: 15" H X 12" W. Fine (extremely slight foxing).
An attractive portrait of the youthful "Norwegian Paganini" shown holding his violin. It is "drawn from the life" by E.T. Parris, with Bull's facsimile signature under his image. Published by Charles Tilt in London, 1836.
, signed "Charles Wakefield Cadman". To "my dear friend, Beatrice Griffin, whose playing of my sonata gave me greatest pleasure. In appreciation of her fine musicianship". 1933. 8" X 10" Sepia Photograph By Keystone. Excellent condition.
The American composer is shown in near profile.
Cadman was one of the first significant American composers who did not go to Europe to get a musical education. He had an intense interest in American Indians and their music, incorporating much of it into his own music. He was one of the first to introduce elements of ragtime into chamber music and also composed several film scores.
c. 1815. Total Dimensions Including Frame: 11.75" H X 13.75" W. In A Modern Gilt Frame. A hand-coloured etching by G. J. Gatine after L. M. Lanté, Plate No. 86. Fine condition.
A plate from the "Le Bon Genre" series which was done for La Mésangère. Two young Parisian women with their respective foreign officers - one Russian and one Scottish - admire this real life musician who performed in Paris. There are other portraits of this same musician who was often called "Monsieur Ut, La, Si."
, signed "Enrico Caruso". Total Measurement Of 9" H X 5" W. Handsomely presented in a 5-ply mat. Fine condition.
A striking sepia imperial cabinet photograph by Mishkin in which Caruso is shown in costume as Samson in Saint-Saëns' Samson et Dalila and which he has boldly signed vertically.
"Caruso's Samson has become one of the Italian tenor's most impressive portrayals," wrote Max Smith in his review in the New York American, of the opening night performance of in Saint-Saëns' Samson et Dalila in 1918. On two occasions, Enrico Caruso opened the Metropolitan Opera season as Samson - in 1915-16 and, more notably, in 1918-19. By a trick of fate, opening night in 1918 fell on Nov. 11, the day the armistice was declared, ending World War I. The performance of Samson et Dalila that night was conducted by Pierre Monteux, with Louise Homer as Dalila, and it began with a thrilling demonstration of patriotism as the whole company massed onstage to sing the national anthems of all the Allied powers, with Caruso carrying the flag of Italy.
C. 18" H X 14" W . In An Ornate Gold Frame With A Total Measurement Of 24" H X 21" W. Frame Has A Plaque With The Artist's Name And Dates (1849-1914). Attractive appearance and in overall good condition except for a few minor paint blemishes and retouching. The painting is lined. Signed by the artist on the lower right.
The French painter and sculptor Henri Michel-Lévy was a pupil of Félix Barrias and Antoine Vollon. He exhibited at the Salon in Paris regularly between 1868 and 1914. He was a great friend of the Impressionists, and a portrait of him painted by Degas can be seen in the Gulbenkian Foundation in Lisbon.
, signed "F Chaliapin". Total Measurement Of 5.50" H X 3.25" W. Very good condition.
Sepia German postcard photo of the great Russian bass, who has dated it 1929 and is shown in the role of Mephistopheles, probably in Boito's Mefistofele.
Metropolitan Opera audiences probably were not ready for Feodor Chaliapin when he made his house debut on November 20, 1907, in the title role of a new production of Boito's Mefistofele. He made a stunning impression, but the all-too-convincing intensity of his performance made many uncomfortable. Chaliapin stayed at the Met for only three months. He did not return until 1921 - a man without a country, after a disillusioning flirtation with the Soviet regime - by which time he had taken full command of the title role in Mussorgsky's Boris Godunov, the vehicle of his triumphant comeback at the Met. (He sang in Russian, everyone else in Italian.) How sweet it must have been, in the fall of 1922, when revisited Mefistofele at the Met, to cheers and rave reviews. "Chaliapin deserved no less honor than was accorded him," wrote Max Smith in the New York American, after describing the thunderous ovations. "Sixteen years ago, despite critical remonstrance, his portrayal of Mephistopheles was an achievement unequalled a creation of genius."
, signed "Carlos Chavez". To Paul H. North. June 14, 1974. 10" H X 8" W. Fine image in good condition except for an abrasion on the upper right not affecting image and paper clip mark on upper left.
The Mexican composer Carlos Chavez is sending a photograph accompanied by a typed letter, adding "The Louisville Orchestra... has made a recording of the suite of my ballet-Symphony H.P. (Horsepower) which, as I understand, is available in record shops or directly from the symphony."
The English composer, violinist and teacher Samuel Coleridge-Taylor shown here in a pensive post. His father was from Sierra Leone and his mother English. He spent almost his entire career in London, principally teaching at the Royal Academy of Music. He made three concert tours of the US in 1904, 1906 and 1910 conducting his own works.
Total Measurement Of 11.25" H X 13" W. Excellent condition.
An amusing and charming original Victorian cigar box label with a portrait of the Polish tenor, decorated with raised gold medals. Handsomely triple-matted in green and gold.
In the years before Caruso arrived at the Metropolitan Opera, Jean de Reszke was the company's reigning tenor - handsome, charismatic, a brilliant singer in heroic roles. His fame endures despite the fact that he never made commercial recordings.
20" H X 15" W. Excellent condition with a deep impression.
Plate no. 4 from the Lutherie section, being an engraved first-edition plate from the 18th-century Encyclopédie of Diderot and d'Alembert, which was produced over 20 years from 1751 to 1772 with first editions appearing in both Paris and Amsterdam. This plate was probably issued in the late 1760's. Clean and crisp.
In Matching Mats, Each Having A Total Measurement Of 19.50" H X 14.50" W. Clean and crisp but each with a small worm hole on the left plate mark.
Engraved first-edition plates from the 18th-century Encyclopédie of Diderot and d'Alembert, which was produced over 20 years from 1751 to 1772 with first editions appearing in both Paris and Amsterdam. Plates such as these are held in great esteem for their accuracy.
Plates 11, 12 and 13 of the lutherie section showing stringed instruments in the first plate and instrument-making tools in the second and third plates.
David Dancing Before The Tabernacle (2 Sam. Xviii, 12-15).
8.75" H X 11.25 " W. Engraving. Matted With A Total Measurement Of 15" H X 18" W. Trimmed somewhat unevenly just to the plate. A good deep impression.
Solomon is shown playing the harp, leading the ark through the streets of Jerusalem, accompanied by musicians playing a variety of instruments: lyre, lute, panpipes, bicenia, cymbals, tambourine, cornetti, straight trumpets, drum and coiled horns.
Plate 8 from the famous Flemish series of 18 plates kown together as the Encomium Musices. The plates were intended to illustrate musical events from the Bible, mostly the Old Testament. Adriaen Collaert (1560-1618) after Jan van der Straeten, called Stradamus (1523-1605).
RARE COMPLETE SET OF 16TH CENTURY FLEMISH ENGRAVINGS.
The Encomium Musices (Eulogy of Music) is an extraordinary set of engravings published by Philip Galle in Antwerp c. 1590, consisting of a set of 18 plates showing scenes from the Holy Scriptures, all with musical subjects.
Galle was the publisher and chief engraver. Other important artists are exemplified with plates 3, 4, 6-9, 11, 14 and 15 which are engraved by Adrian Collaert (1560-1618) who was the son-in-law of Philip Galle, after designs by Jan van der Straet (Johann Sadeler/ Stradanus, 1523-1605). Plate No. 16, is engraved by Philip Galle's eldest son Theodore Galle (1571-1633). 18 engraved plates, each loose as published with average dimensions to plate mark of 9.25 in h x 11.25 in w and individually matted (acid-free mats measuring 15 in h x 18 in w). A nice complete set with good appearance, generally in very good condition and with clean, strong impressions. All but four of the plates have significant margins. Some of the plates are black and white-toned while other are sepia-toned, indicating plates are from a mix of two pulls. The set is boxed with a total measurement of 3 in x 16 in x 19 in. Box in brown linen with brown leather spine. Please enquire for individual condition reports and additional photographs.
The Encomium Musices is thought possibly to commemorate the rededication of Antwerp's churches to Roman Catholicism after the city was captured by Alexander Farnese in 1585. Galle and most of the artists were associated with the city of Antwerp or the Cathedral of Antwerp. Galle worked there and Andreas Peverange (1543-91) was choirmaster, whereas the chief designer van der Straet was the Town Clerk. The set forms a collection of pictorial scenes featuring musical events from the Holy Scriptures, depicted however with costumes and instruments representing the period of the artists. Beneath each of the engravings is a paraphrased quotation from the relevant Books of the Bible in Latin hexameters.
The set consists of an engraved title page, a preface in letterpress which is counted as plate 2, and sixteen other engravings, numbered from 3 to 18. With the exception of plates 16, 17, and 18 which are connected with the New Testament, all the other plates illustrate scenes from the Old Testament. The title page and page 17 are remarkable as incunabula, being two out of a dozen of the earliest engravings of music in the form of illustrations of open music books in pictorial scenes. The music on the title page was identified by Max Seiffert as Andreas Pevernages six-part song Nata et grata polo. The music on page 17, showing the Holy Mass, is not readable; it may indicate a florid Mass for six voices, written by the same composer.
THE ENCOMIUM MUSICES IS AN EXCEEDINGLY MPORTANT DEVELOPMENT IN MUSICAL ICONOGRAPHY. Otto Deutsch produced a 1943 reduced-format facsimile in which he mentions only five known copies to exist. Indeed, complete copies are only rarely seen on the market whereas individual plates are sought after by collectors as beautiful examples of engravings of the period showing musical subjects.
1735. Decoratively Matted In Green Suede With A Total Dimension Of 17.75" H X 14.25" W; Image Size Is 12.50" H X 8.50" W. Trimmed to just beyond the plate mark. One small abrasion in the background above the subject's head and one tiny pin prick well below the plate mark on the bottom, otherwise excellent.
One of the most important portraits of the famous castratto Carlo Broschi, known as Farinelli. Etched and engraved by Joseph Wagner (1706-1780) after Jacopo Amiconi (1675-1752). The portrait was executed in 1735, one year after Farinelli had arrived in London to join Porporra and Handel at the Opera of the Nobility and when he was at the height of his powers.
Amiconi was a personal friend of Farinelli and married to a soprano. Joseph Wagner was his pupil.
, signed "Ossip Gabrilovitch | January 1927". To "the genuine music lover Mr. Leo Levy with sincere appreciation of his excellent work for the masses". 10" H X 8" W. Sepia. Fine with very slight smudge on far right margin and a few very small ink marks.
Ossip Gabrilovitch, the noted Russian-born pianist, conductor of the Detroit Symphony and married to Mark Twain's daughter, shown in a youthful pose.
, signed "Galli Curci". Total Measurement Of 14" H X 10" W. Slight staining at top not affecting image.
Galli-Curci delicately signed her last name on this beautiful sepia Lumière studio portrait of the soprano in the role of Violetta in Verdi's La traviata.
Amelita Galli-Curci made her Metropolitan Opera debut as Violetta in La traviata - opposite Beniamino Gigli and Giuseppe De Luca - in a new production on the opening night of the company's 1921-22 season. Galli-Curci had already sung Violetta in New York, with the touring Chicago Opera Company, but her Met debut was a major event. Max Smith of the New York American wrote of Galli-Curci in his opening-night review, "Surely no other role reveals her own peculiar powers, histrionic as well as vocal, to greater advantage; none permits her to disclose more affectingly the characteristic delicacy of her art, the essentially feminine charm of her persuasions."
, signed "Judy Garland". Inscribed to "Abe [Burrows], a grand person, sincerely". Several small cracks in black portion of photo.
High-gloss sepia photo decoratively matted with a total size of 14" h x 11" w. (image 9" h x 6" w.). The young Garland is shown onstage, and has inscribed the photograph to her long-time friend, Abe Burrows, who would later co-write the book for the Broadway hits, Guys and Dolls and How to Succeed in Business Without Really Trying.
May 3, 1932. Total Measurement In Mat: 10.5" X 17". Excellent condition.
Original pencilled portrait by George Gershwin, possibly a self-portrait, matted with one of his signed checks.
Gershwin was an enthusiastic amateur artist as well as an art collector. Included is a letter of provenance by the Gershwin authority Edward Jablonski in which he relates that Ira Gershwin collected various Gershwin signatures and doodles and would frame them with one of Gershwin's checks and present them to friends, as he did in this instance.
Photograph As The Fiddler In World Premiere Of Konigskinder, Inscribed To Tenor Albert Reiss
. Total Measurement Of 7.75" H X 5.75" W. Torn upper left corner, slight wear in upper right corner. Part of the inscription has been trimmed away at the edges of the photo.
Handsome, exuberant sepia production photo of baritone Otto Goritz in the Metropolitan Opera's 1910 world premiere of Engelbert Humperdinck's Königskinder, warmly inscribed in German (but not signed) by Goritz to Albert Reiss. (Both were prominent in the opera's premiere cast.)
German baritone Otto Goritz created the key role of the Fiddler in the acclaimed world premiere of Königskinder at the Met on December 28, 1910. The composer was in attendance, with a cast led by Geraldine Farrar, Hermann Jadlowker and Goritz. In its rave review, the New York Times praised the humor and spirit of the baritone's portrayal, in a role "admirably suited to him."
10.5" H X 7.5" W. Decoratively Matted In Cream Silk With Burgundy Border. Good condition.
The famed mezzo-soprano and sister of Giulia Grisi sang under Rossini's management at the Théâtre-Italien in Paris. Bellini wrote for her the part of Romeo in I Capuleti e i Montecchi (Giulia sang Juliet).
"Hope Told A Flattering Tale" - English Caricature.
A caricature by William Heath, published by Thomas McLean, London, c.1828. 14.5" h x 10+" w. Total measurement in mat: 19.5" h x 14" w. A grotesque dandy sings as a lady accompanies on a guitar. Very attractive contemporary coloring. Condition is crisp and clean. BM Catalogue of Political and Personal Satires, No. 15611.
This amusing caricature was originally intended as part of a series of costume prints titled "A Desert [sic] - Imitation of Modern Fashion!"
Decoratively Matted With A Total Measurement Of 13.75" H X 18" W. Good condition.
Plate 20 from the 1888 first edition of A. J. Hipkins' Musical Instruments, for which William Gibbs did the now-famous chromolithographs. The depicted instrument is from the late 16th century and has an octave string used to gain a more brilliant effect.
Hipkins' Musical Instruments is a landmark in the depiction of musical instruments, using fine colored plates for the first time.
9.25" H. X 6" W. Total Measurement In Mat: 15" H. X 11" W. Almost imperceptibly creased, otherwise fine.
Hand-coloured engraving plate by Choubard after Léopold Massard, from Volume 47 of the Bibliothèque Universal des Voyages Albert Montémont, dating from the late 19th-century showing a costume from Delhi - a young girl, "the favorite of the Grand Mogul" is holding a lute.
, signed "Vincent D'Indy". To "l'ami Letellier...". 1922. 9" H X 6.5" W. Bottom left corner cracked across inscription (quite dark), affecting just the very corner of the "V" in the signature; laid down, lifting slightly at center.PHO-01935$375
, signed "Maria Jeritza". Matted With An Overall Size Of 20" H X 15.5" W. Fine condition.
Stunning signed sepia photograph by Elzin of New York of the great Metropolitan Opera soprano in evening dress.
One of the most glamorous divas ever to command the Met stage, Czech-born Maria Jeritza made a sensational debut there in the 1921 American premiere of Korngold's Die tote Stadt. She was already a star in Vienna, where she sang in the premieres of Richard Strauss's Ariadne auf Naxos and Die Frau ohne Schatten, and her dazzling decade as a Met star included singing the title role in Puccini's Turandot in its Met premiere in 1926. At the Met, she also sang the first performances of Janacek's Jenufa and Strauss's Die aegyptische Helena. For decades after her retirement, she was a regular visitor to the Met - a regal symbol of one of opera's golden ages.
1907. Total Size In Frame: 18.50" H X 14" W (470 Mm X 356 Mm). Image Size: C. 11" H X 7.75" W (279 Mm X 197 Mm). Handsomely matted and framed in a semi-antique black and gold frame. Fine condition.
Signed by the great Austrian engraver Ferdinand Schmutzer, this etching and drypoint is titled Joachim und Exzellenz von Keudell, musizierend, 1907.
The Hungarian violinist, conductor, composer, teacher and founder of the famous Joachim Quartet, Joseph Joachim was a close friend of Brahms.Schmutzer created several engravings with Joachim as subject - with the Quartet, as a solo portrait, and in this portrait with Baroness Alexandra von Keudell, the wife of the Austrian Ambassador.
9.25 " H X 7.5" W, Matted With A Total Measurement Of 14.75" H X 13" W. Overall condition very good; slight soiling on very bottom and top (not visible in mat).
A caricature of the noted English conductor, Sir John Barbirolli, shown conducting. The caricature was executed by Olga Koussevitsky, who was a patron of the arts and second wife of the famous conductor, Serge Koussevitsky, and was so well-known for her portraits that she even had an exhibition in New York City. This caricature is dated 1953 and is signed with her circled initial "K".
. 1930. Image Size 12.75" H X 9.75" W. Total Measurement In Frame 22" H X 18.75" W. Excellent condition in a beautiful French style mat and gold frame.
An original photograph entitled His Big Moment dating from 1930, by Dr. Max Thorek. Thorek's signature signed on the verso of the photo, not visible in frame. A photostat on back of frame displays the signature.
Thorek (1880-1960) was a Hungarian-born surgeon in Chicago and an ardent photographer whose original works are now quite sought after by collectors and professional photographers. He published several books on photography, including Creative Camera Art, in which this photograph is featured. This photograph dates from the height of his career.
Bruno Labate was the renowned principal oboist with the New York Philharmonic from 1920-1943. Labate wrote a series of short pieces for oboe and piano which have become a cornerstone in every oboist's repertoire.
, signed "Lotte Lehmann". Total Measurement Of 10" H X 8" W. Very fine condition.
Glamorous portrait of the mature Lotte Lehmann who has boldly signed and dated it February 16th 1951 - the year she retired from performing with a legendary farewell recital.
Lotte Lehmann was an opera star in her native Germany and Austria - a favorite singer of Richard Strauss's - when she made her Metropolitan Opera debut in 1934 and, a year later, introduced her signature role to Met audiences: the Marschallin in Strauss's Der Rosenkavalier. She remained in the U.S. during World War II and retired from the Met in 1945, with one more performance as the Marschallin. Her last appearance at the Met, the following year, celebrated Lauritz Melchior's 25th anniversary with the company, when she sang Sieglinde to his Siegmund in a gala concert. Her parallel career as a recitalist and her teaching (after retirement) made a profound impact on American singing in the second half of the 20th century.